termineur. The Meadous Museum

The Meadous Museum is a two-story structure with many, many open rooms for exhibits detailing the world of the Meadous and the worlds outside of it. It is a work in progress, the exhibits being created by the residents of the Meadous themselves.

Connected to the Museum is the butterfly pavilion. It provides an indoor space to enjoy nature year-round, but there are many open pathways to let bugs and animals in and out through to the outdoor garden. There's a koi pond in the middle of the pavilion, which connects to the river to the west. The pavilion also connects to the greenhouse to the east, allowing a seamless indoor transition between the three buildings.

As of now, there are not nearly enough exhibits in the Museum to fill its space:

Upper floor
The upper (ground) floor to the museum holds information about the Meadous itself. The walls are mostly white with dark wood strips as accents leading up to the many oddly-angled skylights. Thanks to all the windows, the lighting almost makes one feel like they're still out in the open air. With the ceilings higher than they seem on the outside, the whole place feels light and airy.

About halfway down the main hallway leading into the exhibits is a line of thin black paint and a markered note: "Timeline starts here." Across from the note is a set of glass double doors leading into the beginnings of the cafe. A large counter has been carved and finished out of a single wide, fallen tree. It appears that someone is also making chairs out of this tree, as there are about ten of them finished so far. There's the start of a sink space on the far counter, and clearly some things are starting to get hooked up.

Continuing on down the main hallway brings you to the exhibits. The first thing you'll come across is a large map of the Meadous, painted on a display wall. It details any large buildings, such as the Library or the Watchtower-- but no one's individual houses. A small sign under it states that the map may not be accurate, because the world itself may have changed since it was last painted.

Moving on from that is a set of photographs of daily life in The Village- these photos are high-resolution, vivid, and sharp. In microfont at the bottom of every photo, KD6-3.7 is printed. Most importantly, though, they're moving! They seem to have about half a minute of animation.

A couple of photos show people taking food down from the unusual trees here- the Chocolate Tree and Chinese Takeout Tree, respectively. A small note next to each of them says that these trees were wished for, and anyone is free to take food from them. There are also photos of ducks and geese floating peacefully in the Wishing Pond, and a panning shot of horses in full gallop across the meadows themselves.

There are also a few drawings, including the Remember Tree and now-native creatures from the Void. The ones in the Meadous are pastel colors.

A room down from the Meadows exhibit is the combination Dunes/Beach/Sea area. There isn't much here yet, but there is another photo (similarly moving and by KD6-3.7) of sunlight glittering on the sea, as the clouds slowly roll by and seabirds drift on the breeze. A few more photos depict pastel crabs skittering across the sand. There are also a few more drawings, sketches of the dunes as well as of the snakes and beetles that live there.

One of the more complete exhibits is The Islands. In this small section, there are a few sketches of the local wildlife, drawn in a sharp and heavy-handed style. All the animal sketches are labelled, from the chocobo to the syldra. In another case, a number of colorful crystals are displayed, and a note indicates that they are from Volcano Island. A large three-dimensional wooden map depicts the three islands: Volcano Island, Lagoon Island, and Atoll Island. And finally, a smaller display case has one of the panels removed and the other three sides painted black. Inside is a few blue crystals, and the box shows that they glow rather beautifully in the darkness.

Also on the upper floor, towards the front of the building and behind those two glass doors, is the beginnings of a cafe.

There is also a small auditorium, although one needs to follow the signs to the back and left of the building to reach it. Once entering it, it feels almost cut off from the rest of the museum- a perfect place for lectures and musical performances.

Lower Floor
The lower (basement) floor to the museum has a much darker, cave-like feel to it, with the walls being covered in dark wood strips. The dark down here helps illuminate the display cases that much more easily. This area is meant for everything that's been encountered outside the Meadous, both worlds of origin and worlds that have been visited.

The Void: The largest exhibit details the Void. Included in the front are a number of drawn portraits, and they are labeled with names: Dia, Noc, Eve, and Rae.

Next to the portraits are John Watson's details of the event. With them is an additional sign with words from Royce Melborn:

The four sisters offered those who helped gifts. These gifts included a vial of color that reflected the receiver's personality, a painted glass vase in which plants never wilt, a book describing the most impressive details of what the individual in question accomplished, and a fan that helped said individual remember their best and most cherished memories.

