#Damn it’s been a while since I did digital art

[senota-skulls]

First time I’ve ever drawn something for a fanfic that I’ve read. Drew my OC Lavendor but Vigilante Style for Naffeclipse’s Sleuth Jesters. Because it has given me major brain rot ever since I read it, and is without a doubt one of my favorite DCA AU’s. Lav here just fit the Vigilante’s personality and style perfectly so I had to. And ye, Lav the fanged and winged deer as the Vigilante my beloved.

I hope fursona’s are okay.? Jsjsjsjsj @naffeclipse

(You may have to click on the pictures for better quality)

(Also also very sorry if the tag didn’t work or if it @‘d you every time I edited the post)

[kourabiedes]

I'm not here to grind a political or social axe. I'm just here to tell a short story, about a normal person trying to navigate the American medical establishment. Here is some evidence. You may draw your own conclusions.

So I've had a migraine for a month.

That's not hyperbole, mind. It has been a month since this started. A month of the entire side of my head pulsing with pain, worse whenever I look at light which is always because I do digital art and all that.

Now, I've had migraines all my damn life. I know the drill. I have a preventative medicine that keeps me from having more than one a month or so, and I have a "rescue" medicine meant to stop the ones that do start. I have a nice dark room to rest in when it starts, I have blindfolds, I have ice packs -- I know how to handle these, is the point. So, for about the first two weeks, I did just that. I hit this sucker with everything that worked before and did my best to wait it out. Yes, I delayed getting care, because it was a problem I was already familiar with and assumed was normal for me.

Then, a week ago, it stopped responding to my rescue medication. Entirely stopped. Alarmed, I went to the ER. They hit me with a fairly standard migraine cocktail (so they said anyway -- don't ask me what it was because I honestly do not remember). Killed the pain almost right away and they give me some advice about what to do next and sent me home.

It was back in sixteen hours.

ER again. Same cocktail, same result. I'm freaked out now, so I call my PCP and schedule an appointment. She fits me into her schedule because she's alarmed too. She gives me a shot of Toradol and that helps, but she notices my blood pressure is reading a little elevated for me and we decide to try a blood pressure medication. Okay, cool, I'm down, high blood pressure runs in the family and it can definitely give you migraines if untreated. We start this medicine and she prescribes me a new rescue medication, giving me one pill to try while waiting for insurance to okay the prescription. This rescue medicine works, putting me back in control of the pain. Cool, thinks I, I just have to get through a couple weeks while the blood pressure medicine settles in, and if we're right, the migraine will finally let go.

Today, I discover that insurance would only okay ten pills of this medicine, because I have had the other rescue medication refilled recently for... obvious reasons. Ten pills, and if I want more, I have to wait like forty days or something.

Do you know how many of these pills I have to take a day to keep the migraine at bay? Two.

I have five days of relief -- four, now -- before I go right back to the same ER level pain, unless I am exceedingly lucky with this blood pressure medicine.

The ER did no imaging. I'm not sure if they even could. My PCP put in an order for an MRI when I saw her, which was a week ago, and that request has not yet left the insurance company.

A migraine is not just a headache, like you get after overindulging or staying up too late. A migraine alters your mental state. It can come with physical symptoms beyond head pain -- mine likes to manifest itself with dark spots in my vision, for example, which can ruin a day real fast -- and sometimes they even come with nasty mental symptoms.

So... what part of all that upsets you the most? Because, for me, it's knowing I have about four days before I go right back to screaming misery.

Oh, and I have to note, I am considered fairly lucky because the state covers my ass when Medicare won't. Yet here we are all the same.

[xanwyn]

animation for THE NEON VOIDD BABYYYY

this post is for @sugarpasteltmnt

‼️‼️MEGA YAPPING AHEAD PLEASE BEWARE‼️‼️

this might end up being really long and rambly and sappy but maybe not who knows.( it was) (and also featuring numerous spelling errors i am way too tired to fix and i am not re reading what i just wrote) SO. yknow how when chap idek..25(?) came out and i was all like “yeah so i made this animation for TNV and ill drop it when the fic ends” in your ask box? so. I FINISHED IT RAHHH. technically it has been finished since i sent that ask but ohhh my goodness did it need polishing. i haven’t animated in 4 years before that and omg it felt so good getting back into it but IDFK SOMETHING IS STILL NOT UP TO MY STANDARDS. i feel like i could have done so much more with it and i deffo wanted to but as soon as i told myself “oh yeah this is basically done” art block literally sucker punched me in the gut out of NOWHERE. I COULD NOT PICK UP MY I PAD. I COULD NOT DRAW. I WOULD STARE AT THE WIP ANIMATION AND BE UPSET BC I DDINT WANNA WORK ON IT AHH. that goes with saying. i kept having this thought in the back of my head “you need to finish it. you have a wip sitting. finish it. go do it. what are you doing are you STARTING ANOTHER PROJECT??? anddd yeah i got super distracted with other stuff and other projects and then i started spending my free time rewatching 2012 turtles and omg this summer has been a mess. i have all the free time in the world and i choose to be the least productive as possible with it even though i have a job that lets me literally sit on my phone and do whatever i want if no one is there. (i’ve brought my switch to work numerous times ☠️) what i was trying to get at is the fact that TNV has inspired a lot of the old me to come back and i lowk missed her. i really missed the point in all those words up there but im here now so whatever. BUT. TNV made me make a tumblr account, i got back in to animation AND digital art in general, got back into longfics that are ongoing, AND it also helped kickstart ideas for writing. i’ve got so many stories now!! you are such an inspirational person pastels i just- every time i read a new chapter of yours it made me wanna go get up and do something. i wanted to create something. because at the end of each chapter, i would think- “woah. a person out there just wrote this. they just sat down one day and committed. i wanna do that” so i did that. just huge thank you and shoutout to you pastel. like damn. idk no words from me here. just a bunch of platonic hugs and kisses and thankyouthankyouthsnkuou for this lovely heart wrenching but also sweet story. i love this fandom (tmnt) so SO much and i think it’s so awesome how interactive you are with your own personal NV fans. crazy how we’re all here because of a bunch of turtles. 

STUFF ABOUT THE ANIMATION:

okay i really like to talk and if you let me, i will run my mouth. this is the internet so im gonna do just that. so more words for you to read 😁. AHEM. so like i stated before in the genuinely scary mess of words up there, i haven’t touched animation in a while, like, 4 years a while. yes i’ve done digital art here and there along the years, i haven’t been doing it nearly as much as i need to to use some programs to their full potential. layers are still confusing, and don’t even get me started on multiply and all that jazz. shading never comes out right on digital for me, i gotta work that one out. so, for this animation, i decided to go with a very rough style. nothing needed to be perfect, i just wanted to live my little life of trying to experiment with a bunch of different things all at once in one short animatic. I wanted to do that little ball bounce thing all animation artists start with (i kinda included that with the key). i also wanted to have a go at lip sync (no hate it was my first time) and also timing the animation with the music. i wanted to see how smoothly i could move a figure in and out of and out of the screen as well, which honestly, i think that part might be my favorite. i think i did a good job, and thats what matters. the animation itself lost a bunch of quality on importing it- no clue how it happened but now the ending is grainy af. ignore that pls lol- but it was sitting in my flipaclip for god, i dont even know, 3 months now? i kept going back and forth on if i wanted to share it or not, so im throwing it to the wolves and i guess whatrver happrns happens and im good with that. yay. im actually rrwlly tired now sooo *leaves this absolute pile of words with a video attached at your feet and stumbles away quickly*

also i’ve genuinely never posted anything so i’m learning how to use tumblr too ☠️

[the-one-who-lambs]

uhh hello!! sorry if this is a tall order LOL but I wanna ask, do you have any narilamb fanfic recs? :D I already read yours and I really like bamsara’s and I’m waiting for epicaandk’s to update (that one is my fav ever <3) but idk what to read now lol

Tall order?? Naaaaah, I'm always happy to give recs. Oh boy, I'm gonna go in reverse chronological order.

