Axis (Ali)

@axisofficial.bsky.social

116 Followers 95 Following

Artist🖌️ Senior Visual Effects Artist✨ Musician🎹 Occasional Streamer🎮 I am the Axis. 🚫AI

GIF of a meme from El Dorado where the two main characters look at each other and say “both. Both? Both is good.”
A pen drawing of a man reaching forward with a flask in his hand that seems to be bubbling and steaming. His arm leading back to his torso grows darker and darker up to his silhouetted face where a small smile and two grinning slits for eyes shine through. He wears a coat buttoned up the side around the shoulder and neck and the words “Drink up…” are written by his head.
A picture of agents Mulder and Scully from the X files. On the lower left portion of the image is Scully and in the upper right is Mulder.
A picture of a woman lunging from left to right, her right hand with the knife in it is large as it’s close to the viewer. Her pupils are glowing and leave streaks in their wake and blood is trailing from the knife to the hand she cut to enable her psychic powers. White veins are beginning to scatter beneath her skin on her face and arm. In the background there are broken plants and disheveled decorations.
A wide picture of a floating head whose expression is mostly hidden by flowing, tendril-like hair. Their expression is somber and streaks of tears draw lines through their rosy cheeks and off their chin in tiny droplets.
Black and light purple, chunky, scribbly, swirling lines converge on a woman at the center of the image walking forward. She’s also made of looping lines that seem to follow the contours of her body. Vibrant purple rim light highlights her hips, arms, and long, wild, curly hair. Her left arm is up and over her head as if shielding her from the sun.
The image is of a woman in a lunging position, hunched over with her arms splayed out behind her and to her side. Her pupils glow white hot and leave a haunting streak in their wake, veins of a similar hue branching across her arms and from underneath her hairline on her scalp. Telekinetic energy distorts the air around her, making her hair rise into the air. Red light shines from behind her casting most of her in shadow, posing a daunting figure.
An image of a half of a man’s blue and gray face on the left. His one revealed eye is red and his hair is long, white, and swaying to the right. A fairy is peeking out from underneath his hat at his ear, glowing softly. The man’s face seems stern, the fairy’s more neutral. Blurred snow crosses the foreground of the image.
An image of a woman under lit with warm, orange light. Her face is tilted back so the upper half from her nose and back is darkened by green shadow. Her pupils glow and have left light streaks down her face in their wake. Her hair and clothes are billowing as if hit by a great windy force or fire and embers swirl in front of and around her. Her expression is seemingly one of concern and horror.
An Asian woman stands at the forefront of the image looking downward and slightly distressed. In the background is a man with long, wavy hair whose face is half cast in shadow. He looks at her with an eerie kind of longing with an odd red swirling in his eyes. His hand gently grasps her chin.
The image is a drawing of a woman weaving her long, black hair into a braid. She has large, round earrings, multiple necklaces of varying lengths, arm wrappings, and a large poncho-like shirt on. She has a pleasant grin on her face.
A page with two drawings on it, the top image is of a silhouetted person with scraggly hair and a pointy tipped finger behind which a trail of stringy blood lingers behind. The bottom is of a nose and mustache curled at the very corners.
A pen drawing of a silhouetted figure with smiling eyes and mouth reaching toward the viewer with a flask in his hand that’s ominously steaming or smoking, asking for them to “Drink up….”
The image is of a man jumping to the right of the viewer, surrounded by violent, swirling water which seems to be affected most by the glowing blade he has poised to strike behind his back. The expression on his face is furious, with wide eyes staring down at his target and bared, gritted teeth. He wears cloth and leather armor.
A drawing of a woman with clock faces in her swirling hair. Her pupils and irises are also clock faces and sparkles dance around the image.
An animation that shows a ragged scarecrow backed by a woman and a man behind it facing away from the viewer. The woman has dark curly hair and is starting at a paper she’s holding in her hands. The man is holding a pack inside of which is a little tin drawing manakin. The next shot shows that inside of a hole in the scarecrow’s torn shirt is a locket, shimmering, twisting, and eventually swinging about. Following that is a shot of the paper in the woman’s hands—the portrait of a man with similar dark, curly hair that begins to undulate and slowly blur and fade. The shot after is a close-up of the tin manakin in the man’s pack that he’s holding. It reaches its right arm up and idly itches its non-existent nose before giving an enthusiastic paddle-hand thumbs up. A white dotted line appears around here his thumb would be with the words “missing thumb” appearing on and off. The video then fades to black.