In the new world the sisters created together, aided by the color that the Meadous collected for them, a tree was planted. The tree's name is Ahrakon, and it is the oldest tree, the protector of all trees. It is Dia's companion.

Underneath, there's a picture of said tree, painted by Royce in a fashion far more clumsy than this, since he's not exactly the best of artists:

Nearby is a book in a display case, received from Rae and donated by Royce. It is titled The Majesty of Colors.

Recuerdo: This is exhibit is much smaller, but does include another report from John Watson on what happened there. Next to it, in a display case, is a brightly-colored guitar.

Timeless: This exhibit currently only exists as a sign and a display case of two wind-up toys, one a fox and one a dog. A small sign in the case reads 'From Vixy'.

Beyond the Visited Worlds are the Home and Secondary Worlds. The first one you come across is Panem. It only has a map for the moment.

Beyond that is a small exhibit listed as Earth - Gabriel Gray. A small placard indicates that 'Earth' appears to exist for multiple people- however, there are slightly different variations of it for most. A small Map of the Earth is up, with only the continents labeled, and next to it is a Map of the United States of America. Unfortunately, the states are labelled a little incorrectly- Arizona and New Mexico are mixed up, as are Wyoming, Montana, and Nebraska. The exhibit goes on to detail what life was like in 2010- there are descriptions of technology, including the internet, cell phones and smart phones, and a few sketches of what automobiles of this time looked like.

And there is a small section labeled 'Abilities,' with the following note: 'In my world, there is currently an exponential evolution of humanity. More and more people are gaining amazing abilities that would otherwise be impossible. These abilities can frequently be hard to control and, considering the amount of power behind each one, dangerous. Currently, humans with special abilities keep them a secret, but it is inevitable that humanity will have to deal with this paradigm shift soon. - Gabriel Gray' Next to that is a list of abilities and a small icon indicating what the word might mean. Listed abilities are: Intuitive aptitude, telekinesis, cryokinesis, pyrokinesis, electrokinesis, technopathy, disintegration, enhanced memory, enhanced hearing, enhanced strength, flight, space-time manipulation, illusion, induced radioactivity, melting, lie detection, precognition, rapid cellular regeneration, sound manipulation, super-speed, and ability absorption/nullification.

On this floor is the archive, to which Renart has graciously donated a Book and Paper Repair Kit.

There is nearly constantly someone in there working on something or other, and the place is starting to take shape as a museum. There is a sign up front encouraging people to donate interesting items they might find to the museum, as well as a note that Gabriel is available to help with any exhibit set-up.

--Please feel free to comment below with donations or even sections of the museum your character has worked on themselves. I will add it to this post! This is meant to be an OOC reference, as well as an IC one.--

Last updated on October 11th, 2018.

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Posted by

bywolves

Royce's contribution to the Void exhibit is continuous and very detailed and dedicated. This was the most important off-world exploration for him and so he's anal about it, and also anal about the other stuff people put in it. Under John's write-up of the event, he adds:

The four sisters offered those who helped gifts. These gifts included a vial of color that reflected the receiver's personality, a painted glass vase in which plants never wilt, a book describing the most impressive details of what the individual in question accomplished, and a fan that helped said individual remember their best and most cherished memories.

In the new world the sisters created together, aided by the color that the Meadous collected for them, a tree was planted. The tree's name is Ahrakon, and it is the oldest tree, the protector of all trees. It is Dia's companion.

And underneath, there's a picture of said tree, painted by Royce in a fashion far more clumsy than this, since he's not exactly the best of artists:

He'll also lend the Museum his version of the book Rae gave everybody, titled I Fell In Love with the Majesty of Colors.

Posted by

aigue

Renart is donating a replica of the mechanical fox toy she was given by Vixy during the Timeless worldhop with a little makeshift label.

She'll also be donating a book and paper repair kit as well as the book The Practical Guide to Book Repair and Conservation by Arthur W. Johnson to the archives. Mostly for her own use since she's going to volunteer to handle the archives section of the museum.