If you've read all of my narilamb fics (have you seriously? I'm impressed, that's probably well over half the 150k+ I've written for this damn fandom. Also, to anyone seeing this from a reblog, my stuff is over at onethirdofimpossible!) then here we go!

You already mentioned it, but The Rehabilitation of Death is excellent so far! This one is by @bamsara who is new to the CotL fandom but apparently not new to fanfic writing; they have a really popular FNAF fic and I assume the well-deserved attention this fic's been getting is a byproduct of the popularity they've already gotten in other fandoms. :D Welcome, bamsara! Many of the fic writers in this fandom are friends with each other already, but we don't bite if you wanna say hi.

Feel No Evil and Language Barrier, both by @payasita. I always love how payasita portrays this duo (in both digital art and writing), with so much sass and repressed loneliness, knowing they're stuck together for eternity and making the best of it. (And maybe falling in love, depending on how dense Narinder keeps being.) What makes these come alive for me is how well thought out the setting is outside the Lamb and Narinder. The descriptions and weight of emotions really pop here.

LITERALLY ANYTHING written by pavi / @i-eat-deodorant. Depending on how spicy you want your fics to be he has even more here. Character analysis, diction, pacing, etc. are consistently 10/10. Top-quality banter between a sassy Lamb and tired old man Narinder. We constantly bounce ideas off each other and inspire each other a lot but I promise I'm not hyping him up just because he's my friend oh my god please just go bless your eyes.

It Was For You, O Death by blueberry-muffin-massacre (if they have a tumblr, let me know so I can tag!). An intriguing alternative ending to the final battle wherein the Lamb chooses a secret third option by refusing to give up the Red Crown and still observing Narinder as the God of Death. So many details are so well thought out and duality their relationship is nicely characterized-- both genuine care for each other and also quite unhealthy. A fine line treaded well!

Confessional by jusmove (again, lmk if they have a tumblr). Been a while since I've read it, but I love how the Lamb chips at Narinder's very carefully built emotional walls. Their personalities are very well fleshed out here, especially Narinder's cognitive dissonance at being able to process love.

Confession by @thewitchoftheweed. I didn't expect a part two to this one, but my god I was so thrilled when it did update. Narinder and Lamb with their unique and parallel loneliness and their fucked-up sense of everything. Their relationship is very rocky here, and I love how they navigate it: with tension and eventual, pained acceptance. Mind the rating.

Of Character Development and Being Dense by @calliecature. A short and sweet narilamb classic. They're both mutually pining and one of them is too emotionally repressed to realize it. Guess who.

Not An Offering, But a Gift by @checkplzjuliet. Small confession fic. I especially love how Narinder's descriptions twist the knife of his situation here, and how Lambert is a total foil for him! There are a lot of good things happening in such a short span, which is impressive.

Also, if you think you've read all my narilamb fics... I do have a secret one out there too. Just so you know.

Happy reading!

I'm already friends with many of the people here, but if any of the writers I've tagged have been kinda wanting to reach out for a while but feel a little anxious... Don't be. I've made my best friends in this fandom by literally just waiting for some of my readers to get over whatever assumption they have that I'm cool and say hi. Or being the more confident one first.

[nejis-desk]

Jack Jeanne Complete Collection - Interview with Ishida Sui and Towada Shin Translation

This interview is from the Jack Jeanne Complete Collection art book, it’s available on CDJapan and Amazon jp. You can also purchase a digital only version on bookwalker jp. I encourage anyone reading to purchase the game (if you haven't already) or the art book itself to support Ishida and Towada directly. 💕

This is a VERY long interview so I apologise for any typos or errors I may have missed.

~ ~ ~

An interview with Ishida Sui and Towada Shin, who both worked on writing the story of Jack Jeanne. In this interview they reveal what went on behind the scenes during production, rejected story ideas and much more. This interview was conducted remotely on the 9th of February 2021.

Interviewer: Yui Kashima

How did Ishida Sui end up making an otome game?

—How did the production of Jack Jeanne begin?

Ishida: It was sometime around Autumn 2015 I think… On an old personal site that I used to run, I received an email from the company Broccoli to an email address that I no longer use. It was a commission request for character designs.

—In 2015 Tokyo Ghoul was still being serialised wasn’t it?

Ishida: Yes. Usually job offers like that go through Shueisha first, so I contacted my editor asking why this one was sent to my private email…  At the time, in addition to working on Tokyo Ghoul, I was also drawing illustrations for a tear-off calendar and very busy with various other things, so when my editorial department heard about the offer they seemed very shocked like "What!?".

—Why did you decide to accept the offer even though you were so busy?

Ishida: I would often receive offers asking for me to draw manga or illustrations, so I figured that this one was a similar case. However, some words in the email caught my eye. Like ‘Gender Swap’, ‘Takarazuka’ and ‘All Boys Opera'. When I saw these concept ideas, a dream began to swell in my chest and I felt like giving it a try.

I think if it had just been a normal character design job, I would have turned it down. However just from reading the short brief in the email my interest was piqued. While in discussions with the Young Jump editorial department, I also casually mentioned the kind of offer I’d received to Towada-san.

Towada: Yeah, Ishida-san asked me for some advice. I was also drawn to the ‘Gender Swap’ and ‘Opera’ concepts. I could easily visualise the setting of the story. Additionally, it seemed like it would be a story that included many different themes such as gender. When I thought about that, I figured that Ishida-san would be a good fit, since I knew he would be able to draw something that went beyond all genders.

Ishida: I’ve been drawing androgynous characters for a long time, so Towada-san and I talked and wondered if that's what they must be looking for. After that, I created my own proposal and submitted it to Broccoli.

—You created your own proposal, Ishida-san?

Ishida: When I looked at the original proposal that Broccoli had sent me, a lot of it differed from my personal tastes. It was a very upbeat and dazzling story. It would’ve been hard for me to match my art style to that, so in my proposal I noted things like ‘if it were me, I’d do something more like this’. I was interested in this unpolished gem of a story, so I thought it would be a waste to turn it down altogether. I wanted to at least try throwing my own ideas into the ring, so I spent a week creating the six main characters and sent them in.

—At that time, I heard that the game wasn’t titled ‘Jack Jeanne’ yet, but was instead called ‘Jiemarie’.

Ishida: At first, I wanted to try creating a word that doesn’t exist. So using French as a base, I came up with ‘Jiemarie’ as the game's provisional title. But then a month later when I was reconsidering the title, I looked at it again and thought, damn this looks lame. So I hurriedly called Towada-san on Skype and we entered a discussion that lasted about ten hours over what the title should be.

