#karray

[hakkiest]

kinda idk whats in the air in north africa but i think we should install a program where u give every north african woman like a pen and a paper or a video camera or gouache or whatever and just let them do whatever they want. it would fuel the world with good art for like 30 years minimum

[onlinesikhstore]

Pure copper Kara Sadhguru Kada Punjabi Hindu Sikh Adjustable Snake Head Healing Bangle Yoga Meditation Health Benefits Tamba Karra Evil Eye Pure copper Kara Sadhguru Kada Punjabi Hindu Sikh Adjustable Snake Head Healing Bangle Yoga Meditation Health Benefits Tamba Karra Evil Eye Design Ref: GA Metal - Pure copper Comes in four sizes Small (kids), Medium, Large and XLarge HANDMADE - Sadhguru Kara Features: - 100% Pure copper Bracelet - Soft and adjustable - Smooth Finish - Good Luck Bracelet - Medicinal/Health Benefits to the wearer - Antimicrobial properties - Healing kara - Evil Eye Protection Talisman Amulet - Positive Energy/vibes - also used for Astrology Benefits - Used to cure Astrological defects of Horoscope - helpful for Yogic Mantras/Yantras - Spiritual benefits - Religious and sentimental Values Please note new copper polish will go off within few weeks of wearing and it will attain matt brown (natural colour of copper) colour which will stay for life. It may give greenish mark to skin which is natural charcteristic of copper. We have also seen change in colour with body temperature (noticed myself when I had covid in Dec 2020 and was wearing this Kara during high temperature - colour changed to Firey Red) Please note multiple photos are there to show different angles of the same item. Only one kara will be included per sale but you can choose quantity from variation list if you need more than one Kara. Thickness of Kara is approx. 5mm. Weight is approx. 33g. These handmade Karas are adjustable and fits all hands from 5.8cm to 8.5cm.

[qu1nntastrophy]

Right. So I have gotten permission from my good amazing friend @skilsie to share something that they made for me. I adore it. They did a perfect job capturing the vibe of Karrai Sronix.

Just look at this. Amazing. She looks like she is ready to square up and fight you personally. The colors are top notch. I am so lucky to have such an amazingly talented mutual as Skilsie. You are dear to me.

Anyways, this is the first of the pieces of art from others of my characters that I’m sharing.

[kromitar]

A silly Valais/Karrai (and Rina) comic.

(Karrai is @moertti 's character)

[rhythmicgymnasticsnews]

Juniors turning Seniors in 2025

Gymnasts born in 2009. Feel free to message me gymnasts who competed internationally that I do not have on this list.

Andorra

Aitana Garcia

Astrid Rieger

Armenia

Inesa Adamyan

Tatev Khachatryan

Australia

Alisa Kochemazova

Kiara Koburn

Austria

Melina Maerk

Julia Millmann

Azerbaijan

Nuray Ahmadzada

Govhar Ibrahimova

Sakinakhanim Ismayilzada

Ayan Sadigova

Belgium

Maya Bijnens

Bosnia and Herzegovina

Esma Huskanovic

Iva Benic

Bolivia

Tatiana Gutierez Siles

Emma Sofia Jimenez Barriga

Brazil

Fernanda Regalo Alvaz

Lavinia Silveiro

Stephany Popoatzki

Bulgaria

Eva Emilova

Andrea Ivanova

Tsveteyoana Pencheva

Dara Malinova

Oleksandra Shalueva

Canada

Jana Alemam

Julianna Kaminsky

Emily Liu

Chile

Laura Rich

Amanda Depaux

Leonor Fuente-Alba

Retamales Machuca

Karime Meneses

Colombia

Juliana Villarreal

Sara Correa

Emiliana Vargas

Croatia

Iana Bencic

Vita Franov

Ana Jurkovic

Cyprus

Lavita Bezdenezhnykh

Aikaerini Christofi

Alexandra Constantinou

Alissa Jaser

Sotiroulla Marselli

Czehia

Kristina Gyulzadyan

Anna Kofronova

Svetlana Moravcova

Adela Navarova

Sara Suchankova

Sofie Ella Urbanova

Karolina Mandikova

Egypt

Alia Ahmed

Rashda Elzayat

Espagna (Spain)

