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Who: Faris & open
Status: Open
Where: The places where MANTA quests are happening!
What: Faris and you taking on MANTA board quests.
Warnings: None so far.

Model at your own risk

[Faris has a serious sense of deja vu about this one... ugh. The ones that go over multiple months are always the most bothersome, aren't they? He just hopes that this one doesn't involve some creepy guy trying to resurrect a wife and creating succubi instead.]

Ahoy there! Artist bloke! [Faris looks around, a hand on the hilt of his sword, but there's nothing jumping out as a threat. Just a lot of art supplies scattered about.] Can't tell if this is from a struggle or just the normal state of things 'round here.

[And just as he leans forward towards one of the paintings--SWOOSH. In he goes!]

Celestial Navigation

[Faris looks up at the darkening sky, watching the stars wink on to replace the sunset.]

'Tis a funny thing. I've seen the sky change before, but not like this. [He looks down at his parchment, where he's already recorded what he knows of the old sky from memory.] Ever do this before?

Begrudged

[Faris does not often answer the bounties on creatures, and in fact, he's coming to the conviction that he'd like to do something about the ones that are out to hunt down hides and shells solely for profit.

But some are justified. This sounds to be one of those... but as Faris watches the tonberry, he frowns.]

This beast is meant to be dangerous? It's moving like a snail--a snail filled with molasses.

Flat | Top-Level Comments Only

I've my pistol with me, and I am a fair shot.

[ He also does a lot of property damage and tactical dodge rolls in a battle. Hopefully, his decline in health won't hamper him too much. As it is, Sherlock is more concerned with how this scenery will allow them to move should action be required. Would it be possible to reach that building in the distance before actually walking there because the world changed perspective? Could they run into something when trying to escape? What are the rules of this place? ]

Most people in my time and place do not have to worry about monsters jumping out from the wilderness. Man does enough of that their own, and those are who I deal with.

[ ... and a cult worshiping the coming of some eldritch being sleeping beneath the depths. However, that is not his usual adversary and a one time incident. He hopes. ]

Mankind's pretty creative about making trouble for itself, isn't it.

[Between the war fifty years ago that near wiped out the wind drakes and then the crystal machines that threatened the actual ability of life to live on the planet... even if the idea of a full-scale war now is pretty damn unlikely, there's plenty of other manmade mischief that gets almost as bad.

You know, like piracy.]

...what d'you think would happen if you fired off a shot into the sky right now?

Quite.

[ The actions of man are bad enough even without considering wars, but those innocent are still swept up into the evils all the same. To what end? ]

There is but one way to find out.

[ Sherlock aims upward and at an angle back the way they came to reduce any chance of the bullet injuring anyone as it fell from the sky. The shot goes off like normal. However, soon the suggestion of a bullet shot is "painted" in the air. There's no puncture in the canvas. The bullet trajectory has become part of the scenery.

He didn't expect that. ]

I wonder what became of the bullet...

[Faris has been here long enough to become familiar with handheld firearms, but he'd be lying if he said that being able to keep a tiny cannon on your belt didn't still impress him. He watches the bullet--hard though that is given its speed--but then it becomes easier. There's just a hint in the trail in the paintstrokes of the sky.]

I don't particularly like that. [...] If the bullet's become part of the painting, imagine what's going to happen to us if we spend too long a time figuring this out.

This does not bode well for the other people lost to this world.

[ If they come across people, they may not be a part of the painting originally. The matter then concerns how to reverse the process... or tell of their sad fates. Sherlock shakes his head. ]

We can move more quickly and still watch for traps.

[ He starts to move quicker towards the building in the distance. That's the main landmark they have in this scene. It's still the best hope to finding evidence someone besides them. (That doesn't solve how to leave the painting, however....) ]