Fiberglass and Flowers

* Used Cover
* Unused Alternate Cover

***Fiberglass and flowers*** is the fourth official (sixth total) release by ***Billy Hill and The Optimists***, appearing between *Greatest hits collection* and *The roar of a distant storm*. Fiberglass and flowers is the first album in the Barriers trilogy, a group of three main albums with an additional extras album and one single, produced and recorded from January to September of 2022. Fiberglass is an ambient album which draws inspiration from various places, and blends elements of ambient music and plunderphonics to tell four stories selected from the larger story of *A Trip Through the Wormhole*. The project was created by Billy Hill & The Optimists and overseen by the author of the books. It is available for download for free on Bandcamp or Youtube.

## Background

> *"A collection of four stories, stories about mysterious and tragic things." - Album Description.*
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Fiberglass and flowers is split up into four parts, the album itself being the first of three in a greater trilogy, known as the "Barriers Trilogy," based after their compilation album name. All 3 albums in this trilogy feature four stories in each part, each story with three songs assigned for each, allowing for a total of twelve songs per album, just from the story-line songs and not counting extras.

The album is based on ambient music, and takes inspiration from various ambient artists, such as Brian Eno and Leyland Kirby. The album uses drones throughout to create an atmosphere of loneliness and mystery, occasionally making use of various sounds clashing with each other, such as slow violins clashing with small samples of quick piano runs, such as in track 02. It also makes use of loud crackle and white noise, adding more to the atmosphere. Most of the story-line tracks tell very dark stories, and in the story explanation, it goes into much more detail. If you do not want to read descriptive explanations of graphic and distressing events, you may want to turn back.

## Track art for Fiberglass and flowers Part 1

* 01
* 02
* 03

### Length

23:14

Fiberglass and flowers is a short track, and it kicks off the album with an ambient soundscape that immediately sets the tone and atmosphere for the rest of this part, and the droning ambience that appears throughout the album. The track is mostly stationary, until the higher sample punches up through the droning for a brief moment, adding a flair of life and optimism into the track, representing the arrival at the old flower store in the story of the track.

The transition to Rust and roses is a harsh one, going from a droning track full of reverb to a track with much more emotion and noise. Rust and roses follows a main violin sample full of white noise and crackle, with a droning sample playing underneath which powers throughout the entire piece, diving upwards and down as it goes through. Eventually the main sample cuts out, and only gives way to more chaos, as the realisation of the tragedy of the fire comes into full view. Just like the little hints of something wrong that are given in the story, there are little tiny samples that play underneath, barely audible cries of those lost in the fire.

Once the chaos of the fire ends, the third track, Umbra baptisia australis comes into view, playing with the curiosity and mystery of the entire event. The track does not change too much, only dipping and diving, and just like in Rust and roses, a couple of small samples play underneath for a large portion of the song, punching through the mystery. Calling back to the mystery and setting of the first song, this song uses a similar sound and even one of the same samples that plays throughout, strengthening their connection, as the return to form, or the journey back down the empty road through the forest, the same droning ambience playing throughout the journey. The song has a very bright and optimistic tone from the start which doesn't waver to much as the song dives over its duration, lifted by the darkness of the low vocal drones and barely audible horns lingering underneath the main piano drone.

## Track art for Fiberglass and flowers Part 2

* 04
* 05
* 06

### Length

32:09

Part Two starts off with Cold bridge (Dead of Winter), a cold and dark song which plays into the themes of being lost in the woods. In the beginning, the droning ambience of the slow pianos and drones of the keyboard intro create an interesting scene, the piano over the drone seems almost curious and inviting in tone. Things start to change throughout, as more noise is introduced and a new emotion bubbles up, one of hope and nostalgia. When this emotion bubbles up again more clearly, the main drones that were present previously die down to let the new drone rise up. Shortly afterwards, the pianos return for a while, but sink back down below the new drone shortly after. The whole structure of the song is almost like waves, new emotions flooding in as old ones come in and out. Later on, the dread sets in over this drone as a low violin blares over it, taking centre stage as the song begins to come to a close, however the drone still persists underneath. During the violin section, the piano returns and plays until the song comes to a close, ending on a dreadful and uneasy note.