That’s when we decided on ‘Jack Jeanne’. The male roles take the name from the knight, or the ‘Jack’ in a deck of playing cards. And the female roles ‘Jeanne’ take from the word parisienne and Jeanne d’Arc. When these two terms are put together, I feel like you can comprehend what the game is about with a bit of nuance. Plus you can shorten it to ‘JJ’… That’s also the title of a magazine though (lol).

—Taking on another job whilst your manga was being serialised sounds like it would be tough on you both physically and mentally.

Ishida: I think I must’ve been a bit unwell (lol). My body was fine, but being able to work on something other than a serialised manga was a lot easier on me mentally. I may have seen it as a way to escape, so I didn’t feel that working on two projects at the same time was difficult. When it comes to game development, I can only create what I’m capable of, and there was no set release date yet. Of course, I would work on and submit things whenever I could though.

—What kind of things would you submit?

Ishida: I would sketch character designs, discuss and create story elements with Towada-san and try to put Univeils history into chronological order. Then I would share the progress with Broccoli and have meetings and such with them. In the beginning, rather than having to draw anything yet, it was mostly just brainstorming and planning. That’s why I think I was able to do it all concurrently with the serialisation of my manga. 

~ ~ ~

How Ishida Sui and Towada Shin know each other

—Do you chat with Towada-san often?

Ishida: Well yeah, she is my older sister after all.

Towada: We talk a lot. When we both have the time we chat over Skype.

Ishida: Once we start the conversation can last up to five or six hours. We mostly talk about things that happened throughout our day. When I’m talking to someone I often bring up something that’s happened to me and ask their opinion on it. She became someone that I could chat with whilst working on my manga. Ever since my student days we’d talk until early morning, I usually told her about storyboards I’d drawn.

—At the Ishida Sui exhibition it was revealed that Towada-san had even given you advice on some of your earliest works.

Ishida: Yeah that’s right. It was a work I’d prepared for a 'bring your own work along' induction course in Tokyo that I attended back in my student days. It was a manga about two characters who eventually became the prototypes for Tsukiyama and Hori Chie in Tokyo Ghoul. It was only about 30 pages long, however when I showed it to Towada-san the day before the presentation, she told me that she thought my linework was too thin.

Towada: Yeah, the overall linework of the manga was thinly drawn. Once I told Ishida-san this thought, he began tracing over his linework and making it thicker. And then when he looked at it again, he said “Yep, I need to redraw the whole thing”.

The linework being too thin was only my personal opinion and the presentation was in Tokyo the next day, so in horror, I began hastily telling him, “You won’t make it in time, stop, stop!”

Ishida: All I could think about was that the lines really were too thin, so I wanted to redraw it. All of the screentones had already been affixed to the panels, but I didn’t want to bring something along with me whilst knowing it wasn’t the best that it could be.

Towada: Ishida-san handled the linework and I helped with redoing the screentones. We worked throughout the night and finished redrawing the whole manuscript. Once it was done, it wasn’t even comparable to the previous version, the lines were powerful and the characters' expressions conveyed a lot. I was seriously worried though (lol), I didn’t know if we’d complete it in time.

Ishida: I couldn’t think about anything other than the lines being too thin, so I wasn’t even worried about whether I had enough time or not.

Towada: I fell asleep halfway through, but you continued and boarded that Tokyo bound flight without having slept a wink, didn’t you?

Ishida: Yeah. I let Towada-san sleep and continued applying the screentones myself right up until the very last minute. I was still applying them whilst on the plane and also after my arrival in Tokyo. I used screentone number 10 a lot, so I remember the scenery around me gradually began to look grainy like the screentone. It felt as though I was hallucinating.

—Sounds like it was a tough manuscript to complete. Towada-san was also the author for the Tokyo Ghoul novels, has your relationship always been one akin to work partners?

Ishida: When it was decided that Tokyo Ghoul would be getting a novelisation, I was given other authors' works to look at. However, none of their styles really clicked with me, and they didn’t seem right for the series. I knew that Towada-san wrote, so I tried reaching out to her.

Although back in the days of Tokyo Ghoul’s serialisation, Towada-san and I didn’t talk as much as we do now. If I had any concerns I would just try and sort them out by myself. We’d always gotten along as brother and sister, however we didn’t really start to have a ‘work partners’ kind of relationship until we started working on Jack Jeanne together.

Towada: That’s true. Back then, we only occasionally conversed regarding the novelisation of Tokyo Ghoul. Before :re we only spoke once every few months over Skype. As Ishida-san said, it wasn’t until I started working on Jack Jeanne that we really started properly talking to one another.

—How often would you contact each other?

Towada: Depending on what stage we were at, we would bounce ideas off each other once every three or so days. Ishida-san would make a request like “I’d be happy if this part of the script was done within the next two weeks.” And then I’d present what I’d written and we’d discuss it and then I’d return to writing again. This process was repeated until Jack Jeanne reached its completion.

—Was Ishida-san the one that reached out to Towada-san to write the script of Jack Janne?

Towada: He didn’t ask me specifically to write the script, early in development he’d ask me to help with some research like “I’d like you to look up some information on this, could you help me?”. I’ve always liked ikusei games and within that genre I also enjoy romance and otome games. So I think that’s why it was easy for Ishida-san to consult me about it. We’ve had a common interest in games ever since we were kids.

Ishida: Back then I played games like ‘Pinnochia no Miru Yume’ and ‘Angelique’. I wanted to try and conquer Marcel in Angelique but it was one difficult game, so it was a tough task. Before I could even raise any flags with him, the training aspect of the game was so hard that no matter how many times I played I never got any good at it.

Towada: I’m the type that loves playing games, so after talking with Ishida-san, I went on to play every popular otome game that had been released around 2015, as well as every Broccoli published otoge. I completed every single character route in those games. I began analysing otome game trends and Broccoli’s brand identity and relayed my findings to Ishida-san. After that, I went along with the Jack Jeanne production team and Makasano Chuuji-san from Shueisha, who was the scriptwriter of the Tokyo Ghoul anime. We all visited the city of Takarazuka for research.

Ishida: I was also supposed to be there for the Takarazuka trip but since I had my manga to worry about, I had Towada-san go and take in the atmosphere in my place.

Towada: I did have to gather material but I think I visited Takarazuka a total of five or six times. From morning I would watch the Takarazuka theatre from afar and simply watch the guests move about, soaking in the atmosphere of the city.

Along with the Takarazuka plays, I also watched student plays, in total I probably went and watched one hundred shows. Theatre shows that are performed by professionals are fully realised and flawless. So getting to see the contrast to student plays, where they progress and improve until the show is complete was a very helpful reference.

I’ve always enjoyed watching plays, so everything I had to research overlapped with my own hobbies. I still shared my own input with Ishida-san though.

Ishida: I’d never formally been asked to write a script before… I felt like a fraud (lol). I think it’s because I’m not very good at being considerate of other people. I don’t think I’d be able to work with anyone other than Towada-san on something.

—Why is that?

Ishida: Well, for one I don’t want to talk to anyone for long periods of time (lol). Because Towada-san understands what aspects of a story are important to me, she’s also able to comprehend what I mean when I talk in abstract concepts. We could save time by not needing to have any pointless discussions.

Towada: Back then Ishida-san was still very busy publishing his manga, so bringing in all sorts of new people to work on the project probably would’ve put quite the burden on him. That’s why I wanted to help him out in some way.