Posted by

carnagecarnival

Izzekiel would like to "donate" his services painting mosaics for the Panem exhibit and (if there is one) the Alternian exhibit. If this is allowed, he further encourages anyone to add details to his painting at their leisure.

The paintings, if allowed to come to be, are done one either directly on the walls or upon large canvas-like fabric pieces. The style is splattery and abstract, an entire rainbow colors slapped on top of each other. (Note: Like these here at it's least abstract.) Nevertheless, from this plethora of color spring images of what appear to be significant events in time.

Along Panem's exhibit he paints vague indistinct war, an image of a shining city rising up from it, lesser districts being subjugated, making up thirteen in total. There's an image of thirteen being destroyed with the people appearing to escape and survive underground. He paints more vague images of arena after arena with simple small figures, representing human children, a man with a snow white beard above it all, watching. Then, that same figure stands parallel, holding some manner of light. From that light are off shoots of a hundred little worlds, tugging tiny figures in by metaphorical chains. The new arena images are filled with larger and more fantastical figures than the previous human children, the arenas themselves are likewise more fantastical.

But before these greater details he paints an image of his own hand, bound in a cuff. There's a golden figure, representing Xanthous whose whole being is halo'd and whose hands bleed gold, a red figure representing a troll called Signless is also there, and another two figures faintly resembling Aletheia, each turned all the more abstract. Later comes a green figure, Artemeas.

He paints, in as much detail that his abstract style affords, the violence of the arenas. Of the more detailed arenas is one of candy, and one of a desert, a great jungle with snarling raptors, a full museum and it's great glass ceiling, a maze, a foggy rotting town with pale monstrous creatures that are almost human but not quite enough, a great sinking ship, a half-crumbling mall with a melted ice rink and single flaming canoe upon it, a children's playplace with a large splash of acid green, the inside of some space station, a frozen wasteland, and a medieval castle.

In between these images are scenes of the Capitol. Shining buildings and the grinning careless faces of Capitolites, hands that reach and touch too long, words that snare. Figures of white clad peacekeepers stand tall and loom in many of these images, though they're not always stagnant. In an early image, before the detailed arenas, are ones of them grasping figures, pinning, and beating some. There's a girl, injected with some poison, and although her agony can't fully be communicated through the paint, he does a fairly good job, and that same there carries over into the images of candy with the figures in the scene screaming in agony and terror, bleeding and coming apart.

Between the desert and raptors are thrones with shackles and beautiful ballroom dances, costuming beyond imagining. There's also an image of some alien monstrous thing, a hoard of them collecting into shadow. He paints the tributes going in, and the silhouette of himself, his eyes lit purple. This purple extends outward, away from the scene, to a peacekeeper. He illustrates his control of the peacekeeper and his collection of some important document, as well as his picking it up later.

Among the raptors is his own snarling figure looming one-eyed over gold, green, reds, and teal. Then after, is a picture of that same indigo figure kneeling, taking an offered hand from that small teal figure, that horned head halo'd. There are many more figures scattered throughout, mostly those who impacted Izzekiel in some way, but he keeps the images of greater relevance in the forefront.

He paints the passing of a message to that teal figure, a wheel of colors and numbers above each, 13 above a lime-like color. And with it, a clear disapproval, a splatter like a claw slash wiping that shining city out. The museum of the painting is filled with more images of torment, but also more spreading of messages, an elderly man, which some might recognize as Sigma Klim, bleeding white from his hand before him, ending with himself upon the glass ceiling and a the green figure of Artemeas reaching out as he falls. The images of the maze mostly feature the small teal figure, and then following those are images of the tributes standing opposite to a hall of smiling faces, painted brighter and warmer, a solace. His own people are shown too, small indigo figures, both smiling in very different ways, and a looming white beast. Those, and the brighter warmer figures too, are soon shown caught by peacekeepers and blotted out in splatters of mostly red.

