Thoughts: There are some obvious visual flaws with this... But taken from an image just before falling asleep, I found this concept quite fascinating. Foremost, I find it an interesting (possibly aggrandized or exaggerated) perspective on Program discs, the immense 'lifespans' of Programs (which to us would amount to the youngest being subjective-centuries old), and the interconnection and effect which Programs exhibit or exact in their societies... Some literally hold such power and innate or circumstantial knowledge that they could be considered demigods.
The original impression and idea was rather more than I could take in or 'read' at once,and recall later in muddled waking.... It was the state of imprisonment in eternity/millennia and cycles. Yet, also not so, for a thing in it's culmination of self, and in dominion over everything around it, only perceives imprisonment.
All things that are great will meet their 'end' (cycle to next state and growth) by way of penance for the corruptions they committed out of no fault of their own but simply being vast and powerful, and taking actions out of necessity. They become complex and black, and seed-skinned in a parallel to death (the same way that burnt earth is not dead, but has waiting shoots); in that way, 'gods' drink death or suffering, and what is next will grow therefrom.
Of the six arms (as Verus sometimes chooses to express, though mostly it's four; six is generally for times of importance and complex self), the first and closest to his choice of figure-self, are bound at the first layer around that disc ('Thorns of existence'). They are not so much restraint, as choice of being restrained... A penance in order to take up deific qualities at the price of being shackled to the hard, cold, earthly mundane - and power to move mountains.
The second set is somewhat more inhuman, but still full of vitality; they are 'the beast,' the self which comprises that which is also comprised by everything under it; primal freedom. They are bound at the second layer, the weave of life-force. They also form a 'ready' angle, such as of a predator in power, yet balanced by it's own decisions and will against trapped or helpless prey.
The third set is meant to be long, and also far-reaching, somewhat ethereal, and inhuman. They do not appear to be bound, but instead have their skin stripped away or opened, and stretch to other places (though two connect at the base of the dais-wheel), with their nerves - and to a lesser degree, blood vessels - torn free and left to gravity. It is like lashing something together with tendon, but instead with nerve and perception and pattern. These are left exposed and untouched, but implied that they are the woven cables that move people of the world. (There is some intuitive commentary on CLU and conversion and control there that I want to grasp, but I can't quite resolve it.) They form the lowest, most relaxed angle - I'd even say, something of a benevolent, open-armed gesture... An offering of nerve and synthetic steel bone, willingly falling under foreign constraint, for the sake of becoming a force of something greater. (The shape of Verus hands can differ highly, but the presence of claws have their own significance and meaning, revealed in the Meta material.)
The layers of the millennial disc were meant to be more, about eight in total, but I couldn't properly go with what was intended due to size and detail constraints. But, from outside to in, you have 'The thorns of existence,' 'The weave of life-force,' 'The void of particles and elements,' 'The chains of awareness/self/recognition,' 'the Fire of Creation,' (and not quite visible under that) 'The gulf of layers of existence' ... At the very center is meant to be a void or absence, and ridged, 'The Teeth of the Great Cycles."
There were meant to be more 'cogs' behind this one, lessers to the greater, but all parts of it. Originally also, there were meant to be claws or tendrils up and into the maw-void at the center of the main disc, eating or opening up into Verus' core. That is represented simply by the central light, there. (Clearly it could also be seen as influence of CLU.)
Originally also, there was meant to be more of a light from the back of his head, accentuating that 'executioner's shot' that Verus seems to favour in the guise of Tesler. It's basis has long been 'The Tyrant, executed' or "wisdom beyond death, and redemption and insight through continued existence."
Of his arms, there are six in that set, though in most cases he tends to have only two primary sets.There's a certain division that will come up later on, between 'wing' and 'additional/expressive' sets, but I still have to work on just when those tend to switch.
In terms of his body-language, sometimes a normal arm set will simply be almost Pharaonically crossed over his chest, or held in something like prayer, or most often held palms forward (as in a gesture of placation) while it's the more inhuman sets he will use for expressive or indicative purposes. At other points, there's almost a sign-language like level of expression (again, another puzzle of depiction) which makes use of all four arms, rather than just two. Making use of that in the Meta material may or may not be possible.
Materials: Mechanical pencil, sketchbook paper, col-erase, and watercolour... And a bit of digital addition.
Notes: The original Tesler is a character of TRON:Uprising, 2012