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me: why are the pillows always so fucked up

my cat:

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Who/what are some of your biggest inspirations for your art because I think that your art style and the way you color your art is super cool!! 😁

Thank you! Glad you appreciate my work! The list of artists I feel inspired by is long, and quite frankly I don't think a lot of it ends up actually showing in my work (as in, I don't think I capture those strengths quite well  😅 ). But a chance to talk about some of my favorite artists is always a good one, so... Let's start with Ayami Kojima, the illustrator of the Castlevania series from the PS1 to the Nintendo DS era.

When I came across her work I didn't really have a grasp of anything resembling color theory, but her pieces are one of the various reasons I'm still an avid fan of the series to this day; I found them mesmerizing. How could I not, really: the blending between elements of barroque art like the elaborate patterns and the chiaroscuro, the elegant (if incredibly anachronistic) sense of fashion, the dramatic colors: intense blood reds, royal blues and golden yellows mixed with the pale marble tones of the skin of the figures. And that splice of body horror juxtaposed with the pretty boys being depicted... it's just electrifying. An absolutely perfect fit that elevates a campy game series about fighting Dracula over and over again into something much more magnificent.

Next on the list is Yoshitaka Amano. If you don't know the name, he's an anime character designer and the illustrator responsible for the Vampire Hunter D novels, as well as concept art and logo design for the Final Fantasy series.

Not unlike Kojima, Amano's work excels due to its elegance. Unlike Kojima, however, Amano comes across as a skilled caligrapher rather than a painter: his lines and brushwork are loose and flowing in the most delightfully controlled way. The color choices are reminiscent of traditional ukyo-e, but with a watercolor touch that almost resembles french budoir cartels. One of the artists that I respect the most yet outside of some character design quirks I wouldn't be surprised if his influence is sensed the least in my work, go figure.

Moving on... of course, as an animator, it should be no surprise I greatly admire the work of Hayao Miyazaki. However, when it comes to color more than the films themselves what truly hit a spot in my heart was his watercolor work. Be it concept art, manga covers or movie posters, the color choices are somehow soft while still exuding passionate vibrancy. The soft blue and purple shading against the light yellows and oranges with the occassional red accent of his sunsets are a sight to behold. It feels loose yet every brushtrike is exactly where it needs to go to create the intended effect

Still on the realm of more ethereal colors, Jean Giraud, ak.a Moebius. No offense intended to legends like Akira Toriyama, Kentaro Miura or Jack Kirby, but Giraud was arguably the best comic book illustrator to ever grace the Earth. His linework was so exquisite he didn't even need color to bring you into another world, but when he added it... well...

It was a lot of things. It was expresionistic, vibrant, dream like and bold. Psychedelic even (which is no coincidence given his exploration of substances). But it was never overwhelming. I didn't know how on Earth someone could ever do something like that when I first looked at it, not having a good grasp at color theory at that point in time yet. And quite frankly, now that I have more knowledge under my belt... I still don't think I could manage such a rich balance.

Speaking of Kentaro Miura... I don't think he has influenced my coloring that much. He IS one of my biggest art inspirations (he was the king of black and white, some of those pages would only look worse with color) but his biggest influence in my art is about lighting and the way he handled hatching(aka, inking), as well as the intensity of how more dramatic and agressive moments are portrayed. His color illustrations are gritty and oppresive (and occassionaly have intense accents), which fits the theme of his work but isn't the most experimental approach. Seriously, tell me which one makes your imagination fly more between these...

...and THIS.

I rest my case. Anyway. Having mentioned all these great artists and their excellent color choices, if there's one artist that REALLY made me think about color and the theory behind it, that's gotta be Hirohiko Araki, the author of Jojo's Bizarre Adventure. Mostly because he does whatever the hell he wants with it.

It's easy to forget when some people can be brutally critical, but foregoing traditional color design and color theory principles for the sake of trying something different isn't a bad thing and Araki embraces this with gusto. Seeing an artist take his own character designs and being so carefree about the color choices he uses for them was liberating, while also telling me an awful lot about the emotional effects of color. The palettes Araki uses are unusual, but they're all aimed to create a diverse set of emotional responses on the reader. That forced my mind into thinking so much more about the intent of each color choice. I was following my intuition up to that point and largely still do, but even an ounce of awareness can make the world of difference.

