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#Pixoloid Studios
eosphoroz · 1 year
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Concept designs for AMC's "Interview with the Vampire" by Pixoloid Studios
Series production design: Mara LePere-Schloop
Supervising art director: Kimberley Zaharko
Artworks: Orsi Villanyi, Mark Molnar, Peter Lerner, Zsolt Szabados and János Gárdos
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gebo4482 · 1 year
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Interview with the Vampire by Pixoloid Studios
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polis-fandom · 11 months
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Sujaya Dasgupta as Zoya Nazyalensky in "Shadow and Bone" Season 2 on Netflix.
Costume design by Wendy Partridge, illustrated by Pixoloid Studios. From Pixoloid Studios Instagram.
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thecreaturecodex · 1 year
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Eunemrvo
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Image by David Metzger, © Paizo Publishing. Accessed at Pixoloid Studio's ArtStation page here
[What a weird monster. The name suggests some kind of link to Eurynomos, a Greek underworld entity that is obscure to the point of existing in only one surviving source. But how it went from a monster that is associating with rotting corpses to an okapi monk that hates the undead is quite the logical leap. Maybe they changed the name to keep people like me from complaining about how dissimilar it is to its mythological source (see the "if I ran the zoo" tag for some examples)]
Eunemrvo CR 5 LN Monstrous Humanoid This humanoid creature is tall, muscular and dressed only in a light wrap. It has the head of an okapi, and pebbly scales grow along its chest and back.
The eunemrvo are beings native to the Positive Energy Plane, but most of them are found in the Material. The reason for this exodus is that the main focus of their culture is destroying the undead, and these are much more common on other planes. A eunemrvo has no ability to traverse the planes itself, and most of them spend their entire lives beyond childhood on a quest to kill undead. They view ordinary mortals as somewhat suspect, and only make allegiances with humanoids if they have proven themselves a stalwart foe of undeath. They are more likely to ally with psychopomps, jyoti or lumi. Still, these alliances are usually limited to a particular haunted site or dungeon—in the long term, eunemrvo prefer their own company above that of others.
Eunemrvo prefer terse conversation to violence, except against undead creatures and those using or allied with the undead. In combat, a eunemrvo often wades into the thick of it, crushing bones under its radiant fists. They can create powerful bursts of positive energy that harm the living and the dead alike, but this ability exhausts a eunemrvo, making it a weapon used only under duress. Eunemrvo will typically fight to the death to stop the plots of undead creatures, asking only that their bodies are destroyed or sanctified so they cannot become undead themselves.
Eunemrvo are tall for Medium creatures, averaging between six and seven feet in height. They are mortal, but their lifespans are long, equivalent to those of elves.
Eunemrvo          CR 5 XP 1,600 LN Medium monstrous humanoid (extraplanar) Init +5; Senses darkvision 60 ft., Perception +10 Defense AC 18, touch 16, flat-footed 12 (+5 Dex, +1 dodge, +2 natural) hp 52 (5d10+25) Fort +5, Ref +9, Will +6 Immune death effects; Resist negative energy 5 Defensive Abilities positive energy affinity, retributive suplex Offense Speed 40 ft. Melee unarmed strike +9 or +7/+7 (1d8+4) Psychic Magic CL 5th, concentration +8 8 PE—chill touch (1 PE, DC 14, undead only), disrupt undead (1 PE), sanctify corpse (2 PE) Special Attacks positive strikes, tide of creation Statistics Str 18, Dex 21, Con 18, Int 17, Wis 14, Cha 17 Base Atk +5; CMB +9 (+11 trip); CMD 25 (27 vs. trip) Feats Combat Expertise, Dodge, Improved Trip, Improved Unarmed Strike (B) Skills Acrobatics +9 (+13 when jumping), Climb +11, Intimidate +10, Knowledge (planes, religion) +8, Perception +10, Stealth +12, Swim +11 Languages Celestial, Common, Lumi, Necril, Requian SQ monastic training Ecology Environment any land or underground (Positive Energy Plane) Organization solitary, pair, cell (3-6) or monastery (7-24 plus 1-4 3rd-5th