After researching all sorts of things, I ended up participating in a production meeting for Jack Jeanne, but I was not expecting that I myself would end up being in charge of writing the script. Rather, I was more just looking forward to getting to play a game made by Ishida-san. As things progressed though, I was asked to try plotting things out, or to write part of the script to be used temporarily. Eventually I came to think, why don’t I just write the scenario myself?

I’d never written the script for a game before though, so that’s what had been holding me back. Unlike novels, it’s commonplace to not have to write descriptively. Novels are made up of dialogue and descriptions, like describing the setting and characters' expressions or emotions. So I had to spend a lot of time working out how to write to properly convey a story through dialogue alone.

When I first started getting the hang of it, I tried writing a script that still included descriptions but I quickly stopped. Jack Jeanne is about theatre, so I figured that it would be easier to convey the presence and narrative of the story through conversation. I usually write novels, so I was uncertain, but since Jack Jeanne has sprites of the characters on screen, I thought that I could do it. I suppose it’s closer to writing for a manga rather than a novel.

~ ~ ~

The rejected character routes

—Before Tokyo Ghoul was completed, what kind of things did you work on?

Ishida: The first two years were mostly spent creating the game’s world and mechanics. Like deciding how many performances there would be, how the plays would be presented. Would it be a dialogue drama? Would there be mini games? Things like that. We also had to decide whether summer break would be included or not, how raising affection would work and how the choices would be presented. Those are the sort of things that were talked about first.

—You got to watch over the entire game’s development then.

Ishida: At first, I got carried away and envisioned a stage play game full of skill mechanics that I personally enjoyed. A busy game full of specs you can raise and improve in mini games, however when I explained these details to a friend of mine, they were like “You’re just imagining a game that you would like, right?”.

They asked me if that’s what the eventual players of Jack Jeanne would be looking for. That same friend said that since it’s a story that deals with the theme of theatre, it would be better if the player could witness the performances themselves. So I took that advice and the prototype of the current Jack Jeanne was created. I told all of this to Towada-san and had her handle the script.

Towada: You can’t write a script without knowing how the game’s system works after all.

Ishida: Now that I think about it, before Tokyo Ghoul was finished, rather than build the game's foundation, all I was really doing was scattering the sand to prepare for said foundation.

When Tokyo Ghoul entered its endgame especially, I really had to concentrate on it, so I took a six month break from Jack Jeanne. Ending a story requires a lot of energy and attention, so I left the practical work of Jack Jeanne to Towada-san and only supervised the music production and attended any important meetings.

—So during serialisation you were making preparations to jump right into it afterwards?

Ishida: Yes exactly. I wasn’t able to do much practical work, so I had Towada-san prepare the script in advance for me. And for the time being, create one character route.

—Which character was it?

Towada: It was Shirota. I wrote about the equivalent length of a short book and it was more or less complete. In the end, we scrapped the entire thing though… Because the atmosphere in the beginning was quite dark.

Ishida: It was dark because I was too used to Tokyo Ghoul. It included issues like a troubled household and severe bullying. Reading something like that wouldn’t put the player in a happy mood.

Despite it being a story about the theatre, my attention drifted to other topics which didn’t fit. And it was me who had asked Towada-san to write something like that… A couple months after the Shirota route had been completed, I read over what Towada-san had written for me once again and realised that it was a bit too gloomy. I’d forgotten what prompt I’d even given to her in the first place (lol).

The first character portraits and CGs that I created were for Shirota too. The reason being that Shirota is the only second year student and he was already a complete individual, so he was easy to create for. As for the third year students, there’s three of them, Fumi, Kai and Neji. Along with Kisa, Suzu and Yonoga are also first years, so continuity and character relationships need to be taken into account in order to create them, so they were a little more complex.

—How did the other characters come to be?

Ishida: At the proposal stage, the first character that I created was Kai. It’s a game where characters will be falling in love and confessing to one another, so first off I wanted a character that was handsome. Then I made Fumi who would be Kai’s partner. After that, I think Shirota was next.

Towada: At first you created the characters by basing them on plays didn’t you?

Ishida: I’m a fan of Yamamoto Shugoro’s work ‘Kikuchiyosho’ so Shirota was created using that as a base. In Shirota's case the genders are swapped, but Kikuchiyosho is a story about a girl who is born into a samurai family and raised as a boy. It has an element of androgyny and portrays the confusion and anger concerning gender quite well.

—How did you select the plays to base the characters on?

Ishida: I chose plays that lots of people are familiar with and would be easy to assign characters to. Kai is ‘The Phantom of the Opera’, Fumi is ‘Salome’, Neji is ‘Faust’ and Yonoga is ‘Shintokumaru’. Kisa and her classmate Ootori are ‘Don Quixote’. Ootori ended up becoming a side character though.

—So Ootori was originally meant to be a main character?

Ishida: Yeah. If I were to compare it to Tokyo Ghoul, Ootori is in the same position as Tsukiyama. I wanted a pompous character like that in Quartz. However I may have made him a little too unique (lol).

I received feedback from Broccoli that they want the main six characters to be an elite group, so a more easy to approach character would be better. So I moved the bright and cheerful character that I had originally made as Onyx’s Jack Ace over. That character was Suzu.

Making the characters personifications of plays started to become difficult to stick with though, so I abandoned the idea entirely halfway through.

—Despite appearing glamorous, the characters are all dealing with their own issues, like certain complexes and family troubles. I think that they’re all conflicts that are easy to sympathise with, how did you decide what the backbone of each character's conflict would be?

Ishida: First I created the character's appearance and then decided what personality would match them. Like with Fumi, when I began to think about making his story about the unique struggles that come with being born into a respected family, if becoming a successor was going to come into question, then he needed to have a brother.

In this way, I worked backwards from the vibe of his appearance and created his home life. I did the same with the other characters too, thinking things like ‘to have a personality like this they must not have parents, or they must struggle with expressing themselves’.

I think that if you let your characters do human-like things, then aspects of them that are easy to sympathise with will be born.

Jealousy, setbacks due to failure, inferiority complexes… Each and every character naturally ended up having some form of theme attached to them.

—I feel as though Kisa had a different sort of personality than that of a typical heroine.

Ishida: To put it simply, I want my protagonists to be fighting something. If they’re not giving it their all, then it’s no good. If they’re just standing around, then you can’t empathise with them.

—There’s times where she draws others towards her or supports those around her. She also has some masculine aspects to her.

Ishida: I think that I’m moved by characters who make me think “This kid’s really admirable”. That’s why I made Kisa a girl who works hard no matter the difficult situation that she’s in. I like Kisa and I’m sure Towada-san feels the same way.

Towada: She’s the result of both of our preferences. While due to the game’s setting, she of course has struggles related to being a girl, but I was careful to write the main thread of her story in a way that transcended gender and instead simply showed her charm as a human being.

—Regarding gender, I was impressed by how neutrally it was portrayed.

Ishida: Yes. Originally, I was going to make Shirota a character with a feminine personality, but I ended up scrapping the idea. In the end, he ended up having more of a masculine mentality. The premise of Jack Jeanne is that boys also play the female roles on stage, but it’s not a metaphor for anything and I didn’t want it to raise any questions. I simply wanted to give it my all creating plays with that setting and create something new and refreshing.