The jump from the end of Cold bridge to the next song, Fleeting eclipse is another large one. Although both songs are in very different styles, they still portray the same dread that is persistent from the last track. It opens with a bombastic keyboard with lots of reverb, representing one running away, or at least trying to. After it tails out, a low and quiet violin comes in for the rest of the song. It feels like holding your breath, trying to stay as quiet as possible to hide effectively.

From the shortest song in the album to the longest, Part Two ends off with In the middle of the woods. The main song consists of a piano loop that degrades over time, similarly to the one in Umbra baptisia australis, however this one is far more degraded and dark, almost like it's struggling to breathe and tripping over itself. It has a very sinister quality to it as well. The small pieces that play over it too also add to the atmosphere, some blaring horns here, a piano lick there, and the occasional choir which sings underneath it all at times, barely audible over the piano drone, but it occasionally bubbles up when it appears. The song gets darker and darker as it moves on, the drone going lower and lower and lower in pitch throughout the song. The piano drone cuts in and out occasionally, and usually it is at these parts where the speed changes, rather than gliding throughout like what is seen in other parts of the album, such as the original Parts 1, 3, and 4.

## Track art for Fiberglass and flowers Part 3

* 07
* 08
* 09

### Length

24:47

Deepspace monumentality starts off this part, and immediately the serenity of the first part has completely been lost by now. The track starts off with what sounds like a heartbeat, which was achieved by playing the beginning sample for a short time, and the delay filling it in, making it beat twice. The droning continues throughout, complete with small samples playing throughout, representing the small sounds that would be made by Gemenii on his journey through the building. At around two thirds through the track, it cuts to a vocal recording drenched in reverb, seeming to represent the true "Oh shit" moment on the first day, a key moment in this story when he truly realizes the gravity of the situation he's in. This moment is also portrayed by "An awful discovery" off of *The roar of a distant storm*, an album that also follows the story of a different Gemenii, but they both had the same realization of their situation.

Dusk over the sea represents the second day, and as it starts off, things are already more harsh. The first notes of the song sound almost like a cry, a cry of sorrow. The music of this track focuses on a very specific moment, while the story encompass that as well as a different point in time on the third day, however these two stories can be interchangeable for the sound. The music is meant to represent how Gemenii felt as he watched his best friend get murdered, the terror and the fear and sadness he felt as he saved him by sending him out of the building. The grand Stella by Starlight segment playing at the end of the track could represent two things depending on the story you follow, it could represent being sent away and being denied a final moment with Pepper, or being found by the others which would have a very different outcome.

The final track is a very upbeat and optimistic sounding song which is meant to be vastly different from the story being portrayed. The story is about Gemenii escaping, and although it is triumphant, it is not a happy track. Nothing is really achieved in it, only a hollow victory. Pepper and Gemenii escape, however Gemenii is holding onto a single strand of life, and the man who nearly killed him didn't even die, having won against the Angel which was created, another symbol of Gemenii's failure to stop the creation of an angel using souls. The track's dark undertones represent this, and the faint vocal sample's words echo throughout, one of the clearest words being 'murder,' a theme that is very present in this part of the album.

## Track art for Fiberglass and flowers Part 4

* 10
* 11
* 12

### Length

28:07

She returns is a very dark track, offering no introduction other than ambience. There is no formal introduction to the story like in the other parts, no exposition, simply repeating the title and briefly setting a dark scene. The ambience represents Cassie trying to calm himself down as he hides from Claire, being referred to Her in this moment, in a similar vein to Him, although He doesn't have a given name. The track is mostly dark ambience, building up to the loud organ in the middle of the track, coming without warning, representing the arrival of Claire, scaring Cassie and breaking his focus on keeping himself hidden for a minute. As she leaves the room, the track fades back to the dark ambience, but this time more quiet, waiting the inevitable return, again. The name could refer to the return of the chase at the beginning, or an upcoming inevitable return, as Cassie knows he cannot hide forever.