level sensei) Treasure incidental Special Abilities Monastic Training (Ex) A eunemrvo gains Improved Unarmed Strike as a bonus feat, and gains the unarmed damage and flurry of blows of a 5th level monk. Monk levels stack with eunemrvo racial HD for the purposes of unarmed strike damage and flurry of blows, but not for other class abilities such as speed or AC bonus. Positive Energy Affinity (Ex) A eunemrvo does not have any benefits or penalties from being on a positively aligned plane. Cure spells always heal a eunemrvo for maximum damage. Positive Strikes (Su) A eunemrvo’s unarmed strikes deal an extra 1d6 points of damage to undead creatures and other creatures harmed by positive energy, and are considered to be ghost touch weapons for the purposes of attacking incorporeal creatures. Retributive Suplex (Ex) When a creature critically misses a eunemrvo in melee combat, the eunemrvo can attempt to make a CMB check against it. If the eunemrvo succeeds, the enemy is moved to an empty square adjacent to the eunemrvo and knocked prone. This is treated as an attack of opportunity on the eunemrvo’s part. Tide of Creation (Su) As a standard action, a eunemrvo can weaponize the positive energy in its body, filling a 30 foot line or 15 foot cone with searing light. All creatures in that area take 5d8 points of damage (Fortitude DC 15 halves); this deals double damage to creatures harmed by positive energy. A eunemrvo that uses this ability is exhausted. A eunemrvo cannot use its tide of creation ability if it is exhausted. The save DC is Charisma based.
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fmpclk · 1 month
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Focused Research
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After looking through ArtStation for artwork about portals i came across this and i love it. The artwork was made by Eric Basiletti - Kargall. I love the look of this because of how the world through the portal completely contradicts the wasteland that surrounds the portal on this world. Im aiming to accomplish something similar to this in my game as i find it creates such a cool contrast that you just cant stop staring at it and wandering what its like on the other side.
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After looking through ArtStation some more i came across this pretty cool looking portal that Vladyslav Horobets made inside of Unreal Engine 5. I like the vfx of inside the portal, it looks cartoony similarly to Rick and Morty. I also like the surrounding stone, I'm guessing, that wraps around it. I think it would look really cool at the top of a set of stairs surrounded by intimidating statues or inside of temple ruins. I might take some inspiration from this when deciding on what to make my portal look like.
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I found this portal on ArtStation once again and it is by Pixoloid Studios. I love how this one look with its irregular shape and the vfx around the portal. It looks out of this world as it should. I also love the contradicting worlds that are shown, a calm and dense forest and then a war torn world set ablaze. I think this is my favourite looking portal ive seen so far and i will definitely try to take some inspiration from this.
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ravenkult · 4 years
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Brooklin Bridge - The Alienist AOD by Pixoloid Studios https://www.artstation.com/artwork/zOx196
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astropolis001 · 3 years
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PIXOLOID  STUDIOS
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mentoskova · 3 years
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Elves in Witcher Netflix
Elves exploration concepts by Pixoloid Studios for Witcher Netflix
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The Hollow Cabal - Adventure Opener by Pixoloid Studios
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dottiechan · 3 years
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Tempest (Pt. 3)
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Part 1 | Part 2 | Part 3 | Part 4 | Part 5 
 Read on AO3
Pairing: Ava Du Mortain x f!Detective
Wordcount: 2031
Warnings: murder, mentions of prostitution & drugs
Summary: Ava and the Detective must pull an all-nighter working on a case on Christmas Eve, 1896.