He paints himself and the elderly man, enraged, and then within the rotting world, soon making a pact, hands together with a grim swirl of black, purple, and pink around their head and in their eyes. Again, smaller details can be found in the background; interactions with an angry Signless, with Artemeas, with a variety of human figures, some tortured, some torturing. This arena shows his figures with the greatest amount of blood on his hands and the heaviest bow to his shoulders, corpses upon corpses of loved ones left behind and marks of rot and injury all over. The golden figure is shown lost here, and things become more scattered, as if the painting were done frenzied for a moment, only to smooth out to almost be dripping, scenes blurred and indistinct, save for a sharper image of a needle. But there are other scenes. There's a great explosion of fire, followed by the circle of districts and the number three being blotted out. There's are felled figures with marked throats and covered mouths.

The sinking ship features no blood upon the figures hands, but plenty of death around him all the same. It's a short part of the picture, mostly ending a blur of blue, black, and indigo and fists pounding on steel. Following that, a woman, a former peacekeeper, dead upon the ground, and several shadowed figures around. One is a small girl, and the other is, clearly, the small teal figure. Each are painted as heroes, but soon comes the imagery of they and a number of others being picked up and dragged away. Next is the image of indigo, red, and green, breaking into some facility, then later running to the woods. The plan evidently doesn't get far, for the next image shows more peacekeepers, and then a stark white room. In this stark whiteness are sparing images of cruel devices, done with a shaking hand and most unfinished. There's a single image of choked throat and covered mouth, then a mess of violent color.

The image of the mall is painting sparingly, mostly left pale and blank with the suggestion of images and figures. It picks up more color as it goes, many of the human figures coming closer to the forefront as his own figure starts reaching out to them, painted smaller and thinner than before. In contrast to this small, thin figure is that same one, fist upraised, speaking to many who raise their fist as well; a rebellion. The pictures continue in this trend, an audience seeming to build over time, past the pictures of space, until amounting in the return of the elderly figure. He's shown passing a warning, and then those rebel figures preparing upon a mission against the capitol. He paints only two taking a fall for it; himself, and another, one he leaves un-detailed for Bucky's sake, but which some could guess as Steve Rogers.

Again the images go white, scattered, blank, and then indistinct. This stretch lasts much longer than before, until images appear of an underground bunker-- or town more like, winding and weaving, poorly lit steal with the number thirteen appearing here and there. In stark contrast to the long stretch of monochrome and blankness is the return of violence, both in the splashing of color and the illustrations featured. Much of it is too abstract to decipher but was clearly something bad. Corpses and fires, captured individuals and people being altered or tortured. The war path goes in a circle, around each district, before finally landing upon that shining city.

And that is where that particular mosaic ends.

The images of Alternia are fewer in number, despite hosting an infinitely longer history. It starts with a planet and a single pink moon, 12 small figures of different color, and their gathering. Above that are too indistinct figures in bright green and red, long feathery wings outstretched.

There's a brief image of that small indigo figure releasing a bloody mouthed scream as a red swirl of chaos surrounds, a scattering of great green teeth, flashing eyes, and terrible visions mixed in. That same figure is then back to back with the other, standing straight with a silencing figure over his mouth. There are further vague images of the twelve horned children, the indigo one a looming wide eyed figure until some strange black and white object comes into the picture. There's an explosion, then a great swirl and mash of color. Then the same planet as before, a green moon now featured, and the figure hovering above mostly red, the green off to the side and looking on.

Many scenes of violence are painted next, and among them his own figure. He skips the details of his personal story as much as he can here, focusing on Signless with the Dolorosa in jade, on Artemeas and Xanthous joining them. And in contrast, to the other side, his own rising to power, his claim of the throne and The Tyrian Empress gazing down from still higher. He shows both sides building, warmer hues skewed to one side and cooler to the other, but nevertheless some mix.

He can't bring himself to paint the execution but he paints his figure's observance, he paints bright red blood, he paints the shackles, and he paints the executioner, a large blue figure. He shows Artemeas fleeing, Xanthous knelt before the empress, and the Dolorosa upon a ship of slaves, a caped purple figure at the ship's head. He paints the passing of a Cerulean pirate woman, and then return to his own aged figured, looming more now than ever before, directing a tall teal figure (much like the one initially in Panem's paintings). He shows that teal figure upon a great white dragon, rearing down upon the pirate. A court room follows and a great swirl of indigo and cerulean and black reaching hands shows them lifting the teal to the noose meant for the pirate.