The second track is another dark track, mostly due to its name and story. A track like Am I going to die? would likely be expected to be a much darker and droning track, yet it is very bright. The track uses a long organ piece, drenched in reverb with a droning choral sample underneath. The song sounds almost angelic, representing the thoughts and the fear about what would happen next. The angelic nature represents the shock in his mind, and the figurative angels calling him home. This angelic chorus was playing in his head as he was beaten, and although it would normally weaken someone, it seemed to empower Cassie, giving him the strength to fight back for a moment and escape.

Fiberglass and flowers ends on a dark song, a lonely song. The song has a lot of reverb, and the static blends with the track. It represents a lone tread down an empty road, running as fast and as far as possible from a threat that has found a better target. The song is rather hopeless, suggesting that there is no escape, however there is an escape, and although lonely is not good, not being alone in Cassie's case is far worse. He was safe, and thus the album can end.

## Story

### Part One: The Old Flower Store

Fiberglass and flowers part one follows the story of an unnamed character, spoken about in the second person, as if they were being commanded or told a series of events that took place. It starts off with them walking down an empty street, supposedly after a rough night. They had been walking for some time down the road, not expecting to find anything, but up ahead, they spot a small building, which turns out to be an old flower store. Various flowers, vases and gardening tools are sold there. The store's name is "Fiberglass and flowers." This gives the song and the album its namesake.

A clerk stands at the counter and has a conversation with the protagonist, and they talk about how the store was once called "Rust and roses," named after the rusty roses that grew in the front of the building and became the pride of the store. The store used to be on a main street through an old down that a fire had raged through, seemingly sparing only the flower store. It is also told that everyone but the clerk had perished in the fire.

Overcome by Sadness, the protagonist decides to buy something. He walks through the shelves in the flowers section until he finds something that catches his eye. He finds the flowers he used to love, the "Umbra baptisia australis" flowers, that were his favourite. He bought the flowers without hesitation, and on his way out wished the man a good life. As they exited the building though, it changed. The building had become destroyed and overgrown, rusty roses and various other flowers growing out of control all along the broken building and the road, most notably a bush of umbra baptisia australis flowers growing behind the rotting counter.

Although it is not directly stated, the store was stuck in an endless time loop until it was finally released. This was hinted at in the description for Rust and roses, and it comes apparent in the description for UBA. The protagonist was drawn to the store to release the man, and thus end the time loop, allowing him to rest. After this, the protagonist continues down the same road, walking further and further into the summer night, wondering how they are going to explain this to other people. This story is picked up shortly from where it leaves off in *Twilight and thunderstorms* Part Five, and finished in *Inserenity and infernos* Part Nine, all sharing as being the first quadrant of their respective albums. The A Quadrant story is the only one that is directly continued chronologically, or even directly continued at all, however it is also the only story out of the total ten that does not directly relate to the story of *A Trip Through the Wormhole.*

### Part Two: Hopelessly Lost

The story of Part Two follows Willow Petoraka, and takes place during the events of Chapter 4 of *A Trip Through the Wormhole*, specifically during Willow's act, although it jumps around a bit in the track descriptions. The story starts where it is truly taking place, when he is walking down a forest path on November 34. He compares the sense of being in a new and unfamiliar place to when the arrived in Reality K in the previous October. He recounts being dropped into the same forest he was taking a late-night jog through the Sarnian woods in Stonemill, when he saw headlights up ahead. He was drawn to the noise to check it out, and so he did. As he approached, the headlights cut out and so did the engine. They went out due to Pollux, Nick, and Lin thinking he was an enemy, which happened in Chapter Two from Pollux's perspective.