A/N: Happy Holidays! What better way to celebrate or relax this December than with some soft Ava? Huge thanks to @sparkedupsilver​​ for being an absolute delight and giving me brilliant ideas about locations! <3
Image credit: Pixoloid Studios, Alienist: The Angest of Darkness concept art
London, Christmas Eve, 1896
A woman appears on the street, retreating into the shadows as she heads into the heart of the district, avoiding the light of the gas lamps illuminating the road in yellow circles. She is barely wearing anything to fend off the chilling wind and the snow - a torn shift several sizes too big for her underneath a corset, the sleeves spilling down her upper arms to reveal a set of bony shoulders. Even through the darkness, Ava can see the way she shakes, the dried blood sitting on her upper lip she haphazardly tried to wipe off with the back of her hand. She can almost smell her craving.
She’d put her money on cocaine if she had to guess what’s left the young prostitute in such an abominable state. That is, if she gambled, of course. Or cared much about the poisonous substances humans consumed for medicinal use or - as in this young woman’s case - their temporary bliss. The most accurate label for her as a whole would be a misanthrope, as Nate has so eloquently stated it on many occasions before, but she finds herself shifting and morphing into something else – she can feel it. She cares what she puts in her body. She cares what she does to herself. What is the term for a woman who would give herself up in a heartbeat solely to ensure the safety of another?
Her eyes shift from the window as she dares a glance inside the office. She snaps her head back in an instant when she realises what she’s doing. Don’t be a fool.
It’s her personal mantra these days.
Instead, she focuses on the woman outside, watches her as she leaves High Street and hurries down Whitechapel Road. She takes a sudden turn left, and disappears down an unlit alley. There are conventional ways to celebrate a white Christmas, and many of the Whitechapel residents seem to re-think what that festivity means for them. Not that Ava can particularly blame them - the circumstances in the worst slums of London are hardly its residents’ fault, and more so that of the authorities’. This area is relatively safe, but that is only because the recurring police patrols end with High Street – a necessary but superficial effort to quell the legacy of terror Jack the Ripper had left behind. (As if mere policemen could keep anyone safe from a werewolf like the Ripper was, Ava scoffs inwardly.) Beyond High Street is chaos and misery, and unfortunately cesspools like that offer the rot of rogue supernaturals a place to fester and spread quickly. Despite Ava’s best efforts, the detective has refused countless times to even consider selling the small flat she uses as her office to relocate to Chelsea or Marylebone or even Westminster.
And the thought of another rogue element potentially rising so close to the private detective’s office upsets Ava more than she cares to admit.
While other agents pursue the rogue supernatural, Ava is still assigned to her protection, loaned as a partner to her small detective agency she’s inherited from her father - at least that is what the detective thinks this setup means. Normally, Ava would be deeply offended by such a role. A mere bodyguard, compelled to deal with the crimes of mortals, a true retrogression in her career. But she finds herself caring, and that alone is more alarming than the Agency’s decision to keep her in her current position. This little act she puts on, the game she plays that plants the fallacy of their partnership in the private detective’s mind, it rings truer than it should, means more than what is allowed. It has been like this for months now, and with each passing day, the lie grows a little heavier. She wonders when it will finally crush them both.
She listens to the detective bustle in the tiny kitchen of the office, and the moment - heavy with the honeyed comfort of quiet domesticity - is enough to make her heart ache. She would never in a million years admit it, but leaving this place, this job, this woman... It would be the hardest thing she’d ever have to do.
So when she joins Ava by the window and offers her a cup of steaming, strong coffee - she doesn’t even like it, and she doesn’t understand why the detective would drink it to keep her awake, let alone consume it on the regular - she accepts wordlessly. The night casts long shadows across the office, hiding them both in a world where no one else exists other than the two of them. Ava never had neither the heart nor the mind for poetry the way Nate does, but in this moment, as their shoulders absent-mindedly touch, her skin burning up with the heat of her body even through her shirt and the detective’s soft leg o’ muttons sleeve, she could attest to her fatal attraction in a fashion that would shame even the great poets of old.