Lastly, but not less importantly, a film director among all these illustrators: Dario Argento. Who also showed me how a single color enveloping the frame can kick like a mule.

I briefly mentioned Suspiria (1977) during the Spy X Family 30 day challenge, namely to compare it to Endo using reds without being overwhelming. That was NOT a dig against this film(which is in fact one of my favorite movies ever), because the colors being so intense is the point. The extremes the primary colors reach while enveloping the cast, contrasted against the intense shadows of the rest of the set, give the film a fairly surreal atmosphere which enhances the dream like logic of the events. The way the dangers in Freigburg's Tanz Akademie don't always make physical sense, and that just makes them all the more nightmarish. It's effectively using oldschool Disney's Technicolor for the opposite effect the house of the mouse did: you don't feel safe, a lot of it looks unreal but that's precisely why it FEELS so viscerally violent.

Seriously, how in the nine levels of hell can someone make YELLOW feel threatening?

But I'm gonna leave it here for now. These are some of the artists that have inspired my work. Some more evidently, others less so Having done so much Spy X Family fanart it's impossible to say Endo isn't part of this conversation too, with its comparatively desaturated look to other Shonen series, but it was worth covering the other influences too. Is there any artist whose work you got similar vibes from my art that I didn't mention? It would be fun to hear what that is(heard some really fun responses in the past).

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I know that shooting while moving is not great... I have a character being chased by another and shooting at each other so they're both running. The chased character uses a handgun and misses wildly from less than 60 feet away. That sounds normal enough, but I'm wondering if it would be weird if the character is a sniper that hits targets 1.5 miles away with rifles? Maybe I should give them other handicaps too - i.e. drunk, no glasses, shooting offhand??

So, a couple things here. So I'll just separate them out.

You probably get this first part, but I'll spell it out, just in case it's someones' first time. The basic idea of aiming a firearm is that you're working with a very small object (the bullet), and you want it on a very specific trajectory. While the specific physics are different, you can experience this (without a weapon) by playing with a flashlight. As you move around, the light's going to bounce around a bit. You can specifically slow your movements so that you're keeping the light trained on a specific point while moving, but you sacrifice speed to do that. The same thing works for firearms. You can keep a stable aim while moving, but, you're sacrificing mobility for it.

The weird part about the sniper is the 1.5 miles detail. To be clear, the list of Snipers with confirmed kills at that range (or higher) is about six people. (There's about four more who are slightly under 1.5 miles, in the 2-2.4km range.) So, that's absolutely something that can be done, but you would be talking about someone who is, literally, one of the best snipers in the world, taking the best shot in their life.

There's nothing wrong with saying you have a character who is that good. But it is the kind of thing you should probably be aware of when you're writing a character if they're among the best in the world.

One famous example of a fumble on this subject would be the original James Bond novels. Flemming somewhat overcompensated, and as a result Bond's described physical regimen becomes borderline parody when you remember that the character is also a high-functioning alcoholic and chainsmoker.

It's also worth remembering, when you are talking about sniping, that the limitations of the weapons are pretty important. One of the snipers mentioned above used a .338, the rest were all using anti-material rifles. (Mostly .50s, but there was also a 14.5mm rifle used in Ukraine, at 2.7km.) So, to hit someone at that range, you're probably using a very heavy gun, designed to take out vehicles.

So, if your setup is someone sniping with a Mk14, or a SCAR, they're probably only good out to about 500m. (A little over a quarter mile.) They might get lucky some day. The world record for a kill with a Remington 700 (technically, an M24) was at 1,250m. So, less than a mile.

Is it weird that someone could be a world class sniper, and still miss a snapshot at close range? Not especially.

Let me define the term snapshot, it's not that complicated, but, it's not really the general term. Snapshooting is the practice of being able fire semi-accurately without aiming. It is a specific skill with firearms. You can think of it as being related to quickdrawing, and while there is overlap between the two, it's not quite the same skill.