Violeta Bacigalupo

Celia Rodriguez

Bianca Rodriguez

Estonia

Meibel Kudak

Elys Kretelle Kukk

Nika Oborskaja

Polina Tubaleva

Finland

Aino Toermanen

Linnea Piispanen

France

Lena Kieffer

Naia Okasha

Great Britain

Alexandra Krokhmal

Lottie Cahill

Tallulah Crabtree

Alexandra Marshall

Lucy Taylor

Georgia

Elene Tsulukidze

Ana Berdzenashvili

Mariam Gelashvili

Teona Nakhutsrishvili

Liza Kordzade

Elene Tsulukidze

Germany

Emily Dik

Raya Dudeva

Olivia Falk

Lisa Tenenbaum

Alina Ott

Greece

Stefania Bakopoulou

Aiaterini Cholidi Ntali

Eleftheria Kantere

Constantina Stoleriu

Hungary

Boglarka Barkoczi

Fruzsina Grek

Boglarka Horvath

Goergia Koszegy-Kohary

Israel

Alona Tal Franco

Meital Maayan Sumkin

Italy

Margherita Fucci

Carlotta Fulignati

Anna Pergentili

Ludovica Platoni

Japan

Rin Matsuda

Yuna Tanaka

Kazkhstan

Dariya Kusherbayeva

Kyrgysztan

Arina Gazieva

Asema Badykeeva

Marem Isaeva

Korea

Seohyun Park

Suyeon Park

Seojin Won

Kuweit

Noor Alrezaihan

Latvia

Margarita Ardaseva

Alise Lebedeva

Sofia Nikole Reinsonas

Lituania

Anastasija Volocko

Vile Sperskaite

Nijole Mickute

Luxembourg

Lola Diedrich

Moldova

Daria Sliusarenko

Mexico

Constanza Galindo

Zoe Lozano

Mongolia

Minjin Khurelbaatar

Ayalguu Purevdorj

Munkhgerel Soronzonbold

Norway

Charlotte Gailiunaite

New Zealand

Neala Wicomb

Athena Li

Poland

Maria Aszklar

Sara Lakomczak

Pola Swietochowska

Olivia Maslov

Portugal

Carolina Freitas

Leonor Baptista

Mafalda Santos

Romania

Amalia Lica

Arianna Alexandru

Andreea Nastasa

Alexandra Patrascu

South Africa

Tricha Richards

Chade Jansen

Amy Rose George

Buhle Ngcobo

Singapore

Kate Lee

Slovenia

Alja Ponikvar

Elli Cof

Zarja Drevensek

San Marino

Eva Bombagioni

Serbia

Ema Tosic

Switzerland

Viktoria Benkoe

Charlene Pasche

Lhadon Tsenstsang

Slovakia

Xenia Benkovitsova

Sona Mikundova

Laura Romanova

Tunisie

Mariem Karray

Turkey

Eysan Ates

Deniz Oskay

Fatma Elif Polat

Damla Sel

Aleyna Gursoy

Melek Duru Ozen

Ukraine

Kseniia Solomon

USA

Greta Pavilonyte

Isabella Chong (thanks @fabiochampioraro)

Uzbekistan

Lola Djuraeva

Michel Nesterova

Adelya Fayzulina

Guli Nasimboeva

[qu1nntastrophy]

@morsartis

Okay, so the first thing to understand about my fantrolls and my whole fandom situation overall is something that needs some explanation.

I am someone who has a lot of ideas. Which means I am constantly making up new aus or timelines. Because I get attached to everything, I have hoarded these aus and timelines. And then one night while I was trying to explain it all to a friend, imagine me with a red string conspiracy board style deal. Not very organized. And I just zoomed in on the words “branching timelines.”

Branches. What has branches?

Trees.

And I lost my absolute shit as my brain put together the pieces. Realitrees. Each one is a branching group of timelines and aus and if something gets a bit too off of the main tree, it’s like taking a cutting from the original tree and grafting it into a new tree nearby. And I started to basically consider my groves.

For the most part, each and every grove is a separate fandom, because I have been dragging the same character through fandoms since high school. I’m now putting a pause on the realitree topic because I probably could write a dissertation on it if I allow myself. And you didn’t mean to ask about my realitrees. So let me get the trolls lined up for you.