I don’t struggle with any gender related issues myself, so it’s not like I can fully understand what it’s like, but in general I’ve never considered gender to be a very big deal. If someone born male were to tell me “I have the heart of a woman” then I’d just think ‘ok cool’.

To me it feels strange to place so much weight on such an issue. I don't see why others need to be bothered by someone else's gender, I'm not since I myself am not able to speak for such experiences.

Towada: At first, it was possible to take that direction with Shirota but as I continued to write, I came to realise that there was no need to exaggerate any emphasis on his gender identity.

To those looking from an outside perspective, it may seem like a unique identity such as that is a person's defining trait, when in reality it's only just a portion of their whole self. If you consider it to be all they are, then you end up denying the other aspects of that person.

Whilst considering the individually of each character, I kept in mind to write them in a way that seemed natural for them.

—The side character, Tanakamigi Chui of Amber, had a very striking presence. How did you go about creating him?

Ishida: I wanted someone that’s easily understood to be the antagonist, so I went ahead and tried to draw someone who looked like an unstoppable genius. Despite being a second year, it’s as if he controls the school. I wanted an enigmatic and intriguing character like that. Once I named him Tanakamigi Chui I felt as though he was complete and his inclusion in the story was quickly decided on.

—On the flip side, were there any characters that you had a hard time creating?

Ishida: I had to think a little harder about the other members of Amber. They needed to have the aura of the enemy but since they’re only villains in the context of the stage, they’re not actually bad people. So it was hard to find that balance between them.

Visually they’re edgy and have a talented vibe, but they also have their own individual quirks, they’re not all homogeneous. I struggled with Kamiya Utsuri especially, I wanted him to visually look like he could be a Jeanne while also still looking like a boy, so it was difficult to get him right. I didn’t have to do many redesigns though and all the other characters came to be without much trouble.

What I actually had more trouble with, was the fact I made the cast too large. I initially created almost double the amount of first year characters, but when I looked back over the script that Towada-san created, I told her “There’s way too many characters, please cut some of them out.” To which Towada-san replied, “Ishida-san, you’re the one who created them in the first place.” (lol).

Towada: That’s because the cut characters had already appeared in the script (lol).

Ishida: I feel that when there’s too many characters a lot of them get wasted, so just like that I end up creating and scrapping a lot of my characters. I think even Broccoli were surprised by the amount of times I’d suddenly tell them “Oh that character doesn’t exist anymore.”

—Apart from characters, were there any other aspects of the game that were abruptly discarded?

Ishida: The performances I suppose… Originally I had wanted there to be a larger variety of shows, but if you were to put all of them in the script it probably would’ve ended up being three million characters long.

In the beginning of development, I had originally planned for each character's route to have a different final performance. There’s six main characters, and including Kisa’s route, that would total to seven unique shows.

Before that there’s the newcomers, summer, autumn and winter performances, so I arranged to have a script written for each. Basically I wanted to include more shows and increase the amount of sub stories, but that would be confusing to play through and development would never end. The game engine has its limits too, so I decided to keep it simple.

Towada: It would’ve been difficult to play through all that as well (lol). For the final performance, we settled on it being one show and letting the player enjoy it from each character’s perspective instead. And even then, there’s still over 20 different endings to the game, so it still took a long time until everything was fully complete.

—Newcomers, summer, autumn, winter and the final performance, were these five show’s scripts all original?

Towada: Yes. However at first, like the characters, we had planned to base them on famous productions. Like Shakespeare or fairy tales. We figured that players would find it easy to get immersed in plays that they were already familiar with.

Ishida: For the newcomers' performance, I thought we could have a show called ‘House of Biscuits and Candy’ based on Hansel and Gretel. I had also originally planned to use each character's motif to base the plays on.

Towada: Like Shintokumaru, right?

Ishida: Yeah yeah. I even went as far as getting permission to use it, but if the show were to be following a story that already exists, then the script would be bound to it. Once I understood that it would make it difficult to relate the stories to Univeil, we decided to create the plays ourselves.

Since I acquired the permission to adapt Shintokumaru though, maybe I’ll have to make a manga about it someday…

By the way, the one who was saying “Let’s do this” and then changing it to “Nevermind let’s not” was all me. I’ll start on something wholeheartedly thinking that it’s the right choice before realising halfway through that I can’t actually take it anywhere and stop. Jack Jeanne’s development was full of trial and error.

Whenever I’m about to start something, Towada-san will express her concerns with my ideas but I always end up pushing on with them only to ultimately scrap it.

I probably have at least ten books worth of scrapped drafts alone. I had no real knowledge of how to properly craft a story. I hadn’t drawn anything other than Tokyo Ghoul, so even though I had no idea what the fundamentals of storytelling were, I misunderstood that I could write other kinds of stories too. This time around I studied and revised each time… I really learnt a lot.

Towada: You learn things by doing them, so I think I just got used to it (lol). Also, you don’t commonly see stories presented within stories, I thought that it was a rare case for a game especially.

~ ~ ~

The story behind ‘Lyrics: Ishida Sui’

—You also wrote the lyrics for each of the songs used in the performances didn’t you, Ishida-san?

Ishida: Yes, that’s how things ended up. It goes without saying, but no one, including myself, thought that I’d be the one writing the lyrics.

Originally Broccoli brought in several professional lyricists and had me look over what they’d written. However I couldn’t help but feel that they were lyrics I’d heard somewhere before, or they at least didn’t leave a unique impression on me. I did feel the finesse of a professional, and they were beautiful lyrics that fit the story in one way or another… But the words used didn’t touch on the core of the story. 

The songs in Jack Jeanne are stage songs that Neji wrote for the members of Quartz. So unless you’re familiar with the setting and understand how the characters are feeling, then you won’t be able to write lyrics that perfectly fit the scenario.

While I knew that my lyric writing technique would be far from that of a professionals, I thought that no one understands and loves these characters more than me, so I approached Broccoli about it. I’d poured my heart into not only the character designs, but also the story and system of the game, so I didn’t want to compromise on the lyrics and have them pale in comparison.

So, to the best of my ability, I wanted to at least try my hand at writing them. I had Broccoli check whether or not what I’d written was viable and asked them “If there are no problems, then please let me write the lyrics.”

—Did you sing the temporary vocals for the songs too?

Ishida: When I submitted the lyrics to Broccoli, I got the normal response of “Thank you, we’ll leave the temporary vocals to you.” Along with this message they also wrote “You can hire a professional vocalist if you’d like, or you could record the temporary vocals yourself.”

Because of this I started thinking that maybe I should record them myself. Similar to how one wouldn’t be able to write lyrics for the songs without a deep understanding of the story, if you weren’t the one who wrote the lyrics, you wouldn’t know how they’re supposed to be sung either.

So, after deciding that I had to be the one to do it, I made preparations to acquire some audio recording equipment and downloaded some editing software. I divided up the parts and harmonised with myself and over the course of three days, I finished recording the temporary vocals. That’s more or less how I did it.

—When recording yourself singing, being self conscious about it can interfere, can’t it?

Ishida: I don’t think I was possessed by him or anything, but… When I tried to go all out, as expected I felt a bit hesitant, so I began recording whilst imagining I was Neji.

In the game, Neji is the one who writes the scripts, so surely he would also write the lyrics and subdivide the song and do everything himself. So I got through it thinking like that. In that pumped up mental state, I sent in the temporarily recorded songs but all Broccoli said back was “Alright, let us know your upcoming schedule”, I got so carried away that I was somewhat bewildered by the cold response (lol).

