Hall of Images

Here you can view my favorite works out of the visual art I've created, heheh.

You can click on any image to view it in full size. Additionally, for images with embedded text, transcriptions of the text can be found in the alt text for the image.

Directory

Collage Art

Provisionally Controlled Madness (2020)

A collage piece consisting of multiple layers of overlapping text and images, including "Ever upward, ever outward. The clockwork spins, ever faster.", "Heheheh, I see. A reprieve from your stagnant, unchanging sorrow and pain. I can understand—but I can't respect it!", and "HOLY FUCKING SHIT WILL ALL OF YOU JUST SHUT THE FUCK UP?! ARE YOU ACTUALLY, TRULY THAT FULL OF SHIT?! HOW CAN YOU EVEN FUCKING STAND YOURSELVES?!"

This was my very first attempt at making digital collage art. I'd seen some other artist friends sharing art pieces in a similar vein, and when I was out on a walk one night, I was struck by the inspiration to try it out for myself.

I was surprised and almost a bit ashamed at first when I finished it, as I had no idea it was going to turn out so dark and deeply personal. It evidently has some merit to it, however, as this piece ended up getting published in Neko Girl Magazine, heheheh.

Breathing Darkness (2020)

A collage image of multiple human and inhuman figures overplayed on top of each other. In the bottom right, one of the figures is saying, "There must be something horribly wrong with me."

To this day, I'm still very pleased with this one~ It's probably the most popular of my older collage pieces; it was also published in Neko Girl Magazine, as a matter of fact.

Here are a couple of fun facts about it:

  1. Out of all of my work, Breathing Darkness is probably the closest thing to a proper self-portrait of Kyou System there is.
  2. The figure in the bottom-right corner, who I originally drew in a particularly intense bit of vent art, is also featured in the promotional art for THERA 2.

i guess there was a memo that went out or something that i missed (2021)

A sketch of a human caricature stands in front of a messy, colorful background. The background is completely filled from top to bottom with the following text: "hey isn't that enough already i feel like we're never gonna get anywhere at this rate and i mean what is even the point of all of it in the first place if there's no heart put into it and this is about as heartless as a cadaver with its heart cut out or whatever this whole obsession with hiding everything behind irony and making things safe is supposed to be accomplishing but what I really wanna know is how you know who i am and what i am and what i want and what's best for me when i don't really have clear answers for that myself like can you tell me where you found out about the massive shapeless things in the ocean and how i should lead my life in order to coexist with them and more than that i guess i don't understand how i even am supposed to fit into this weird place to begin with when i'm not really comfortable with letting myself just sort of stagnate and fall into senseless depravity when not actively destroying myself which seems like the popular thing to do i think the word is "zeitgeist" but now i have to make myself into a reality warper just to function which feels excessive even if it's cool if that even makes any sense since i probably sound like i've just straight up lost my marbles which could actually be true at this point but there's not really a lot i can do about it so i've kinda just been living with it but yeah is any of this in life actually supposed to be fun or fulfilling or sensible like what's up with people taking it all so seriously is there something i'm"

This collage speaks for itself—perhaps excessively so, heheheh. As you might imagine, I was in the throes of an episode of graphomania when I put this one together, but that in no way diminishes the intent or sincerity of everything written here~

I think of this one as being a sister piece to I'm holding together well enough, all things considered..

Mouths and Eyes and Power (2021)

A monochromatic collage of stylized eyes and mouths. A textbox reads: "Fathoms of oceans of darkness and mouths and eyes and painful truth and truthful pain and mouths and power and alter egos and trauma and eyes end ayes and eyes and eyes and mouths mouths mouths mouths meyes" (sic)

The Kyou System is composed of many parts, and some of them are less recognizably human than others. This collage is one of my many attempts to try and express these facets of myself.

I created the centerpiece of this collage—the isometric grid with the two sprite figures, and the textbox with Anticharlotte's portrait in the foreground—in the game engine I wrote for Permanence. I'd really like to experiment further with this, making more tailored maps and cutscenes in-game for use in other art pieces, heheh.