My main set of fantrolls for my fan adventure are referred to as the cast of Realitybreak. Because that is what happened. Choices were made, a lot of them were not the best. I have a spreadsheet that I need to update at some point, it needs reformatting but that isn’t the topic at hand. But the cast of Realitybreak has twelve players for SGRUB. And then there are a few others trolls that are dragged into the game. In the primary setting, no bloodswap, we have this guy, Aervox Kratar. He is the purpleblood of the group. He is a Bard of Heart and due to a botched mind alteration by a young and inexperienced Ceruleanblood, became obsessive over his red quadrent mate, a mutant who at one point did have real feelings for him but her trauma has caused her to have some less than ideal coping methods, but right now is not the time to get into that. Aervox also has a moirail, a very manipulative and ambitious tealblood who is absolutely not healthy for him. It is abusive but he is dependent on these two and they are both using him in different ways. Before his mind had a well meaning hand stuck in it, he and a different troll, Karrai (the beloved favorite, I will not lie, she is the absolute favorite) were sort of feeling the start of what could have become red or pale feelings but that was entirely ruined and now they have a black thing going on but it’s more just violence and aggression they are just aiming somewhere. But they do have moments where they behave amicably due to the fact that Karrai has sort of taken in a young purpleblood that would have been culled (the story there is a huge mess and involves a jadeblood, it is messy and amazing, but I’m not letting myself get sidetracked here with that story) who is now sort of in a shared custody situation because Karrai wants Caspin to grow up connected to his culture because it is so important. Aervox likes the tiny clown boy and is absolutely invested in seeing the kid survive.

This is all without going into the huge disaster of what happened to the ancestors. That is just messy and so many died in horrible ways, and then there is the one who was made immortal as a punishment and everything else that happened there

But yeah. Included are images of Aervox and Caspin. Both are edits I made a few years ago. I need to remake Aervox’s and I am super proud of how Caspin’s looks. I put much less effort into Aervox’s and it shows. I know I didn’t get into how your headcannons really fit super well but that’s because there is a lot on this already and I didn’t want to get too far off the main realitree of realitybreak.

Let me know if you want more realitybreak lore! I have so much. Also, we should be friends. You are so cool.

hi idk if you like to hear other peoples headcanons so if you dont pls ignore but i want to talk to SOMEONE about my silly purpleblood headcanon

-

alright so; face paint. i dont particularly like the "every purpleblood is a clown" thing (but if you do then hell yeah go off love is real) as it kinda limits the character variety of that caste, but i DO like the face paint as a detail so ive settled with this: i headcanon that the face paint purples are prone to wear is not a Clown thing nor a Cult thing, but a cultural thing. all (or most) purplebloods wear a coat of face paint to symbolically conceal themselves. showing your bare face to someone youre not close/in a quadrant with is seen as a taboo in purpleblood cultures. additionally, letting a quadantmate/close friend see ones face is probably the biggest sign of trust a purple can do (depending on how they feel about the tradition). and having them HELP WASH IT OFF??? ough, now thats /tender/.

I need you to understand that I am ABSOLUTELY FERAL over this idea and it goes perfect with an older headcanon thing I did a while back

Here: https://www.tumblr.com/morsartis/639719797773549568/hey-your-writing-was-awesome-ive-just?source=share

AND LISTEN- LISTEN-

NEVER APOLOGIZE FOR SENDING ME YOUR OWN HEADCANONS I LOVE THAT SHIT.

God okay but like, the TENDERNESS??? Of washing off your big purples paint??? The damn SWEETNESS and TRUST of being allowed to help them apply it in the mornings???

NO ONE TOUCH ME IM NOT OKAY

EDIT: YES! Yes I love talking about other peoples headcanons! TALK TO ME ABOUT THE HEAD CANONS-

[magarinecaramel]

Okay, I just created Nanbaka oc fr. His name is Karray. His backstory and other details are still in progress. (These designs are what are coming in my mind so I might change them in the future. And I will draw him in an inmate's jumpsuit later-)

I also already decide which character he will be shipped to. (Please this is just for fun. Don't take it seriously it's just oc. You might ship your oc with the same character that I shipped with but that doesn't mean you can insult or become toxic towards me because of that. I just want to have fun and peace. Please I beg you 🙏)

[foxy710]

A commission by @kalopsia-ever-present

My D&D OC Karrai (the white haired teifling) and his Partner Azariah

Omg I am just so in love with it it’s so perfect and wonderful to see them brought to life 😍

[dailyrecaps]

Wed Apr 9 07:15^

Thurs : Big Park after school. Bike mode, late. No gym.