He ran across the road and went to what he thought were another set of headlights, however he realised too late that it was the light of a wormhole. He was dropped into the same forest, however set in frigid cold. He walked through it in shorts and a t shirt, only cutting through the darkness with a single flashlight. Although he was cold and scared, he knew he had to get out of there, so he shook himself off and got up. He made it to the road and walked through the woods. All was quiet until a song came over the wind, a song that was so beautiful it caused him to stop in his tracks and start to cry. He was astonished by it, but it quickly faded into horror when he looked behind him. It was a being made of pure shadow, that was at least 8 feet tall and talking heavy steps towards him, the music growing louder as it chased him.

He recalls all of the emotion he felt in that moment, the terror, the fear, and all of the pain he felt, yet he felt nostalgic for that sense of fear he was feeling in that moment, because he saw the shadow again. Before this part of the story is continued, it cuts to the track "Fleeting Eclipse," where he recalls how he felt when he entered Reality K, and how now being in another reality again, how his time felt so fleeting and quick, ripped away before he could truly get to know anyone there, and he feared it would happen to him again. Will says that "It's not going to get better, will it?" which not only calls back to the existential opening line of his act in Chapter 4, but it foreshadows the events of the next song. Fleeting eclipse could also tell the story of what would be happening in the present of this part of the album, telling his run through the forest after seeing Him, and eventually trying to hide from Him in the bushes, rather than being a look-back on previous events.

Willow is led down the path through the woods by the same shadow, taking him all the way to the end of the path. The shadow then took him into Reality T. There is a short time skip, skipping over Willow arriving in Reality T, as well as skipping over Will meeting Taurie, whose assault would be reflected back onto him by Him and a stalker. Will went back to the end of the road hoping to feel something, however, the two followed him through the woods and decide to attack him to mock Arahai, the coronian who had nearly killed Taurie in a fit of grief and rage after finding out he'd lost almost everything, all at the hands of Him. Showing no mercy, the inflicted the same damage that had been done to Taurie onto Will, most importantly, blinding him by pushing an axe down onto his eyes, although due to his standoff, it didn't do any real damage and the blood running down his face hardening is what really blinded him.

The specifics are left out, as it is told when he wakes up, and does not fully remember the events. The attack damaged his short term memory temporarily, and caused him to forget what happened to him, why he couldn't move his legs, why he felt so much pain, why he was blind. He called out desperately for help, but there was nobody there to listen to him. After the story of the music, Will picked himself up, and managed to sew his legs back together, however he couldn't move the properly without the aid of a branch he used as a cane. He manages to escape the woods and overcome the challenge the universe had put him through, which in turn allowed him to grow stronger. He was stranded in the middle of the woods from January 27 to April 9th, emerging shortly after midnight, and witnessing the pillar of light that Gemenii Anzhani had created when he revived Pepper Reukie.

### Part 4: Mislead

The Story of Part 4 follows Cassie Lishir, and takes place during Chapter 9 of *A Trip Through the Wormhole*. It starts off abruptly, not giving a formal introduction like others, mirroring the very sudden nature of Claire Alfora's return. Before She Returns, Cassie had been walking through the forests of Southern Stonemill, however he was not alone like when other characters go on treks through forests.

He was accompanied by Lurio Kiff, a man who had previously attempted to kill Claire twice, and burned down her house while she watched from her backyard, narrowly escaping with an important book that Kiff left behind. Although Cassie didn't trust Kiff at all and knew full well what the man was capable of, he couldn't resist his pull. Kiff seems to know a scary amount of details about people, and he used one of these to get Cassie to follow him.

Kiff told him that he knew what he was really looking for, and he was correct. Cassie didn't trust him as he's been known by few to be a pathological liar in public, but as Kiff states, In private, he's not a lying man. They walked through the forest until they came across a strange building that was built into a hill. The inside seemed to be an old hospital or something similar to that.

The place was in disrepair being destroyed and rotting all over. The place was falling apart and very dangerous, but Kiff managed to convince Cassie that he was near here. Cassie assumed he meant inside the facility, and so he went inside. They talked for a while in the hall, arguing with each other in the room next to the door when it slammed shut, locking behind them, forcing them to have to go to the opposite exit.