~ ~ ~

Recruiting via DM, gathering specifically selected creators

—It appears the creators you gathered to handle things such as the concept art and music are all people whose work you enjoy.

Ishida: Yes. Almost everyone was sent a targeted offer. For example, I’ve always loved the concept artist Lownine-san’s work ever since I was a student. I suppose you could say I was jealous of how high quality their artwork is… They’re someone who I thought I'd never be able to beat in my entire life. Lownine-san is an amazing artist who is especially good at blending characters into their backgrounds.

When we were creating Jack Jeanne, I wasn’t sure if I’d be able to pull something like that off, so I definitely wanted to recruit Lownine-san for the job. After getting permission from Broccoli, I reached out to Lownine-san myself through Twitter DM’s. I had only appreciated Lownine-san’s work from afar, and we’d never actually interacted before, but we did both follow each other. I received a reply that Lownine-san was fully on board to accept the job.

Towards the end of Jack Jeanne’s development, I got the chance to speak with Lownine-san, so I asked them “Could you teach me how to draw?” They gladly accepted this request and taught me how to draw whilst screen sharing over Skype. However, in about 10 minutes, they’d already drawn such an amazing piece that I felt I should just put my pen down (lol).

Towada: You were a little down after that, weren’t you?

—Had you been a fan of Kosemura-san, who was in charge of music, since you were a student as well?

Ishida: Yes, I’ve listened to Kosemura-san’s music a lot since I was a student. When I was brainstorming what kind of music would fit Jack Jeanne, Kosemura-san’s ‘Light Dance’ immediately came to mind, since it fit perfectly. Because I didn’t have any personal connections to Kosemura-san however, I didn’t know how to get in contact with him, so I made the request through Broccoli. I only found out about this recently, but apparently Kosemura-san almost turned the offer down*, I was quite shocked to hear that (lol).

*When the initial request was sent, it was under wraps that the game was being made by Ishida Sui, and since Kosemura-san didn’t have much experience in writing game music, he wasn’t optimistic about the offer. However, later, when he learned that it was a game being made by Ishida Sui, he readily accepted the offer.

—How did Seishiro-san, who was in charge of the choreography, get chosen for the job?

Ishida: A very long time ago I saw the group Tokyo Gegegay appear on a program called DANCE @ HERO JAPAN and I remember thinking ‘this group is crazy good’ and I was immediately charmed by them. After that, whilst I was looking through more videos of Tokyo Gegegay on YouTube, I happened upon a studio workshop video and discovered Seishiro-san.

—What about him caught your eye?

Ishida: Whilst first and foremost his dancing was super sexy, it also had a certain strength to it. I remember thinking that he danced in a way that embraced the best elements of both masculinity and femininity. And that had stayed in my memory ever since. When Seishiro-san was recording motion capture for the game, he allowed me to interrupt and even taught me some of the choreography.

(note: you can watch Seishiro dance here, he is also the choreographer behind this RADWIMPS music video!)

—I hear you’ve known Gyudon-san, who was in charge of making the movies, since your Tokyo Ghoul days. 

Ishida: Yes. Around the time volume 13 of Tokyo Ghoul was set to be released, we held a still image MAD (Music Anime Douga) contest. The grand prize winner of said contest was Gyudon-san, who at the time was still only a student. The way they made a video by manipulating the manga panels to move so fluidly was really cool and stood out from the rest. 

Around when Tokyo Ghoul had ended and :re was about to start, I had Gyudon-san make a minute long video for me. After that, Gyudon-san grew in popularity and became someone whose work is in high demand, so they seemed very busy.

However when Jack Jeanne was announced, we were able to have them create a promotional video for us. Since I’ve known them since Tokyo Ghoul, I figured I couldn’t go wrong entrusting the job to Gyudon-san. They didn’t just deliver their finished work without a word either, Gyudon-san also made a variety of suggestions and worked on the project with a positive attitude. For the videos used in the performances, I was asked to provide materials and became very involved in the process. I think it took about two weeks… Despite the really tight deadline, Gyudon-san allowed me to catch up and was super helpful.

I was also the one who reached out to Touyama Maki-san, who was in charge of creating the in-game chibi characters and the 4koma manga used for promotional purposes. During Tokyo Ghoul’s publication, Touyama-san would draw short comics for the series as a hobby, I thought they were a nice person for doing so. Their art was great too and I was very thankful. So when it was decided that we’d be displaying chibi characters during the game’s lesson segments, I wanted to leave it to Touyama-san and sent them the offer.

(note: this is the MAD that gyudon won the contest with, they now regularly make moving manga CM's for jump titles, they make the Choujin X ones too!)

~ ~ ~

The winter performance moves into Quartz’s ending, and the divergence in the story since the beginning of the year drastically branches off

—The performances, packed full of each of the character’s skills, continue for a year and pass by in the blink of an eye. Once the new year breaks, it feels as though the atmosphere of the game drastically changes. What were your intentions behind this?

Towada: That’s when the character route specific endings begin. So we packed all the needed material to set them up into the winter performance.

Ishida: The winter performance is like an ending for Quartz as a whole, so we packed it full of good lines and scenes without holding back. I may have used up all of my cards but by using them all without compromise, we were able to make the story reach a nice peak. After that, the story switches to focusing on each character's individual ending.

Towada: We used a lot of great material in the winter performance, which meant the final performance would have to be even better still. In a good way, it gave us a higher hurdle that we now needed to overcome.

—So you needed to create even more anticipation heading into March?

Towada: From January to March, each character’s route is completely different. From the new year onwards I needed to create seven different scripts, so it was very challenging. The amount of text for the last three months of the game alone just about eclipses the amount of text from up until the winter performance. There was so much to write that I began to fear I wouldn’t even be able to finish it.

Ishida: Having more choices that drastically change the ending of the game makes the player feel more involved. So, despite it making things tougher on ourselves, around the time we were working on the autumn performance is when we began thinking about how the game’s big branches should work. Along with the main routes, we also planned for there to be the option to deepen your bonds with the side characters.

—How did you go about creating the confession scenes?

Towada: Before the winter performance, to some extent each character has already grown closer to Kisa, so I kept in mind not to disrupt that flow. Since if I didn’t make it a confession that respected both Kisa and her suitor’s feelings, then I felt it would spoil the fun.

—Is that how you approached the ‘realising Kisa’s a girl’ scenes as well?

Towada: Yes, I suppose so. As I was writing the script, I knew that a point was going to come where Kisa would have no choice but to acknowledge the fact that she’s a girl. There’s characters that realise her true gender once their bond deepens and on the flip side, there are some who don’t realise it at all. There’s also the case of Yonaga, who knew Kisa’s situation from the beginning. I guess you could say each reveal followed one of these three patterns. Those who came to realise it, those who didn’t notice anything and those who knew from the start. I think they ended up being nice variations and I put careful consideration into writing them to make sure none of the realisations felt forced.

Also, the beginning half of the story is akin to that of a sports drama about teenagers putting on shows together, so the room for romance to be added is limited. That’s why, when I first started adding romantic elements to the character routes, it felt strange to me, so I discussed it with Ishida-san. I wasn’t able to effortlessly soak the story in romance. I think I had to rewrite Shirota’s ending at least three times…

Ishida: Shirota was who you tried writing an ending for first after all.