A digital painting of a giant stone head sitting at the edge of a lake, crying tears that seem to be the lake’s source. There’s a tiny boat on the water and trees all around with one particularly massive one standing just behind the sculpture, covered in drooping vines.
A portrait of a very strange looking woman with a three pronged crown floating above the right-most portion of her head. Her hair is flipped outward in strands and her face is mostly covered by a robot-looking mask with only the right portion of her face revealing that she’s human underneath. Her right eye is robotic-looking and her mouth is three hexagonal shapes with lines drawing away from them like some kind of odd speaker has replaced her mouth.
A picture drawn of a person with fins protruding from their head, ears, and neck with catfish-like whiskers growing out of the top of their forehead where their hairline might be.
An orange post it note of a drawing showing a bridge crossing into a forest leading up a cliffside to Castle Ravenloft, whose windows are lit. The moon hangs like the sun in the sky and some clouds hang dark above.
A woman with a unicorn horn and long, white hair smiles wistfully. She holds a handful of pink roses whose petals have whipped into the air above her and sparkle with magic. A leafy bra covering hides her chest and a leather strap adorns the arm holding the flowers against her. She’s backed by the light of a full moon.
A person sits crouched atop a stool, their hair in a braid long enough to reach the floor. Their arm is extends toward a canvas where they’ve jus begun painting. A kind of gentle, rainbow highlight dances on their arms, head, and braid.
A picture of a person with white, circle eyes deep in its head. The upper portion of the person’s head is wisping away into fire and smoke, the brain showing through. They have a slightly eerie smile on their face. The drawing is black and white on a very hot pink post it note.
We see this strange person whose head is made of fire and black, interlocking diamond shapes slightly from above. The cyan flames of their head cast light on their sharp fingered hands that are reaching up to their head as if their condition is new. Diamond motifs mark their forearms and legs.
A woman covered in blood and fallen snow slumps against the base of a large statue of a cloaked woman wearing armor and bearing a long sword, reaching a hand down as though it could have offered this woman salvation.
The beastly form of Vicar Amelia kneels in a ring of holy magic that drips upward toward an intricate window behind her, framing the antlers on her head and the flowing wisps of her hair. She clasps her hands together in prayer, her body covered in white wraps stained here and there with blood.
An image of the back of a woman’s head. Her head is shaved everywhere but the crown, where nearly shoulder-length hair flows in the wind. On the back of her head starting at the base of her skull is a branched scar like lightning that courses over the back of her head. There’s a slight rainbow tinge to it to help it stand out from the rest of her dark silhouette.
A stone statue of a knight reaches towards its base where a woman, covered in blood and the falling snow, has crawled and come to her final rest.
A stylized drawing of a girl with very long hair that covers her eyes but shows her nose and mouth. She’s wearing headphones that’re unplugged with a beanie on top and a cozy foot-length zip up sweater. She has baggy shorts on underneath but bare feet that are slightly covered in dirt. She holds a book with an eyeball on it in one hand and a pencil in the other.
A bald-headed man with large, metal nails sticking into his eyes and out the back of his head. Tattoos adorn his face across his eyes from temple to temple, with one solid red streak over his left eye. The left nail sticks out from his head a bit more than the right. He had an eerie, forced smile showing his teeth and gums. Rain falls behind him and drips off his nose and chin.
A tiny, long-haired girl cowers behind a rock surrounded by shallow water. Behind her is the horizontal face of a massive woman, her eye turning, staring straight at the rock and her pupil casting a spotlight directly at the rock.
A painting of a person wearing a black cloak and plague doctor mask. They have cascading white hair, wisps of smoke rising from their mask and a cracked, glass eyehole in their mask.
An animation of DND characters to Florence and The Machine’s song Seven Devils. It’s an ode to a DND campaign I was a part of that lasted about a year that I immensely enjoyed!