Cassie raced Kiff to the only other exit in the massive building, but Kiff beat him there. Kiff's plan was fairly complex and he managed to lock Cassie inside the building while he escaped. He had a feeling Kiff would abandon him, but he also had a feeling that they weren't alone. Being as sneaky as possible, he followed Kiff through the building, thinking he'd known of a third way out, but he saw something both better and worse.

Kiff was standing off against a woman Cassie had never seen before, both of them armed. She was yelling at him, and although he couldn't hear what they were saying, he could tell she was talking about him as well, making out the words "partner in crime." He immediately knew he got caught up in one of Kiff's plans, however this was not supposed to happen in his grand scheme. Claire was supposed to be dead.

Kiff teleported away, leaving Cassie alone with a woman hungry for vengeance. She walked away and Cassie went in the opposite direction. He quietly walked through the halls, until he got to a particularly maze-like portion. He walked swiftly, but suddenly stopped in his tracks. He could see rings of different colours around him, and he was filled with a sense of immense dread. He turned around to see Claire running at him, quickly and quietly.

He couldn't defend himself, so he could only run and hide. He managed to use his wind element to throw her off briefly, but he could only hide for so long and he knew this. He found a suitable area and hid underneath a table. She returned to chase him, kicking off the terror in his head, represented through the harsh organ segment in She Returns. Although she came close, she left the room to search elsewhere.

Cassie felt a sigh of relief, a massive weight being taken off his chest, but he knew he couldn't relax either. She was still roaming around the place, unknown due to his position. Just as he had started to feel lonely again, the table flew over his head, barely missing him in his crouched position. All she could feel was burning rage at who she thought was present or played a role in her losing everything.

Obviously, Cassie never did anything, He was merely in the wrong place at the wrong time. As the table flipped over his head, he saw the rings again, however this time he heard an angelic organ, seemingly calling him to heaven. For him, everything was happening in slow motion. He got up and ran as fast as he could into the hallway, slamming the door behind him as he ran away.

He turned around and watched in horror as she kicked down the door and screamed at him. He knew he couldn't run anymore, and he was completely out of breath. He tried, but all he could do was cry and watch as she walked towards him. He tried to tell her that he didn't do anything, but he couldn't speak. She beat him and he got up to run away, but she stabbed him as he did.

Although he was getting beat up and stabbed repeatedly, he was so high on adrenaline that he didn't feel anything. He ran and he ran, somehow managing to break through the second exit door and ran outside. He looked back to see her still hot on her tail, and he managed to give himself distance by using his powers to put more spring in his step to make him run faster.

He ran and he ran and he ran until she was far behind him. He still kept going down the empty road though, but now he was alone. There was no sound or wind or anything else, and the visibility was very, very low. All he could see was a few feet in front of him and all he could feel was a strange dread. He continued down the road until he managed to come across a strange building in the middle of the woods, which he went inside of. The story is continued in Twilight and Thunderstorms Part 8.

## List of Samples

### Re-Occurring Samples

There are a few samples that reappear throughout the album, and although they are merely using the same samples, this gives the tracks on the album some connection, as well as portraying specific emotions and feelings that the album features. Starting from the sample's first appearance and descending in order, this list will go over the importance of each, as they all can be seen to have at least some significance.

**Will Wood & The Tapeworms - Self-**

This sample appears in both the first and third songs in Pt 1, signifying the routine and later return-to-form that is brought about by going down the same forest road that the unnamed goes down, a road that symbolizes the progression of the album itself, and by extent how the end is in itself a return to the beginning, where Cassie is running down an empty road. The use of this sample usually creates very bright and optimistic drones which usually take up the majority of the soundscapes when they appear, as well as making up the iconic and recognizable sound of the album. In Umbra baptisia australis, two different instances of the song are used, the first is a bright drone from Part 1 Segment 3, and the second is a far more dark sounding instance which was made for the song. In this instance, the sample is stretched out and slowed down a lot, to the point where it sounds like deep vocals or roaring.