Towada: Shirota and Kisa aren’t the sort of people who’d be all flirty, and Shirota’s initial route was already muddy, so it was difficult to pull everything together. However, once I stopped trying to write in a way that forced romance on them and instead wrote them becoming closer as partners, things went more smoothly.

It may not be a stereotypical sort of love, but it was a human love. I thought that the natural way these two would be drawn together wouldn’t be through whispering sweet nothings to one another, but instead by coming to understand one another without having to exchange words at all. Once I’d completed Shirota’s route, to some extent, I continued writing the other routes in a similar way.

Ishida: While it’s true Shirota acts like that, the other characters all act differently. To the point some aren’t even comparable. In contrast to Shirota, Suzu’s route ended up being more of your stereotypical kind of romance. I thought that it would be nice for each character to have their own unique form of love.

Towada-san’s strong suit is writing a love story with your more classic otome guys like Suzu and Kai. I have no idea about that kind of thing, so I left Towada-san to pour her own ideas into their routes. On the flip side, characters like Fumi and Neji were dyed more with my own ideas. Neji’s way of flirting especially were mostly lines that I requested.

Towada: He’d say “Make him say something like ‘Try seduce me!’ Because I want this CG to appear.” (lol).

Neji especially plays with his words a lot, so unless Ishida-san told me what wordplay to write, I wouldn’t have been able to expand on it. Ishida-san has a very unique way of phrasing things, so I asked him for advice a lot to make sure I was making Neji speak in a Neji-like way. I then arranged the lines and created events in order to reach the intended goal. I constructed the route in a way that wouldn’t disrupt the flow of the story. As for Fumi, Ishida-san wrote his route himself.

Ishida: Yes, I wrote it all myself.

—Well isn’t this quite the exciting plot twist?

Ishida: I turned into quite the young maiden myself (lol). Even though I’m clumsy at it… I began wondering why I ended up loving writing it so much. I added some lines that have more of an adult and deeper meaning to them, so when I played the route myself I was like “Woah!”.

Towada: It’s more interesting if at least one character is that way. From the early days of production, I’d quietly wanted Ishida-san to write a character himself, so I was happy. I was unsure how to deal with Fumi too, so it was a big help that Ishida-san took him on. His route ended up being a lot sweeter than I’d been expecting though, it got my heart racing (lol).

Ishida: I was also the main writer for Kisa’s solo route. There’s no romance in it, but it’s an ending where long lasting friendships are born and it ended up being the kind of story you’d see in an uplifting shoujo manga.

Towada: It’s full of Ishida-san’s flair, I loved it.

Ishida: If love is a lie, then how do you face that lie? That’s the sort of thing I thought about. Kisa is lying about her gender and pretending to be a boy, but Neji, Suzu, Fumi, Yonaga and so on, are also hiding lies within themselves.

The fact they’re all hiding their true motives is something that they have in common with Kisa. Whilst hiding, the two grow closer. I think that a confession is a scene where all these lies intersect and burst open. Everyone is lying, and I thought that was like a play, without realising it I think that slowly became the theme of the work. 

As people, we meet others whilst lacking something and some people end up becoming a necessary part for someone else. I wanted to see a drama like that. Despite it being a game with confession scenes, I wanted it to be a story that both women and men alike are able to identify with.

~ ~ ~

From thorns to rounded edges, how the style of work transformed 

—If there was a small novels worth of rejected material, then how many books worth of words made it into the final game?

Towada: In terms of paperback books, probably about twenty volumes worth.

—Because as well as the main scenario, there’s also the sub scenarios and the stage plays?

Ishida: As much as time allowed, I put my all into creating the game. However there was a deadline for things like the voiceline recordings, so I was working both day and night to get things done in time.

Towada: I was only getting around three hours of sleep. I feel like at one point Ishida-san didn’t sleep for four days.

Ishida: I was in a serious pinch so I don’t remember it well, but when I was writing the script I would hole myself up in a manga cafe for around thirty hours at a time. Multiple times a month. Once I felt as though I’d written to a good point, I’d go home only to return to the manga cafe again. Why? Because I was sleeping in the manga cafe. I mays well have been living there…

Towada: Once Ishida-san had finished writing his part of the script, he’d have me check it. So at the same time, I’d have Ishida-san check what I’d written.

Ishida: For a period of time it seemed like Towada-san was always awake. Whenever I would send a check request she always responded right away regardless of the time, so I figured she must not be sleeping.

So that my productivity wouldn’t be affected, I made sure to sleep at a regular time, however I’d be awake for like 30~40 hours at a time and then sleep for 10 and then be awake again for another 40. My sleeping patterns would repeat in this cycle. During Tokyo Ghoul’s serialisation my sleeping patterns were similar, so to some extent I might’ve gotten used to it.

—That’s just like Neji-senpai, isn’t it?

Ishida: Yeah yeah, I worked in a similar way to him. However in Neji’s case, he can complete a script just one day after coming up with the idea for it, so he works way faster than us. It took us around two months to write parts of the script, so Neji really is a genius isn’t he? I was writing whilst wishing I could be like Neji.

After experiencing writing a script, I’ve come to have a lot of respect for authors. Writing is completely different from drawing. When writing I need to really concentrate on it, I can’t multi-task or think about anything else. Whereas with drawing, there are some things that can be done as long as you can move your hand, so I can talk to someone whilst drawing or watch a movie in the background or work whilst thinking about other things. I can’t do that when I’m writing though, I was starting to wonder if I really had to think so deeply about everything I wrote.

—During the production of Jack Jeanne, as you worked on the script or the lyrics etc, did you notice any changes in how you worked?

Ishida: For Tokyo Ghoul, I was always consciously adding things, meaning I would draw everything that I came up with. I thought that it was fine to only put 20% of my output into the characters and dialogue. However, when I was working on Jack Jeanne, I began to think that my method of just adding things was incorrect and that I should also consciously remove things. It’s ok to just be left with what’s necessary. My way of thinking ended up being the exact opposite to before.

—What brought about this change in thinking?

Ishida: It was early in production, when I had asked Towada-san to write Shirota’s route for me, I got concerned about the ‘sharpness’ of the story. As I mentioned earlier, I ordered Towada-san to add this and that and sent her walking on a long journey. Except, what lay completed at the end of that road was such a painful story that even I myself was shocked by it. When I looked down at the world I had created it was as if I’d received a psychological shock. I think I even smelt the faint scent of blood.

—From thorns to rounded edges. I still remember the comment you made during a press conference saying, “I was careful to not kill off any characters”.

Ishida: Stories where characters die are usually fast paced with high stakes, however, the kids at univeil are living a different kind of story. I had to consider the best way to create drama in that kind of setting. I thought about it a lot and it may have only ended up being possible because of the fact it was a game.

—Why is that?

Ishida: Because of the flow of the dialogue, backed by Kosemura-san’s music while it's being read out by all of the voice actors. It all comes together as one… That’s what I think at least. Writing and illustrating are Towada-san and I’s main domain of expertise, but I think that it was thanks to all of the other various creators involved that we were able to create something new.

—Do you think anything about yourself changed, Towada-san?

Towada: It came down to the fact I wanted to create something for Ishida-san whilst there were also things that I wanted to add myself. This dilemma caused me trouble at times, however when I started to consider what components I should add, or which ones I should remove, I began to discover what elements I liked and what my own skillset was. 