The picture shows the silhouette of a man from the chest up wearing an alchemist’s coat. His eyes and smile are white crescents in the shadow of his face. He’s extending forward a flask full of a bubbly material that’s smoking out the top with the words “Drink up…” nearby.
The image is of a woman wading through green glowing water. Half of her face is submerged and her eyes are closed. The lighting is from below the water’s surface shining up from beneath.
The page is a series of three images, the first two of which show Ira’s face mostly occluded by the back of Idora’s head, held by one of his hands. Red tears are streaming from his visible eye and there’s a single line next to his face that implies trembling. His eyebrows are pushed up into a melancholy expression as Le looks at her. The second image shows his eyes closed and his head turned away slightly, the saddened expression intensified. The third and final image shows him holding Idora’s slumped body against his, his hands tense and his face hidden, buried in Idora’s shoulder and further covered by his hair. Two words hang in the air beside him. “I’m sorry…” and at the bottom of the page is a tiny written “END” to mark the end of the comic. Thank you so much for reading!
The page is a series of images starting with one showing a man holding a woman whose neck he’s bitten. His expression is startled and concerned. The second image shows his fingers in her hair releasing their grip. A larger image below shows her head limply rolling on his shoulder, eyes muted and gazing forward into nothing. The next panel shows Ira’s horror written plainly on his face, and the following shows him frozen, holding her in front of him with the thought bubble “She’s…gone.” In the next panel his arms are empty and a bunch of indecipherable words are faintly scribbled into the darkness.
The image is a series of pictures beginning with a closeup of Idora’s mouth, one of her bloody tears trickling into it. She’s whispering “Ira…” weakly. The next image shows Ira still latched to her neck, expression pained and somber. In the middle of the page is a series of three images showing Idora’s hand. In the first it’s flexed and lines depict it shaking slightly. In the next, it’s fallen and they’re flexed a little less, and in the third image it’s collapsed to her side. On the bottom left of the image is a picture of her shoulders-down from behind, slumping to the side, and leading away from that is a series of h’s implying an exhale. It leads to a picture of Ira’s eye, wide open and welled with bloody tears.
The page is a series of images, the first shows Idora’s hand flexing and shaking. The following image shows Ira’s hand pulling against the back of her coat. The following image shows Idora’s expression growing weak, her eyes starting to roll, Ira still latched to her neck. She’s saying “Please….” The bottom image shows a very close up image of Ira’s face, eyebrows furrowed and the skin of his nose scrunched in a snarl. There are thought boxes around him which read “I…can’t. This is what I have to do. What I chose to do.”
There’s a series of images depicting Ira drinking the blood of his matron vampire. In the first he’s bitten her neck, but thought boxes of his read “I’m…starving….” In the following image, he’s bitten her again in almost the same place and she yells “Aaghck!” in response. The third image is a depiction of Ira’s burning hunger being sated. It shows him in silhouette with white eyes mostly closed, the blood he’s drinking appearing white and spreading down his throat and chest onto what appear to be searing hot cracks across his neck and torso. There’s a line of h’s in the background suggesting an exhale. The third image shows the puncture wounds on his shoulders from the nails sealing, and in the final image Idora is weakly asking him to stop.
The page is a series of images starting with Idora’s face hissing and scrunching in pain. The second shows Ira having tilted her head to the side and drawing close, eyes solely staring at her neck, seemingly unresponsive to her pain. The next shows his face against her neck, a dark tear streaked down his face and into the chemical burn scar at the corner of his mouth, which is open in the following image revealing fangs. A small image shows his teeth sinking in, and in the last he has bitten her. The two are nearly silhouetted in shadow with the tiniest rim of light outlining them.
The first image shows Ira and Idora in profile. His hands are on her shoulders and he’s pulling her close. He is looking down at her and her eyes are closed, red tears still dripping down both of their faces. In darkened text boxes, Ira’s thoughts read “There’s something that feels wrong…about being so close to her.” The next image shows a closeup of Idora’s face, eyebrows pushed up and in on her forehead in a saddened, resigned expression. His thoughts continue “She’s always demanded respect for her space, her safety….” The next image is peeking over Idora’s shoulder at Ira’s face, who’s eyes have fallen to the collar of her shirt. “But…now….” The following three images at the bottom of the page show Ira’s hand at the collar of her shirt, his thumb pulling it aside to reveal her artery. In the last image, his hand is entangling in the hair on the back of her head.