**Lionel Tertis, Unknown pianist - Komm, süsser Tod**

Although many of the samples used in Rust and Roses reappear elsewhere, this is the first in the progression. It is the main melody of Rust and Roses, and it reappears in Cold bridge (Dead of Winter). It represents a feeling of familiarity and sadness, something the unnamed felt in the flower store, as well as what Willow felt seeing the shadow again. It is this pained sadness that really comes through in Rust and Roses, emphasized by the effects and other samples around it. In its reappearance in Cold bridge, it seems far more sinister due to it being slowed down additionally. It also takes a more backseat role in Cold bridge and only appears around the last third of the song, contrary to it being one of the first sounds heard in Rust and roses.

**Evelyn Howard-Jones - Moonlight Sonata**

A very fleeting and dark sample in both cases it's used. In both Rust and roses and She returns, this sample is very quiet and barely audible, especially in She returns where it and Granada compete with the loud drones of Part 4 Segment 1. In both songs, they represent little thoughts, in Rust and roses they are small memories and little pieces of backstory from the now gone and forgotten city. In She returns, the thoughts it represents are a lot darker due to the nature of the situation, and they appear more drowned out due to the danger of the situation.

**Marjorie Hayward, Una Bourne - Sonatina in A**

Another sample that is shared between Rust and Roses and Cold Bridge, however it also makes more appearances. It appears in almost every part of the album, partially due to the nature of its sound being able to blend in to most scenes. The sample is very low-key and has a curious nature, representing various parts of the stories it tells. It is not usually as upfront as the main droning or coherent samples where it appears, although it still stands out enough to make a larger impact to the soundscape.

**Yehudi Menuhin, Georges Enesco, Symphony Orchestra of Paris, Pierre Monteux -** **Double Concerto in D Minor**

A track that first appears in Fleeting eclipse and later on in Rust and roses is a sample that is truly fleeting. In Fleeting Eclipse, it is on the end of the track and it is far quieter than the main sample in the first section, representing the fleeting time Willow spent in peace, before being thrust back into a new place. In Rust and roses, this fleeting sense is tied to the fleetingness of the store, how the unnamed only spent a couple of minutes inside of it, a parallel to the town it represents the ghost of, not living long enough to even be marked on any map. Similarly to Komm, süsser Tod in Cold bridge, Double Concerto's appearance in Rust and roses is towards the end of the song and slowed down initially, taking the role of a darker sample near the end that Komm, süsser Tod fills in Cold bridge.

**Turner Layton & Clarence Johnstone - Time Alone Will Tell**

Although both the songs that share the sample use different parts, the mood is still very much the same, that of being lost, scared, and hurt. In both times it is used, it's associated with a similar situation. Both Willow and Cassie are hurt, stranded in the woods, scared, and unsure about what to do next. In In the middle of the woods, the longer bridge segment is used and loops more often, representing a more drawn out sense, while Cassie's version feels more incomplete, foreshadowing the story's direct continuation in future instalments of the trilogy, as Cassie's story is directly continued while Willow's is not directly continued. In the first appearance, it uses multiple speeds as well, a downwards trend which parallels Willow's feelings getting worse and worse.

**Will Wood & The Tapeworms - Hand me my Shovel, I'm Going In!**

This sample appears both times in Part 3, as well as the third of four parts in other instalments as well as in many other forms, as it is the theme of Gemenii Anzhani, the character who each part focuses on or around. The theme has ties to Gemenii's story and it was very fitting not only for the purposes of storytelling, but it also provided an interesting and dark sound which was perfect for Fiberglass. Similar to Self-'s use, most instances are pulled from the original 3 parts of the album, in this case Part 3. These appear in Deepspace monumentality, where two instances of these drones make up most of the soundscape. In Dusk over the sea, the file used was made for the song, although it is used in a similar way as to the previous song, being a loud drone that blares over all the other samples, however for the first use, it uses the bridge while the intro is used in the second. This technique of using different parts of the same song is seen elsewhere, most notably with Time alone will tell.

