Ishar
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rahabim.bsky.social
Ishar
@rahabim.bsky.social
990 followers 1.2K following 1.3K posts
...The voices of the throngs, full of joy and thankfulness, flooded the sky with exhilarating song, welcoming the new tyrant who would affix the yoke of oppression to their necks..."

- Khalil Gibran, Two Infants
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rahabim.bsky.social
A commission by Elhyana for my character Kala, AKA Gecko. In addition to her superlative skills as an artist, she is the soul of patience and good sense.
A young Desi man stands on a city street in front of a wrecked car, illuminated by streetlights and red-blue police strobes. In the background skyscrapers rear up into the night sky, one modern building supporting a Medieval castle whose towers are silhouetted against a full Moon. The man is being enveloped by a symbiotic suit, green leathery skin consuming his face and replacing it with a nearly featureless mask. Some of the upper left and lower right sides of his face are exposed, showing part of an anxious but determined expression and short dark hair, however the rest is covered by the suit and an inhumanly large white eye stares blankly. Oh his chest, the suit has carved a crude black spiral, which resembles a capital letter 'G'. The suit from his head to his upper chest is green, and leathery and armored like crocodile skin. His limbs and most his trunk is black and reflect the light eerily. On his hands, metallic ridges trace where the tendons would be, giving an appearance of armored knuckles.
September 30, 2025 at 9:45 AM
rahabim.bsky.social
@poundcakeart.bsky.social
May 15, 2025 at 9:51 PM
rahabim.bsky.social
Sylvain Despretz writes in a Facebook post: In the last year and a half, I haven't attended a single production meeting where the film's director didn't produce a few dozen A.I.images to describe his/her vision. "Vision" in quotes... When I began my career, I was treated to year-round assignments in faraway exotic lands. I was housed in lavish hotels, and got to meet hundreds of film workers who helped shape my professional experience by referring me again and again to other crews in faraway places. Such was the power of human presence amid a full, working team. I learned every job on a film set. I got to see those sets I had helped invent go up on the Fox lot, in the sands of Morocco, at Cincecitta in Rome, at UK's Sheppertonand Pinewood studios, in Beijing...I traveled to Tokyo to work with Katsuhiro Otomo and Koji Morimoto...I mentioned recently how I got to deliver a drawing in person to David Lynch at his house, something that could never happen in the age of email and remote work. Whenever possible, use paper instead of a screen, a pencil instead of a stylus, a phone call instead of a text, a walk across town to pay a visit in person instead of a call, three months in a hotel halfway around the world instead of working from home, shaking hands with every person on the crew instead of never knowing any of them, and more to the point letting none of them know you, and choose experience over the lack thereof. The digital world pretends to ease communication, while, in reality, cutting us all out of our vital human, organic connections. Digital algorithms have green-screened our lives and swapped out the real deal for a cheaper projection. All digital is artificial, and always has been, and it has permanently moved us all to a nonexistent space, where we wander in a virtual maze while paying rent for the privilege.
February 24, 2025 at 12:15 AM