There's a great gap between, spilled with a spatter of lime color, after which it's never used again. A brown-bronze figure then stands before the same throned indigo as before, apparently being spoken. Within the next few images, the bronze figure has covered himself in vibrant marks of Signless's red, standing with the cerulean pirate and the teal's dragon , and leads a war against the indigo and the empress, figures snarling at one another in an even more violent mirror of the earlier clash of warm and cool. There's yet another splatter of color and violence, in among it, a figure of maroon and teal and eyes lit up like rainbow fires. She wields two wands and leaves carnage in her wake. (Interestingly, this accounts for twelve central figures, the same as the children before. But this could totally just be coincidence.)

The next image features the empress pointing outward and a number of ships leaving the planet in wake of the war. Left behind are children and among them another new set of twelve colors together, matching those from before. Then is painted a hail of meteor fire and a number of troll figures bleeding out, whilst the twelve younger ones move on to a new section of the painting. From their hands is a planet, one an awful lot like earth. Around the planet are painted the constellations of the traditional western zodiac, each coded to match one color. Below, quite near to this planet, is an abstract swirl of green and red, balanced once more.

Posted by

ignes_fatui

There's a small but densely populated section of the museum dedicated to the Meadous' sky and celestial bodies. A wall-spanning chart depicting the ruby-red stars of the Meadous takes up a large portion of wall, with thin white lines drawn to note constellations. Also on the chart are more detailed satellite photographs of individual stars, colorful nebulae, and comets, as well as a collection of diagrams and notices in neat, angular handwriting which list and illustrate various facts, including:

The planet on which the Meadous sits is roughly 12,800 kilometers in diameter, which we're able to calculate by how long it takes for Spacepuncher to completely orbit it.
The Meadous' sun is approximately 100 times larger than the planet. The Meadous' moon is a quarter of the planet's size.
The Meadous exists in a geocentric system, with the sun and moon both orbiting it.
The Meadous' atmosphere extends 85 kilometers up from sea level - unusually low, compared to other worlds with interplanetary voids.
The largest star in the sky identified so far is in the Canis Pianist constellation, being over two thousand times as large as the Meadous' sun.
The smallest star in the sky is in the Roach and the Ducks constellation, and is less than one hundredth the size of the sun.
There are other planetary bodies in the sky, though they seem to be very, very far away.
Up until the 83rd of Winter, Year 3, the stars were much closer in and appeared as five-pointed symbols that were "drawn" in glowing light when viewed through a telescope.

To the star chart's left are a two sets of blueprints, each drawn up in clear and comprehensive detail with their specifications written in various different handwritings and languages, and each with photos of the finished projects and short descriptions mounted underneath.

Spacepuncher

eight distinct other realms

To the star chart's right is a pair of maps. One is much larger than the other, and depicts the Meadous, as seen from above and in the full bloom of spring. The streets are all labeled in the same neat handwriting as the rest of the exhibit. The second - smaller and with a great deal less annotation - shows the enclosed yet sprawling crystalline city on the moon, with its many varied districts.

Edited 15/1/19 04:00 (UTC)

Posted by

harmony_city

Following the events of The Leopard's Spots, Okota's totem remains in the Meadous. Because there was not a consensus on what to do with the totem beyond keeping it in this world, it has made its way to the museum for now.

Okota's totem is a wheel carved from stone that measures approximately 5" across. It's almost impossibly intricate; it seems unlikely that it could have been made by mortal hands. It depicts a multitude of mammals all running or chasing in the same direction on all fours, mostly in an alternating predator/prey pattern. The carving has been done so that one sees different animals in it from every angle--tilt it just a little and more come into view, seemingly endlessly. This carving just may include a depiction of every species of mammal from Okota's world, as much as it seems like that simply should not be possible given its small size. When one comes in very close proximity to the totem, one's senses grow much sharper and the world seems larger. Touch it with bare hands and one will be overwhelmed with a rush of instinctive thought patterns--these will typically be the core instincts of one's own species (or an ancestor of that species), but may also include a mishmash of instincts from some mammalian species not one's own.