Weekend :

Friday : Mcneil HEB, WF latte + mocha. Gym x2. Chevron happened today. $1000 @ 132.48 S Lamar 22:45 - the Ametuer. Left 20 after, right on time. Loaded fries.

Saturday : Sour Duck +coffee cake, Will +none. B&Ws. Walk to intl. MKT with 5 of 6 -Karsyn. Gym. Lakeline Mall w/Numirahs dad, around 5 :30. Katnum Karray.

Warfare S lamar 22:45 cookies.

Sunday : Sour Duck, me + none, Will buckwheat. B&Ws. Made birds more rice/quinoa. Finished chapter on porch, then to spring to finish Jord Pet. talk. Through creek ~ the snakes are back! Gym. Almost finished another chapter @ bar table, but one section left. Shower, wash hair, placenta treatment, bed.

[movienized-com]

Behind the Mountains (2023)

Behind the Mountains (2023) #MohamedBenAttia #MajdMastoura #WalidBouchhioua #SamerBisharat #SelmaZghidi #HelmiDridi Mehr auf:

وراء الجبال / Oura el jbelJahr: 2023 (September) Genre: Drama Regie: Mohamed Ben Attia Hauptrollen: Majd Mastoura, Walid Bouchhioua, Samer Bisharat, Selma Zghidi, Helmi Dridi, Wissem Belgharak, Ayoub Hedhili, Mondher Chouchen, Amel Karray, Ammar Chikha, Rania Agrebi, Mahmoud Said … Filmbeschreibung: Die Geschichte handelt von einem Mann, der sich gewaltsam aus seiner banalen Umgebung befreit,…

[abishek-sources-and-significance]

Sources and Significance: Reader

Blomberg, J. (2018). The Semiotics of the Game Controller. Game Studies, [online] 18(2). Available at: https://gamestudies.org/1802/articles/blomberg.

This article examines the differences between the player's physical reality and cognitive immersion to explore the fundamental question of characterizing the video game experience. It presents the function of the video game controller, which is frequently overlooked, and suggests that it is more than just an input device. According to the author, playing a video game involves doing two things at once: using the controller to interact with the game while it's being played. The abstract proposes to apply general semiotic principles to the analysis of game-controller pairings, drawing a comparison with signs. This viewpoint challenges an oversimplified understanding of player engagement by emphasizing the complex interplay between mental and physical aspects. The abstract adds to a more thorough knowledge of the complex relationship between gamers, controllers, and the immersive world of video games by addressing this understudied aspect.

Charrieras, D. and Ivanova, N. (2016). Emergence in Video Game Production: Video Game Engines as Technical Individuals. Social Science Information, [online] 55(3), pp.337–356. doi:https://doi.org/10.1177/0539018416642056.

The impact of game engines and toolkits on creative practices that automate different aspects of video game production is examined in this article. It examines how two programming paradigms component-based data-driven design and object-oriented deep-class design affect how game developers and engines interact. The evolution of game engines as technical entities within their environments is understood through the application of Gilbert Simondon's framework of artisanal and industrial production stages in this study. The article challenges conventional narratives about cultural production by highlighting emergent techno-human processes and non-human-centric creativity. It illuminates the frequently disregarded facets of game development by offering a critical examination of how game engine programming paradigms affect the creative options and limitations available to game developers.

Hitchens, M. (2011). A Survey of First-person Shooters and Their Avatars. Game Studies, [online] 11(3). Available at: https://gamestudies.org/1103/articles/michael_hitchens.

This article explores the vast genre of first-person shooter (FPS) games, which has been around for almost 20 years and is available on many different platforms. In contrast to earlier studies that examined particular games, this one adopts a more comprehensive strategy by surveying a staggering 566 first-person shooter games on multiple platforms. To provide a thorough context for previous research, the study compares these games according to release year, platform, and setting. The study also examines avatar attributes like background, gender, and race, examining how these features change and vary between platforms. A thorough examination of this large dataset reveals patterns that provide insight into the historical and platform-specific peculiarities of first-person shooter games and how avatars are portrayed in them.

Karray, S. and Debernitz, L. (2015). The Effectiveness of Movie Trailer Advertising. International Journal of Advertising, [online] 36(2), pp.368–392. doi:https://doi.org/10.1080/02650487.2015.1090521.