In the first image, Idora has easily wrenched free from Ira’s hold, his face is riddled with shock. The next image shows the bishop’s shoes walking forward and the wavy cloth of the bottom of his robes. In the third image, his hand is at her back, and in the next he’s forcibly pushed her forward toward Ira. The following two images show Idora’s face streaked with bloody tears. Her initial expression is angry, and the next seems solemnly resigned. An image of Ira’s remorseful expression follows. Ira pulls her close again and the bishop releases her.
The first image shows Idora’s saddened face, another bloody tear dripping from the inner corner of her eye. “Don’t do this Ira, please…,” she says. Ira’s hand still cradles the side of her face. The next image shows his face mostly in shadow, but a similarly pained expression furrowing his brows. He says “I can see only one path forward that allows me to continue my work. I wish there was another way, but I’ve made my choice,” he whispers hollowly. “I’m sorry.” The last image shows his hands wrapping around Idora’s back, pulling her gently into his proximity.
Two panels flank a center image at the top of the page, each panel on the side showing a picture of Ira’s and Idora’s faces. The center image shows the gap between them closing, ushered by Ira’s hand on Idora’s face. The second half of the image shows the two of them in shadow, hunched toward each other just enough that their foreheads touch. A single red tear has dripped from Idora’s face toward the floor and one has fallen down Ira’s cheek.
The first panel shows Ira’s face stricken with grief at Idora’s tears. He lifts a hand dripping with blood and wipes one of her tears away. A closeup of his eye reveals tears of his own welling as he says “I…loved you, Idora.” A silent sob escapes her lips as bloody streaks trail down her face.
Ira is speaking in the first panel, saying “Everything I’ve managed to do, all that I’ve accomplished, has been thanks to your support of me and my pursuits.” The following panel shows both Ira and Idora in profile. Idora has marks around her indicating she’s shaking. Ira continues, “My loyalty to you never wavered, and I worked hard for you…because I wanted nothing more than to be by your side.” Idora lifts her head, finally meeting his gaze, reddened tears welling in her eyes.
The first two panels show Ira contemplative about the words he’s going to say. “Miss Morrissey,” he starts. “I…don’t know how to properly say this, but…you have always been so generous with me, and I’ll always be grateful for that. In a way you gave me this second life to focus on my passion for science and magic. Your contributions to me and my research have meant everything to me. There’s no way I would have been able to pursue my work so fervently and for so long if it weren’t for you.” Idora’s hands clench into fists, her head still hanging low. Ira’s expression saddens with each word on his lips.
The first image shows Idora with an exasperated look on her face, and an onomatopoeia of an exhale. The bishop stands behind her, and the guards behind him. The next image shows the bishop’s hand thrust forward and Idora falling with a yelp. In the following panel she’s on her hands and knees and the bishop is further back in the shadows. The last image shows Ira from behind Idora, his expression solemn.
In the first small panel, the angel’s hand wraps around one of the large nails sticking through Ira’s shoulder, the next showing her wrenching it away. A panel on the right shows Ira’s face contorted by pain, his teeth clenched and the word “GAAAAH” written beneath. The next panel shows all 7 bloody nails tossed onto the floor. At the bottom, Ira is hunched over, looking at his bloodied hand, holes in the wall behind him where the nails had had him secured. The angel is wafting back slowly, hovering again. His face shadowed, Ira says “I’d like a moment with her.”
There’s a silhouetted image of Ira with his head hanging forward, rim lighting around the edges of his shape. A close up of his mouth with a wiggly speech bubble that says “Release me from the wall,” a quiet request. An image of the bishop looking to his right and shortly nodding. At the bottom of the page, there’s a clothes-less, bald woman we’ve seen in previous pages, the angel. Her stain glass wings are a cape that flows behind her. She hovers close to Ira who is sitting weakly against the wall. The last panel shows her crouching down to him, her glowing pupils only pinpricks in the dark.