But that is all it really is. Fatal in every sense of the word.
Ava contemplates speaking to her about what is on her mind, but the words get stuck in her throat, and she forces them back down with a sip of strong coffee.
“There’s work to be done.” Too  callous, she scolds herself inwardly, even if it is true. There are many old articles about relating murders they have to revisit, along with what they know of previous victims through the morsels of information Commissioner Bradford has loaned the detective out of respect for her late father with whom they served together in the military. The woman on her right mistakes her tone for annoyance, and Ava finds herself steeling her insides when her concerned gaze finds her deceptively pallid face.
“I’m sorry I’ve dragged you into this. It’s Christmas Eve, I understand if you wanted to be anywhere else than here.”
I don’t. I really don’t. There’s nowhere else I’d rather be. “I have nowhere else to be.”
“No family?” the private detective asks, eyebrows raised in a way Ava knows she has her undivided attention. She never wants this moment to end, never wants her to look at anyone else like this other than her.
“Not anymore.”
“I’m sorry.”
“Don’t be.”
Silence settles on them for a while, and they watch the snowfall in a quiet trance. They have work to do, and yet they stand side by side, unable to move, unwilling to break this moment of silent admission that yes, yes, this can work, this can be home, you can be home...
Ava is shocked when the detective’s fingers - scorching hot from the cup of coffee she’s been cradling - graze her knuckles lightly, so lightly that she’d wonder if it was even on purpose if she couldn’t feel her eyes on her once more.
“I don’t have anyone left anymore either. I know what it is like. Which is why I’m thankful that you’re here now,” she begins softly, her bare honesty so alluring Ava finds herself turning to her. She knows she shouldn’t. She knows she will force herself to punish her for this open admission with coldness and retreat, but for a second, she wants to pretend that this is allowed, that this is as right as it feels in her no longer trustworthy bones.
“You’re thankful you’re chasing a murderer on Christmas Eve?”
“I could do without that,” the detective snorts, deciding to take Ava’s blunt question as a joke. Her face grows serious too quickly, and before Ava can react, her hand is in her gentle grasp as the woman closes whatever little distance is left between them. “But not without you. Not now.”
Ava opens her mouth to say something, anything other than the truth, ready to take a full step back when the detective raises her eyes, poorly masking the pain that finds itself on her beautiful features. The agent feels cold dread seize her spine, like icy rain slipping down and over each vertebra - for a split second, she thinks the detective can feel her inner turmoil. That she always pulls away and retreats because she is terrified of her desire to do the very opposite.
“Ava, just... Please don’t say anything. I know what you want to say now. I know. But I don’t want to hear it,” she whispers, paralysing the vampire with mere words. “I know we don’t think the same way about voicing what we feel for each other. It is plain. I understand. But for a second I want to pretend that us holding hands and sharing a tender moment is just as innocuous as anything else.”
“But it isn’t,” Ava quickly speaks, the lie coming out almost seamlessly as she pulls her hand back slowly, clutching her now cool cup of coffee with both hands to prevent any further contact between them. “It is harmful. Can’t you see that?”
“I can.”
“And yet you don’t much care for it.”
“Do I look like a woman who cares much for societal conventions?” the detective asks as she finally steps away from Ava, gesturing around the room. The agent can’t help but silently agree - a woman who’s also a private detective, well, in a way she should have seen this argument coming.
“That doesn’t mean you don’t have to abide the rules,” Ava breathes, her usual strength still annoyingly eluding her as she takes a seat in one of the armchairs, the files and newspaper clippings once more within reach as she sets her cup down on the side table.
“You do not have to go to such lengths to prove what I already know,” the detective sighs in defeat, retreating behind her great mahogany desk, the only piece of furnishing aside from the once elegant, but now rather decrepit chaise longue that is worth something in this office. There’s a painful distance now between them, one that hurts them both, especially when put in stark contrast with their earlier close proximity.