This study emphasizes how important movie trailers are in influencing investor and audience expectations before a film's theatrical release. This investigation explores the creative aspects of trailers and their influence on a film's financial success, in contrast to earlier studies that concentrated on advertising budgets. Results show that factors that affect abnormal returns, which represent investor reactions, include the appeal of the plot, scene cuts, and the inclusion of particular content (violent, sexual, or humorous scenes). Notably, investors' opinions are unaffected by the use of special effects in trailers. The study also highlights the significance of early promotional material in predicting a movie's financial performance by indicating that initial trailers have a greater influence on investor response than later ones. All things considered, this analysis highlights the complex connection between a movie's innovative trailer presentation and its eventual box office success.

Lamarre, T. (2002). From Animation to Anime: Drawing Movements and Moving Drawings. Japan Forum, [online] 14(2), pp.329–367. doi:https://doi.org/10.1080/09555800220136400.

The complexities of movement in cel animation are explored in this article, which focuses on "drawing movements" and "moving drawings." Although traditional cel animation strives for full animation through drawing movements, limited animation—most famously found in anime—focuses on moving drawings. The study investigates how drawing movements decode live-action films, with anime signifying a shift towards new media and information experiences rather than highlighting the differences between animation and anime. The analysis explores how anime techniques make use of potentials such as flatness, jitter, and weightlessness, with a focus on Miyazaki Hayao's "Castle in the Sky." In addition to highlighting the distinctive qualities of anime, Miyazaki's emphasis on floating and gliding has an impact on how gender, history, nature, and the anime medium as a whole are portrayed. The article's ultimate goal is to explore diverse media and investigate how various movements affect anime's genre, storytelling, and audience participation.

Lizardi, R. (2014). Bioshock: Complex and Alternate Histories. Game Studies, [online] 14(1). Available at: https://gamestudies.org/1401/articles/lizardi.

This article highlights the Bioshock series by Irrational Games as a noteworthy example within the mainstream gaming industry, surpassing many peers in its potential for thought-provoking narratives. While not universally praised or ideologically progressive, the series stands out due to its intricate storytelling and quality gameplay, making it a promising subject for scholarly exploration. The author argues that Bioshock encourages nuanced historical interpretations and challenges simplistically accepted histories, despite its fantastical content. The series also offers avenues for exploring gender power dynamics through strong female characters and delving into political themes like collectivism versus objectivism. The complexity and polysemic nature of Bioshock makes it a prime candidate for in-depth game studies research, emphasizing the evolving landscape of video game analysis that recognizes the significance of interactive elements in shaping the future of the field.

Mortensen, T. (2017). For the Love of Fighting Games. Game Studies, [online] 17(2). Available at: https://gamestudies.org/1702/articles/review_mortensen.

In his monograph "The Culture of Digital Fighting Games," Todd Harper presents a comprehensive exploration of the historical background, current culture, and dynamics within the realm of fighting games. Spanning 158 pages and encompassing seven chapters, the book delves into the roots of fighting game culture, drawing a direct connection to the arcades. Harper's extensive research, coupled with his firsthand experience and passion for the subject, forms the basis for his central hypothesis, asserting that the contemporary culture of fighting games stems from the arcade environment. By examining the turn-taking structure and community dynamics of arcades, Harper effectively traces the evolution of competitive play events. The book's strength lies in its portrayal of the arcade as a foundational element, shedding light on the cultural tensions arising from technological advancements within a simultaneously innovative and conservative gaming community.

Spring, D. (2014). Gaming history: Computer and Video Games as Historical Scholarship. Rethinking History, [online] 19(2), pp.207–221. doi:https://doi.org/10.1080/13642529.2014.973714.

This article proposes a groundbreaking approach to historical scholarship through the creation of scholarly computers and video games. It envisions a departure from traditional linear narratives, suggesting that historians could present their research as interactive video games, offering a unique and immersive way for users to engage with history. Unlike historical fiction or games prioritizing gameplay over historical accuracy, the aim is to produce games that rival traditional historical works in terms of research depth. The potential of video games for historical presentation is emphasized, as both mediums explore and shape perspectives on cultural, economic, and societal dynamics. While acknowledging practical constraints, the article delves into how historical research could be translated into a game format. It critically analyzes key game mechanics and narrative structures in popular history-based games, illustrating how this innovative approach could revolutionize the dissemination of historical knowledge.