Ira’s reluctant face is turned from the viewer and hidden in shadow. Idora, wide eyed and clenching her teeth moves, her hands still reaching back behind her to fight the bishop’s grip. On these two images are the bishop’s words “It’s you, or it’s her.” There’s a zoom in of Ira’s eyes and the bishop continues “Make your choice.” The last panel shows Ira from below, head hunched forward with an anxious, frustrated scowl. Stakes stick out of his shoulders from which dried blood has dripped. Behind him are all of the words that have been spoken between Idora and the bishop so far, some of Idora’s pleas and the bishop’s words about him being a free man drawn out in red. There are gray thought boxes of Ira’s that read “I can’t…think…through the pain… through this bloody haze…through my starvation.”
The first panel shows Ira kneeling, back against the wall. Idora is kneeling before him and in front of the bishop, who still has hold of her hair. The two guards stand behind him in shadow. Ira’s face and voice pleads “Please.” The bishop is silent and stoic for a moment before his expression turns sour. “I’ve presented you with your options. I’d prefer not to repeat myself Mr. Ambrose,” he gruffs. “It’s you, or it’s her. Make your choice.”
The first panel shows Ira’s contemplating face, eyes closed and scowling. He looks up. “Sir, please listen to me. Idora is the sole reason I’ve been able to dedicate so much of my time and effort into my research. She doesn’t deserve to die because of actions outside of her control.” To his right, panes of shattered glass show their eyes connecting. “I would never deny the appeal of being a free man, but she’s always been good to me. Please, let her go.”
The bishop shoves Idora into a kneeling position, Ira’s face shocked as the bishop says “Now, Mr. Ambrose, Ms. Morissey has informed me of your usefulness to our kind, despite recent complications. How familiar are you with our ways? Need I explain to you what would happen if you were to drink her blood?” The guards stand in the shadows behind him. Idora, with her hands behind her head, grasping at the bishop’s grip on her hair, pleads “No….” She looks into Ira’s eyes desperately. The bishop continues, “It’s nearly impossible for an underling to ever overpower their master for a drink! It’s an extremely rare occurrence in our dark history. But if you did, you would be free of her dominance. You would be a free man! You would match her power and be free of her leash. How does that sound?” Below Idora’s desperate eyes, Ira could see the cold veins through her neck. Still and dead blood, the key to his freedom. “Someone needs to pay for what’s happened tonight, Mr. Ambrose,” the bishop says. “And in my experience, this life is kill or be killed. What do you want?” Ira, eyes wide and hair disheveled, stares forward, contemplating.
The bishop continues to hold Ira’s chin, kneeling to his level. He says “Mr. Ambrose here is a man of talent. Intellect. What use are you to our kind, Idora?” With a panicked expression and hair falling into her face, Idora says “I don’t…well, I…I found him, didn’t I? I’ve kept our secrets. You can trace no feuds back to me, I’ve caused no trouble for anyone.” The bishop’s eyebrows dive into a scowl as he says “So you’ve built nothing and ruined even less.” Idora stammers, “I….” The bishop stands next to Ira and motions down to him. “It feels a crime for you to reap the rewards of this man’s talents,” he grimly smiles and says “bring her.” Idora protests and fights, the heel of her shoe cracking off against the floor. “No. No! Please!” The guards bring her to the bishop, who kicks the back of her knees so she’s kneeling before Ira and grabs her braid so she can’t easily wriggle away.
Idora clenches her teeth and says “He…He’s a brilliant alchemist,” speaking about Ira. The bishop looks down at Ira, his eyebrows raised slightly. “Is he?” He asks. Idora continues with “His work is crucial. It would be a loss to all of us, all of our kind. Please.” Two guards stand at her sides, holding her arms. Ira stares at her, thinking “I’ve never heard her beg…for anything.” She continues “He’s the best I have. This wasn’t his fault.” The bishop silently contemplates, before turning to Idora with a shadowed face and asking “And what use are you?” Shocked, Idora’s eyes wide, she asks “What?” The guards look at her from behind with neutral expressions.