I'm holding together well enough, all things considered. (2021)

Black lineart of a face, in some state of distress(?). The eyes are sunken and blurry, and a black fluid is leaking from the mouth. The face is drawn atop layer upon layer upon layer of text. Each group of text has a different garish, clashing, saturated color to it. The layered text includes, among other things: "God I fucking love yanderes." "Dude, I was JOKING!" "Idiot. Idiot. Idiot." "I just wanted attention uwu" "If you aren't on our side, then you're part of the problem!" "We'll get through this! Just one more second! We'll get through this! Just one more minute! We'll get through this! Just one more hour! We'll get through this! Just one more day! We'll get through this! Just one more week! We'll get through this! Just one more month! We'll get through this! Just one more year! We'll get through this! Just one more decade! We'll get through this! Just one more century! We'll get through this! Just one more millenium! (sic)" "They didn't mean anything by it. They were just trying to help. Though, I feel way worse now... But if I lash out, I'll be no better than my abusers. Where can I vent away from them?" "Are you there? I need help. Are you there? I need help. Are you there? I need help."

I've always loved spending time with my friends and the members of my community. At the same time, however, the worst of the social violence I've experienced was at the hands of people who purported to love me even as they tore into me or bled me dry.

In my mind, this collage is sort of a sister piece to i guess there was a memo that went out or something that i missed, although this one is more overtly vent art. Some of the text lines included here are things people have said to me verbatim, while others are lifted from my internal ruminations. Determining which lines are which has been left as an exercise to the viewer.

Bloodless Mania (2022)

A collage of figures against an overcast sky. The center of the image is dominated by a 7x7 grid of tall and featureless gray monoliths. To the left, the phrase "There's no place here for the Kyou System." is repeated over and over. In the bottom right is the following text: "Thanks for reminding me of my inhumanity. I'd almost managed to start forgetting about it."

This is probably my least favorite collage, admittedly. Even years later, it still fills me with a deep, aching sadness every time I look at it.

I originally drew the centerpiece of this collage separately, in a maniacal episode that felt almost like a trance state, a couple of weeks prior to making the collage proper.

The Shape of Misfortune (2025)

A collage of several figures superimposed atop of a landscape photograph. One figure is transparent, but outlined and dressed in pure white. They have neither a nose nor a mouth, and their eyes are wide open. A large gear is emerging from their head, and a breathlessly manic stream of consciousness is running through their head. Another figure is dressed in black, with long greenish-gray hair. They're holding out a hand in greeting. Where they should have a face, a gaping hole filled with lumpy dark flesh is present. Behind these two figures is a large floating mechanical eye, half-lidded and staring directly at the viewer. The following text is overlaid across it: "Is it really too much to ask? Just throw it all away. It'll be a new life! So exciting! Not like they give a shit, anyway..." In the bottom-left corner, a smaller figure (whose features are smeared out with a black substance) is covered with the following text: "It's funny, you know? I was supposed to have died years ago! Roughly nine years ago at the time of this writing. I knew I was living on borrowed time, but I didn't think my credit was this good! Ahahaha! To be honest with you, I'm ready to die whenever, but for as miserable as this material world can be, I've been having a lot of fun with it! Making mischief while holed up in my little corner. Will I attract attention, or will I languish in obscurity? Will I live to old age, or will my loan come due early? Who knows? Who cares? It's not my world, not my life, not my body. Even still, I'm curious, aren't you? Let's see what lies at the end of this alien road~" In the bottom-right corner, the following text is visible: "I meant everything I said, even if you ultimately didn't."

I'm quite fond of this piece, heheh~ I feel like I was able to capture the central duality within the Kyou System very effectively here. It also looks much more balanced and consistent, since I have a much better grasp now on composition and visual design than I did when I made my older collages.

The text along the top is addressed to me. The text in the bottom left corner is addressed to everyone. The text in the bottom right corner is addressed to one person in particular, not that I anticipate they'll ever see it.

Digital Art

The Settlement (2019)

Three small figures (from left to right, Ashley, Kim, and Jesse) stand at the entrance to a small complex of apartment buildings. All of the streetlights are off, and all of the windows are dark. The grass is a dry yellow-brown, and the sky is dark and overcast. A monolithic black tower is visible in the distance.

Although it's rather simple, I'm still pleased with the composition and atmosphere of this CG from my game Remembrance.