Sniping is about taking the time, and accounting for how the bullet will behave as a physical object at extreme ranges. It requires familiarity with your weapon. Not, just the make and model, but the behavior of your specific gun.

There is some basic proficiencies with firearms that are easy to pick up, so it would be somewhat peculiar if you had someone who had extensive experience and training with a rifle, but no comprehension of how to operate a pistol. (You could certainly work out specific counterexamples, but as a general rule you're unlikely to see that.)

It's likely your sniper would be reasonably competent with a handgun. Though there's no reason to assume that you're looking at someone who could hollow dimes at 150m with one.

This leads to a different thought, and it's probably something you want to consider for yourself. Why fire at the pursuers?

The answer you had before might have been as simple as, “well, they're shooting at my character, so of course they'll return fire.”

If you're being pursued, you'll loose speed and time to return fire, even if you're not careful with your shots. Even if you're blindly firing over your shoulder. On it's own, you'd be better off keeping your gun in it's holster, and focusing on getting distance, and finding an escape.

However, suppressing fire can force your pursuers to slow down.

The point of suppressing fire is not to kill your foe. It's a nice perk if it happens, but what you're actually doing is denying spaces they want to move through. Returning fire like this isn't about actually hitting the pursuers, it's about forcing them to slow down and be more careful, while your characters gain distance.

So, does it make sense that a world class sniper would fire blindly over their shoulder at pursuers in order to slow them down, without any real concern over getting precise shots? Yeah. Yeah, that makes perfect sense.

If the point was to kill them, your sniper would want to find someplace with actual cover, preferably on a blind corner, get out of sight, and gun them down when they came around that corner. Like your sniper was a moment ago, they're going to be at a full run. (And, depending on the exact environment, your sniper might be able to hit them from behind, as they run past the hiding spot, or something similar. There are options on how this would work out.) This kind of an ambush is quite doable.

It's always worth remembering, your character's goal in a fight might not be to kill their opponent, and while it might seem irresponsible to use bullets as a general deterrent, that is one of the primary uses of firearms in warfare. Granted, it's not the primary way snipers interact with their weapons, but the fundamentals are still there.

Now, is it possible that a sniper wouldn't even consider using their handgun for suppressing fire? I could believe that. Not because they don't know how, or don't understand the concept, but rather, simply because it's not how they think about using their weapons. Though, again, a character like that is more likely to take the ambush route detailed above.

-Starke

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Steelblue Ladybird Beetles (Halmus chalybeus), family Coccinellidae, Australia

photographs by ElectricChimaera

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“The markings upon the band begin to fade. The writing, which at first was as clear as red flame, has all but disappeared… a secret now that only fire can tell.” - The Lord of the Rings: Fellowship of the Ring, 2001

Want to knit this scarf? You can download my free pattern here! :)

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The Importance of Twilight/Loid’s Family Role (Why Every Forger is the Glue That Holds the Family)

As I watch and read several reviews and articles in Spy X Family, I noticed that there seems to be an inconsistency in who is the glue of our fake formed family. Some say that Anya is because of how much light she brought into the dark worlds Loid and Yor are currently striving in, which is true. Others say it’s Yor for her kind and comforting nature while also helping with Loid and Anya’s relationship, which is also true. There seems to be a back and forth in that Yor or Anya is the glue that holds or heart in the family. However, I feel that the true answer isn’t “either-or” but all of above. Every member of the Forgers are, INCLUDING Loid. I’ve never been a fan in how some people try to prioritize who truly keeps the family together as it unintentionally makes some roles in the family more or less important than others. If that were the case, we would only be wishing the family staying together because of the effort of one or two people. Not because all four of them need-, no, DESERVE it.

Even more so, I don’t believe Loid’s role as a father and husband is acknowledged or appreciated enough. As much as we love the fact even someone as capable as he is doesn’t need to be alone and how much of an impact Anya, Yor, and Bond has in his gray world, he’s as much of a reason in why the Forgers hasn’t fallen apart and yes, this goes beyond his hypercompetency as a spy.