“And what it is you think you know?” Ava means for her tone to get under the detective’s skin, to dislodge this idea stuck in her head that there’s something going on between them - instead it comes out too slow, too pleading, too deep and raw. A dead giveaway that perks up the woman like a hunting dog picking up on a scent. But she soon deflates - what she thinks a momentary victory is gone the second Ava looks away and focuses on the neat stack of folders she insisted on organising herself.
“That you’re afraid,” she replies anyways, opening a folder on top of her own stack and peering at Ava over it in a way that makes the vampire swallow her quip in an instant. There is truth in her words, and while she cannot, will not confirm it, she silently wants to speak to her. She silently wants to tell her the twisted things she makes her feel after 800 years of blessed solitude.
“But one day, you won’t be, Ava. And when that day comes, don’t be too surprised to find me waiting for you still.”
I am immortal. By the time I could rid myself of all my fears and stand in front of you as the uninhibited and unapologetic woman you deserve, you’d be long gone.
Immortal doesn’t mean infinitely wise, that is something Ava learns in another 365 days. Afraid doesn’t mean not being uninhibited. Cautious doesn’t mean not being unapologetic. The detective blurs the black and white of her world, and with this action the confining borders are gone too.
Four months and she won’t pull her hand away.
A year and she’ll let the detective tilt her face down to meet her lips with a kiss.
Two years and she will be long gone, four and the detective will be dead.
But now, she doesn’t know all that. Now, she buries the confusing conundrum of her love for the detective deep inside her and sets out to work in blissful ignorance.
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taronunwin · 4 years
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Detailed concept designs for key costumes for Rocketman by Pixoloid Studios
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eosphoroz · 1 year
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On AMC Armand's timeline
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If Armand is 514 years old in 2022 that means that in AMC's 'Interview with the Vampire' Armand was born in 1508 and was probably turned when he was 26, in the year 1534. This is contrary to canon, where he was born in 1482 and was turned when he was 17, at the start of 1499.
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(Quote from 'The Vampire Armand')
Or, it could be that he is 514 years IN the Blood and he was actually born in 1482 as in canon and was turned at 26 instead of 17, still making his turning year 1508 and making him 514-years-old IN the Blood.
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But that would be conflicting (with the canon's timeline) with the mention that Marius is a contemporary of Tintoretto, because Tintoretto was born in 1518 in Venice and his earlier paintings were in the early part of the 1540's.
So maybe, just maybe, Armand spent more than a year with Marius after being turned (as he did in canon before being abducted), and Marius had more time to paint while Tintoretto was active, making him a “contemporary”.
And if we’re talking style-in-painting contemporary, that would give us even more space in the timeline, since Tintoretto’s style had a gradual change over his life and Marius’s painting seems to be replicating Tintoretto’s mid to late style, somewhat reminiscent of “The Brazen Serpent”, painted in 1575.
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So even if Armand was turned in the 1530’s, that would still make his time with Marius at least 40 years. And if he was turned according to the canon’s timeline, in 1508, his time with Marius would be even longer. This would be more in line with the first draft of 'Interview with the Vampire', which seems to be an inspiration for AMC's portrayal of Armand.
Guess we'll have to wait and see what the writers are planning to do with Armand's past and his relationship with Marius.
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gebo4482 · 11 months
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Shadow and Bone S2 by Pixoloid Studios #2
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polis-fandom · 11 months
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"Shadow and Bone" Season 2 on Netflix, costume designs by Wendy Partridge, illustrated by Pixoloid Studios.
Sturmhond, Tamar Kir Bataar, Tolya Yul Bataar, and the "Volkvolny" crew.
Source Pixoloid Studios Instagram.
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ravenkult · 6 years
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Emerald City - Ev bar by Pixoloid Studios https://www.artstation.com/artwork/qlvGe
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astropolis001 · 3 years
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PIXOLOID  STUDIOS
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