When a Red Blood Tear Rose Up to the Dark.
The book of Romeria is not built as a single continuous narrative. It is a world composed of many stories — short tales, myths, legends, fragments of folklore, occult encounters, moments of horror, fantasy, mysticism, magic, and witchcraft — all existing within the same expanding realm.
Each story stands on its own, but none of them exist in isolation.
Some will feel ancient, as though they were passed down rather than written. Others will be intimate, strange, unsettling, or quietly absurd. Some may be dark or horrific, others poetic or playful. Together, they form a body of work that reflects the many textures of the world itself, rather than a single tone or genre. This is not a book that stays in one register. It drifts deliberately, the way folklore does.
Romeria herself moves through this structure in different ways. At times she is central — awakening, creating, interfering, observing. At other moments she is distant, barely glimpsed, or felt only through consequence. She has her own stories, but she also appears within the stories of others, sometimes as a presence, sometimes as a disruption, sometimes as something misunderstood. She is not a constant narrator or ruler, but a thread that weaves through the book at irregular intervals.
Alongside the writing, the world is being built through multiple creative processes at once. Short stories lead to illustrations. Illustrations lead to new beings. New beings demand maps. Maps reveal places that later become stories. Nothing is fixed in advance. The book grows through exploration rather than instruction.
This means the structure remains open. Stories can be added, revisited, contradicted, or reframed. Legends may overlap. Folklore may evolve. Certain beings may appear in several forms across different tales. The occult, the mythical, the horrific, and the magical are not separated into categories — they coexist, collide, and bleed into one another.
What emerges is a deep and versatile book: part myth-cycle, part story collection, part visual grimoire, part exploratory atlas. It is meant to be wandered through rather than consumed in a straight line. Readers can enter at different points, follow different threads, and form their own understanding of the world as it unfolds.
Romeria is not a closed universe. It is an ongoing act of creation — one that allows stories, images, maps, and myths to grow together, in their own time, and often in unexpected ways.