With Anya, it’s easy to view that she just wants to have Loid is a dad because he’s a spy and spies are cool. Not to mention that she wants to get out of that hell-hole of an orphanage. While all of that was the initial reason (with the latter still lingers in her mind ever once in a while), it was ultimately Loid rescuing her that seals the deal for her. Upon reading his minding when he went back to confront the mafia, she learned Loid’s motives in becoming a spy that makes her want Loid as a dad and no other, even when she knew she would be taken to a much more comfortable foster home. Loid isn’t just a spy, he’s a “hero” in her eyes and one that greatly inspired her.

Which he even continues to do so such as resolving the feud between Anya and Bond, even getting her to admire the stitches by (likely) speaking from personal experiences.

Moving on to Yor, Loid also has impacted her life. I’m sure many of you are aware of him often reassuring Yor’s role as a wife and mother but he also influenced her fight spirit. This thought right here is exactly what pushed Yor’s motivations over the edge and got her to stand up against the face of death when facing the last remaining assassin on the cruise ship. The thought that Loid would accept her for who she is or why she does what she does, no matter what it is. Even if it is committing murder. Yor holds Loid’s words in high regards. It’s even more touching when you consider that both individuals are involved in shady business for a selfless reason. These two are literally the same and could foreshadow how Loid will react to Yor being an assassin.

This even goes into his relationship with Bond as the one of the fewest beings who is aware that he’s a spy and is comfortable with the information. “Putting you to work can take a backseat. First and foremost, you need to fully realize that you are one of the Forgers.” Perhaps the first time he’s referred to the Forgers as a genuine, meaningful unit and Bond took that to heart.

I think the best showcase that Loid is equally as important in the family beyond the mission and secrets is the future Bond foresaw where Loid died in an attempted terrorist attack. Anya still has one parent, who is not only quick to love and care for her but is very capable and protective of her, meaning no orphanage and no abandonment. She even gains a new dog in the end. And yet, she’s distraught. The perfect family she wanted incomplete because the father she admires very much has passed. Yor still chooses to remain with Anya and despite being more than willing too, she’s clearly unhappy. No one to share decisions or sacrifices. In her own words: “He’s the only man who can accept me for who I am” and now he’s gone. And as we can see, the background looks dull and bleak without Loid. With this being Bond’s vision, it’s likely a sign of how he feels with Loid not being there despite not even meeting him yet.

As we just witnessed, even Loid also maintains the family. Not just through his espionage exploits but legitimate influence he has on each of there lives, another side he seldom shows. So in short, all the Forgers are equally important to the family and essential in maintaining the family. Let’s all give each and every one of the credit they deserve.

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Spy x Family miscellaneous collab scans - part 9

I'm back with the remaining set of shikishi boards that I started last post. This set includes adorable illustrations of the characters with old-school corded phones 📞

(you can't tell me that Loid and Yor aren't talking to each other ❤️)

(Yuri is talking to Yor here obviously - no way he would look this pleasant otherwise 😅)

Kind of a missed opportunity for the illustrators to make the characters sitting on the same chairs as their manga volumes. But it's fine, these are still nice designs, and besides Loid's doctor uniform, they're all wearing unique outfits.

Those are all the shikishi boards I have for now, but I'll make sure to scan any others I get in the future. I should have more things to scan in April when my Jump Festa merch arrives!

<- Return to Part 8

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Loid aka Twilight is something like a Bryonic Hero. He’s withdrawn and not the easiest character to understand in the eyes of many people with his skeptical view in life and methods but usually possessing a rich inner introspection, can be self-critical, and a has softer side accessible only to a special few. It makes for a complicated but complex part of his personality.

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cold weather

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this is so beautiful im actually crying!!!!!

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going home together

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after a couple of missions together

Mini comic cause I NEED to see these two interacting more in the manga, it is taking too long!! It's driving me insane!!

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Nature reminds us that out there with survival at stake, our neatly-drawn boundaries can become a little blurred.