Insignia Catalog // Division Indexed
Each relic is a recovered insignia from a defunct operation, worship protocol, or containment division. These marks once lived on uniforms, warning placards, and restricted broadcasts—never meant for public eyes.
In the archive, they survive as reconstructed prints and wearables. Every insignia is treated as evidence, not merchandise.
“Flower-borne are the godlike race of Kimeria — a civilization within the world of Teraphobia. These are their portraits.”
Unlike the demi-goddess portraits, Boxing Flowers depicts the Flower-Born not as muses, but as combatants. A sunflower and a daisy trade blows in a surreal test of endurance — petals scattered, stems bent, yet unbroken. A study in beauty under pressure, and the will to remain whole.
Observed in a dim interior chamber, The Night Bloom depicts a Flower-Born seated in quiet retreat, a violet bloom overtaking where the subject’s head would be. The body remains folded inward. The bench, wall, and shadowed surroundings create the feeling of a waiting room, a refuge, or a place where transformation has paused but not ended. Tender and uneasy, the piece reads as a study of exhaustion, concealment, and the private beauty that opens only after dark.
Recorded above an unidentified city sector, The Sky Flower depicts a Flower-Born figure balanced at the edge of the urban skyline, their bloom turned outward like a signal flare against the gray machinery of the world below. The scene suggests escape, surveillance, and impossible poise — a specimen caught between flight and falling. Bright, solitary, and defiant, the piece reads as a study of elevation, exposure, and the fragile courage required to remain visible.
Recorded within a residential structure in Sector 5, Desert Rose depicts a Flower-Born seated in still focus, gazing into a handheld reflective device. Her bloom, a vivid desert rose, pulsed at steady intervals, emitting faint waves of distortion that interfered with memory and self-perception. Believed to serve as a Herald of The Witness, Kimerian god of memory and identity transmission.
Observed in a quiet domestic setting, The Evening Tea depicts a Flower-Born seated in ritual stillness, an orchid bloom as if memory itself has taken root. The table remains set, the chair pulled close, suggesting a pause between conversation and disappearance. Calm, delicate, and faintly uncanny, the piece reads as a study of solitude, refinement, and the strange ceremonies that survive after identity begins to fade.
Documented in a hostile field environment, The Poppies depicts two Flower-Born figures moving through a gray, broken landscape with weaponry drawn and blooms vivid against the surrounding ruin. Their red petals read as both warning and wound — signs of beauty surviving inside conflict, grief, and resistance. Stark and cinematic, the piece becomes a study of survival under fire, where fragility does not mean surrender.
“Beings who carry the spirit of forest animals — cow, deer, and others. Their place in Teraphobia is still being written.”
Spotted near a cabin outside Sector 14E I found him early in the morning — just standing there, watching the tree line. From a distance, he could pass for human. Up close, the features shift. Horse-like, maybe something older. But the coat was worn, the boots were cracked, and the look in his eyes? Familiar.
Recorded from an elevated woodland perch, The Hunter Stand documents a Forest-Born seated within a human hunting structure. The subject displayed cervine features and wore camouflage attire while maintaining control of a resting crossbow. No movement or aggression was observed, though the inversion of hunter and prey produced a sustained sense of unease among witnesses. Classification remains active pending further observation.
Recovered from an unidentified notebook. Subject appears unfinished, unstable, or partially remembered.
A recovered anatomical fragment featuring a fish reconstructed through sharp geometry, notebook linework, and subtle digital stabilization. The triangular body form gives the subject an engineered, almost specimen-like quality while still preserving the looseness of the original sketch.
A strange anatomical fragment featuring a giraffe altered by a square geometric form. Hand-drawn texture, irregular markings, and digital reconstruction give the piece the feeling of a recovered field sketch from an impossible natural history archive.
A recovered anatomical fragment featuring an octopus suspended inside a wine glass, tangled around a sealed bottle like an impossible marine relic. Hand-drawn red and green linework gives the piece an organic, restless quality while the digital reconstruction frames it as a preserved Broken Archive specimen.
Propaganda and promotional material from the Bureau.
Limited autumn release from the Max Cola Group’s seasonal flavor experiments. Pumpkin-Lemon was discontinued following public concern over its “fermented aftertaste.” Issued 1974 CE.
Discontinued flavor from the Max Cola Group’s experimental beverage line. Designed for the 1972 “Witchy Max” campaign, retired after reports of “persistent fizz anomalies.”
Promotional relic from the Max Cola Group’s comfort-flavor campaign. Butterscotch Max was positioned as “sweet nostalgia in a bottle,” discontinued after labeling errors caused overlapping slogan loops. Issued 1965 CE.
A collection of relics that reflect the Human Condition
The Archivist records: Fear is not weakness—it is early warning.
The Archivist records: Courage is not loud. It is deliberate.
The Department of Internal Affairs oversees all recorded actions, whether acknowledged or not.
Relics from the divine enforcement ranks. Designed for those who operate at the boundary of myth and protocol.
He brought the fire. We bring the sauce.
Hephaestus — Master Builder. Inspired by the Greek god of fire, metalwork, and craftsmanship, this bold badge-style design honors the divine blacksmith of Olympus. Featuring a classic emblem layout with vintage workshop energy, it’s perfect for mythology fans, builders, makers, and anyone who appreciates artisan strength. A clean, wearable tribute to ancient Greek mythology.
Roman god of speed and messages. Designed by the Communications Division to honor Mercury as the patron of movement, delivery, and wit. First issued 790 BCE.
Greek god of war. Designed by the Enforcement Division to honor Ares as the embodiment of duty, protection, and consequence. First issued 1500.
Greek god of strength. Designed by the Structural Division to honor Atlas as the symbol of endurance, balance, and the weight of responsibility. First issued 398 CE.
Greek goddess of love and influence. Designed by the Public Relations Division to honor Aphrodite's mastery of emotion and narrative. First issued 1500.
Norse goddess of beauty and desire. Designed by the Public Relations Division to honor Freyja’s enduring influence on persuasion and presentation. First issued 400.
Field gear for field threats. The Monstrous Division documents what should not exist.
Scandinavian sea legend. Designed by the Containment Division to mark vessels operating within restricted recovery zones. Honors the Kraken as both threat and partner in reclamation. First recorded 1250 BCE.
Irish spirit of sound and signal. Designed by the Communications Division to honor the Banshee's voice as both warning and transmission. First recorded 1200 CE.
Persian–Greek hybrid guardian. Designed by the Security Division to honor the Manticore's dual nature — protector, negotiator, and deterrent. First recorded 800 BCE.
Propaganda and promotional material from the Bureau. Wear the message.
A recovered Max & Co. tourism promotion for a campground that probably shouldn’t have been promoted.
A classroom reader from the Children’s Archive literacy initiative. Most copies were never returned.
A companion reader from the Children’s Archive literacy initiative. The octopus was not in the original print run.