Glare (2021)

An animated sketch of two eyes glaring at something off-screen.

This was one of the very first non-game-related animations I drew in Aseprite.

Red Angel (2022)

A faceless humanoid figure with a halo, draped in a flowing red robe, hovers in front of a symbol resembling a window made of four right triangles arranged into a square. The background is animated, and resembles heavy rain falling at an angle, or perhaps the interior of a rapidly rotating sphere.

Nighttime in the Dead City (2022)

A sparse, forlorn cityscape at night. Dark, featureless skyscrapers stand tall against a dark red sky. A full moon is barely visible, blocked by dark clouds. In the foreground, a monochrome woman resembling Charlotte but with a gaping black hole where her face should be stands alone in front of a megastructure. The megastructure's windows are all pitch black.

Charlotte (2023)

A full-body portrait of Charlotte, floating in the air with one leg raised, leaning forward with a warm but knowing smile on her face.

Ah, my darling Charlotte... I love you more than words can convey~

Arrival (2023)

Three figures stand before a swirling dark background. From left to right, they are a short, dark-haired humanoid with a static-like texture to their skin, a figure in a tall hat wrapped in a blood red cloak, and a massive glowing-white golem with a single golden eye.

My favorite bit of art from my game THERA 2.

Forest (2024)

A woman in a white dress and black boots with long black hair (Kim) is standing on a path that leads into a forest. She's facing away from the viewer.

Charlotte (2024)

A portrait of Charlotte from the thighs up, standing up straight with a fox-like smile on her face.

My beautiful monochrome bride...

THERATHERATHERA (2025)

A figure stands slumped over, submerged up to their hips in pitch black water, their face obscured by their long, tangled black hair. Their torso is dark gray, and covered in a network of organic-looking black growths. These growths, which are also connected to strands of the figure's hair, form a taut network extending up above them out of frame. Two large red branching growths resembling blood vessels extend up out of the water on either side of the figure, serving as a scaffolding for the network.

Quentin at his radio (2026)

A man sits at a cluttered desk in front of a bulky radio unit. Papers, a binder, and a coffee mug are scattered about.

This graphic is lifted from the demo for my visual novel Metal Doll Crystal Moth.

The Tower and the Mountain Pass (2026)

A narrow, canyon-like mountain pass against an overcast sky. A brilliant white tower resembling a gigantic screw is visible in the distance, with more mountains further beyond.

This graphic is lifted from the demo for my visual novel Metal Doll Crystal Moth.

Traditional Art

Hailey0 concept art (2021)

A blobby humanoid figure with helmet-like hair. Their arms are folded, and they're looking away.

This is the first sketch I made of the character concept that ended up becoming Hailey0.

Beryl portrait (2021)

A bust of a woman with sharp features and wavy black hair down to her shoulders. She seems to be speaking with annoyance toward someone out of frame.

My beautiful, dark, twisted Beryl~

Hypnagogic landscape (2022)

A sketch in pencil on lined paper of a mountainous landscape. In the foreground, on a cliff overlooking a valley, several cubical blocks are arranged into a small step pyramid.

I had this image appear with striking clarity in my mind's eye randomly while trying to take a power nap one day. Pardon the lined paper; I wanted to capture the image before it faded from my mind, so I grabbed the first bit of paper I could find.

Watching (2023)

A gigantic eye bulges out of a dark, whirling sky, staring intently at a figure walking through the tall field of grass below.

I was in something of a trance state when I drew this.

Grass Girl (2023)

A humanoid figure with black hair wearing a turtleneck stands amid some grass. Her face is featureless except for two cavernous eye sockets.

Wall Girl (2023)

The head and upper torso of a humanoid figure grow out of a large, lumpy mass of flesh emerging from the right side of the image. The figure has long hair, and her facial features are three big black dots arranged in a triangle for her eyes and mouth.

Eternal Sunset (2026)

A red giant star hangs heavy in the sky like an open sore. Buildings with huge, gaping voids for windows—all of which are dark and empty—huddle together. The ground is dusted with what might be snow or perhaps very fine sand. The central space that must once have been the town square is now overgrown with fir trees, their needles a brilliant red.

Acrylic on canvas.