**Mantovani & his orchestra - Granada**

This sample takes a similar role to Moonlight sonata, representing fleeting memories. In its uses, it blends into the background and hides behind the drones due to it being both deep and quiet. In its first apparent appearance, there is doubt if it actually is there because it is completely inaudible, Whether this is because the drone of Hand me my shovel is too loud or Granada and other suspected samples simply are not there is unknown, and likely will never be known due to the original files being lost.

**The Dale Warland Singers - Agnus Dei**

Making up two of the last three songs on the album, the use of Agnus Dei was always to build tension and atmosphere. It's disputed to be in its second use, although there is evidence to suggest it is simply stretched out by a large factor. With Cassie believing he's so close to death, this selection of such an angelic song makes a lot of sense, and the corruption of the sample in its uses turns it into a deep and dark drone.

## Cover Art

The title track's cover art features a bunch of fake flowers against a roof, playing to the falseness of the building and the whole situation. This theme of being unreal is also in Rust and Roses, which features another plastic flower, this time resembling an orange rose, however this time it is not directly in frame and is facing away. The cover for UBA is the only one of part one which features real flowers, as this song takes place after the building is revealed to be false, however the unnamed is still holding the flowers he got from there, which are very much real, while everything else is fake. This mirrors the revelation that the flower store was not entirely real by the flowers that were depicted as being fake in the prior artworks being real in this one.

Track Art for Fiberglass and FlowersTrack Art for Rust and RosesTrack Art for Umbra Baptisia Australis
Cold Bridge's art features a bridge that spans into an empty expanse of the night, mimicking the darkness of the track. This bridge represents the journey into the pure darkness that Willow took, a journey that was almost his last. More eagle-eyed fans might notice that other photographs of this bridge were used in the album covers for *Everywhere Away From Fading Lonely Despair First Edition Stage 1,* and *Stage 5* of the same project, both of which were previous releases under The Sunset Collective. The cover for fleeting eclipse depicts a sunset, a fleeting moment such as Will's time spent in reality K. The art for In the Middle of the Woods is also quite descriptive of its track's name, depicting a forest which was edited to appear as though the photo was taken in the dead of night, echoing Will's situation.

Track Art for Cold Bridge (Dead of Winter)Track Art for Fleeting EclipseTrack Art for In the Middle of the WoodsThe track art for part 3 only gets darker, which is a theme with most of the artwork in this album, the delve deeper into darkness. The art for Deepspace Monumentality portrays a part of StarWorld, the location where part 3 takes place, seemingly being an indoor park, one of the various places Gemenii had to hide. Dusk Over the Sea takes a more literal meaning, showing heavy dark night clouds hanging over the sky, and over the actual sea, or Seamark, depending on which you interpret the name to be referring to. When the Dawn Breaks Through's art also portrays a more literal meaning in relation to the song's name, depicting a golden light flooding through what can be seen as an exterior window or door in StarWorld. In the art, it seems so close yet so far away, representing how Gemenii felt in his various attempts to escape during the heated third night, and the bright light represents his eventual escape.

Track Art for Deepspace MonumentalityTrack Art for Dusk over the SeaTrack Art for When the Dawn Breaks Through

As stated above, the artwork seems to get darker as the album goes on, however When the art of Dawn Breaks Through to Am I going to die? seem to be beacons of light in a period of very dark artworks. In She Returns, the light is on a wall in the abandoned building Kiff led both Cassie and Claire into to cause them to fight, being almost a point of view shot from Cassie's perspective. If you look closely, you can see a figure looming in the doorway. In Am I going to die?, these lights are distorted into rings. At this point, Cassie has lost blood and is seeing things that are not there, and in Chapter 10 he mentions these rings that he sees which is why the cover was chosen. The last artwork is one of the darkest in the entire series, representing train tracks at night, representing that Cassie is now free and on the move, acting as if moving to part 8 of the trilogy where the story is continued from Erebus' perspective.

Track Art for She ReturnsTrack Art for Am I going to die?Track Art for Running Down an Empty Road