Tröndle, M., Kirchberg, V. and Tschacher, W. (2014). Is This Art? An Experimental Study on Visitors’ Judgement of Contemporary Art. Cultural Sociology, [online] 8(3), pp.310–332. doi:https://doi.org/10.1177/1749975513507243.

This study addresses the common query, 'Is this art?' often posed by museum visitors when confronted with contemporary artworks. It investigates the factors influencing visitors' judgments of contemporary art, examining the impact of prior knowledge, socio-demographic background, emotional experiences, and specific aspects of the artwork itself. Conducted as part of the Swiss National Research Project eMotion: Mapping Museum Experience, the experiment utilized a site[1]specific intervention by artist Nedko Solakov in the St. Gallen Fine Arts Museum. Surprisingly, the findings diverged from expectations based on prevailing sociological art theories. The study challenges established notions, revealing that the assessment of art or non-art status is influenced by unanticipated factors. This sheds light on the complex and multifaceted nature of individual perceptions and responses to contemporary art, contributing valuable insights that deviate from conventional theoretical frameworks.

Wood, E.S., Jamie (2021). ‘Actual history doesn’t take place’: Digital Gaming, Accuracy and Authenticity. Game Studies, [online] 21(1). Available at: https://gamestudies.org/2101/articles/stirling_wood.

This article explores university students' perspectives on how playing historical video games shapes their understanding of the past, focusing on aspects of space, place, and broader historical engagement. Conducted at two UK higher education institutions, the study employs an online survey with a user-centered approach, offering a nuanced view of students' experiences with historical gaming. Unlike traditional assessments of historical accuracy, the research adopts a process-oriented approach, examining how active gameplay influences perceptions of historical time and place. The emphasis is on players' views regarding the importance of perceived accuracy and authenticity in historical video games, particularly about their attempts to construct personal narratives by immersing themselves in the historical setting. This methodology provides a dynamic understanding of the impact of historical gaming on students' historical consciousness, offering insights beyond mere factual accuracy considerations.

[shangdiart]

I had the pleasure to perform with @ableton for @hennessy X @mrkimjones at @k11musea . Thank you to the team who made this possible. Special thanks to Kirsten. And thanks to @k_array_systems speakers brand. More photos coming soon. #karray #karraysystems #hennessykimjones #hennessyxkimjones #k11 #k11musea #hongkong #tst #privateevents #akai #ableton #karray #pioneerdj #toraizsp16 #abletonpush #xone #nativeinstruments #komplete #solidstatelogic #macbookm1 #musicstudio #shängdì #apc40 #aiaiai #djheadphone #tma2 (at K11 Musea) https://www.instagram.com/p/Cp6bhG2PBPd/?igshid=NGJjMDIxMWI=

[onlinesikhstore]

Sikh Kara Stainless Steel Thick Bracelet Brass Smooth Kada Singh Kaur Khalsa Kakaar Punjabi Sikhism Bangle Karra One Edge DD54 Sikh Kara Stainless Steel Thick Bracelet Brass Smooth Kada Singh Kaur Khalsa Kakaar Punjabi Sikhism Bangle Karra Edge design Design Ref: DD54 Weight approx. 160-185g Size and width approx. 10mm Kara will stay stunning for life. Colour will not fade or change. Brass (Golden colour Line) will require polishing occasionally. Non-allergic to skin Sizes are inner diameter of Kara measured in centimetres.

[qu1nntastrophy]

The first of many Karrai centric art dumps. This one features her in what I consider her first Major fandom setting. Homestuck! Or as I call my fanadventure; Realitybreak. For this collection, I’m only using art I have made personally. Eventually I’ll make a post with art that other people have made of her (gifts and pieces I commissioned) but I want to ask who I can for permission, be able to source most of it, and also make it obvious what isn’t my art.

This collection includes a mix of traditional and digital art with some au versions and me experimenting with art style.

[kromitar]

Absolutely unhinged Valais (and Karrai) masterpost, this is all art I've done of him over the course of four years (in neat chronological order).

Valais is my half-elf Oath of Devotion paladin, Karrai is @moertti's character, a tiefling rogue. They're so cute I just wanna cry. (Also features some Lynne, another paladin and Valais' best friend.)

[whateverbringsyouthroughthenight]

Mouna Karray, Murmurer #18, from the series Murmurer, 2007-2009, black and white photograph, © ADAGP, Paris