The way that Ishida-san and I go about creating stories is different. I came to understand that Ishida-san’s strong point is creating impactful scenes, whilst mine is plotting and world building. Ishida-san being in charge of the pivotal scenes would make things more exciting, so I concentrated on writing everything else whilst keeping the balance in mind. Through working on Jack Jeanne, I’ve become able to say that my strong suit is being able to create a story that flows well.

It may be true that by working with other people, you come to understand more about yourself. Starting with Ishida-san, I also looked at what the other creators were doing and thought ‘so this is how they interpret the story.’ Seeing what they came up with made me notice different approaches that I hadn’t thought of.

I’d write whilst listening to Kosemura-san’s music and decide which way to take a scene. Or I’d watch Seishiro-san dance and think about how I could make the performances more exciting. We were all connected in some way. Novels are usually written alone by one person, so I came to learn the thrill of working on something in a team.

—The way you all came together as gears to create a single work sounds similar to the story of Univeil.

Towada: True. I never thought I’d experience something straight out of my youth again at this age. Being helped by other team members or being supported by them, being motivated by simple phrases like “It was great” or “I like this idea”.

For example, when I was working on the final phases of the story, I was just writing and writing with no end in sight, I couldn’t take it anymore and my pen just stopped moving. During this dire moment so close to the end, my proofreader messaged me saying, “You’re almost done.” And with that simple message alone, it was as if a burst of light appeared before my eyes. Everything had gone pitch black, but they lit everything back up again. Ishida-san also wrote some of the script, so I didn’t feel as alone.

Ishida: At that time I left all my drawings alone and decided to solely focus on the scenario.

Towada: Yeah, because I hit a point where I wasn’t able to write it on my own anymore… When Ishida-san sent me the script he’d written, it was interesting and I let out a breath of relief. I felt the joy of being able to see someone else's work. I was the same as the Univeil students who find joy in performing with others. I definitely wouldn’t have been able to do it if I was alone.

Ishida: You’ve got that right. I think that if anyone was missing from the team, it wouldn’t have worked out. Not to mention that in my case, everyone’s contributions were directed to me, and they were all people that I’d personally gathered.

With manga, even if it comes to the worst case scenario, at the very least it would all just fall on me. However this game isn’t just something I made on my own, I need to contribute as much as I can or the efforts of everyone around me will go to waste as well. There was a moment where I felt afraid of having such a heavy responsibility placed on me. However, if I had tried to do it all on my own, I think I would have given up.

By listening to wonderful music, reading interesting scripts and moving forward together with everyone, I was inspired. Coming together with fellow creators to make one work came with a lot of challenges, but it was fun. It was refreshing being in an environment working alongside other people, and because of it I was able to experience something new.

—Has working alongside other people changed the way you work at all?

Ishida: Right now I’m still in the state immediately after being swept away by the raging waves of a storm, so I’m not sure how I really feel yet. I’m in the phase of just watching what becomes of Jack Jeanne as the waves subside.

Even though the script and illustrations were done, like bonus stages lots and lots of new tasks kept popping up. So I was still busy with work up until the beginning of October last year. When I looked at some of the thoughts people had on the demo version of the game, it felt as though what we’d all been working so hard on had finally taken shape, and I was relieved.

Working on this project I’ve come to learn both the hardships and the fulfilment that comes with creating something with others. So, I suppose I’ve started considering working on something by myself again… I’m not trying to say that it’s in my nature to want to work alone, I think I’m just experiencing some kind of aftershock. I think the waves are returning.

Towada: I’m still working overtime and supervising Jack Jeanne (lol). Like checking content that will be posted on social media, as well as the 4koma manga. Content is still being released and there have been bug reports from some people who played the demo… Meaning that my journey is still not over yet. I think that things should calm down once the game has been released for a while.

Ishida: Yeah, probably after around five months (lol).

—After their final performance, the members of Quartz all threw a party to celebrate. Did you and the rest of the creators do the same upon the game's completion?

Towada: I celebrated with Ishida-san as siblings. And then afterwards we got swamped with work again (lol).

Ishida: Yeah, we didn’t end up meeting with the other developers or the voice cast. Big project after parties aren’t as common these days, but I do want to hear everyone’s stories of any struggles they had.

Towada: There were way too many people involved in total for me to be able to speak with them all, but I’d still love to convey my impressions to them. Like letting them know what I thought was good, or letting them know that a certain thing really helped me out.

Ishida: Ideally I would like to gather everyone and really have it feel that ‘this is the team of people that created Jack Jeanne’ and I’d like to express my gratitude to them all in person. I hope that an opportunity like that will come one day.

~ ~ ~

[aztecbrujeria]

The streets were busy outside and I happened into an antique shop in Linkon, my worn boots brought me in without me really thinking about it. My fingers flipped the vinyls blankly. The feel and the smell of the covers were making the memories flash behind my honey eyes. It had been a few weeks since I last saw the most frustratingly, annoying, blood pressure raising, handsome, smart, sinful, exasperating man.

Ughh fuckin vomit I cannot believe I thought about him all the time and had those dreams…those dreams. I sigh loudly rolling my eyes and move from the ancient pop records to the classical.

“He comes into my life and just ghosts me…so annoying…I’ll never tell him I miss him.”

I murmured to myself as my painted finger stops when I see the baroque period pieces by organ. I trace the cover art and pout until something towers over me and gets close to my ear making me stand up pin straight.

“Awww, what’s this a kitten sulking? Did someone miss me?”

I turn around and see that damn smirk and I move before the hallucination of this man faded. I stood on my tip toes and wrapped my arms around his shoulders taking his lips. Strong arms pick me up as he sighs into the kiss bringing me closer. When he puts me back down after I break the kiss and push a stray hair from his gemstone red eyes I can feel the butterflies betray my tummy.

So I did what I had to, to show him I was upset and bleh in love. I slapped him.

“You’ve had me so worried!”

He stood quirking that brow of his and smirking as he massaged his cheek.

“Oh someone really, really missed me. Don’t deny it sweetie.”

I looked away pouting, blushing, in a small voice.

“N-no…yes, no, maybe.”

One thick digit tipped my chin and forced me to look up at him. I did miss him and also I was mad, but dammit is he doesn’t look soft for me in this moment.

“Twilight…I wouldn’t have worked so hard these past weeks just to miss your birthday today.”

He reached out and pulled me in by my waist until were pressed body to body. Poor guy really did have to bend down to look at me while I stood a whole 14 inches shorter than him.

“You were supposed to stay over and have a morning with me.”

He chuckled as he rested his forehead on mine.

“Have I told you, you’re sassy kitten.”

I smiled and rolled my eyes trying to get out of his hold. When I caught another patron staring at me, one hand on his face while I’m picked up in his arm, my other free hand waved.

“Sylus!”

He let me down and laughed, a genuine no hold laugh, I looked at him and I swear to the cosmos I had heart pupils. I started to giggle and grabbed his hand.

“I really did miss you…but you never heard it from me.”

Wiping the tears from my eyes he brought his big hand up and caressed the side of my face.

“Happy birthday twilight let me sweep you off your feet I have a present for you at my place. Besides the twins have been slaving away with Mephisto decorating for a “surprise” party just us.”

He led me out of the shop and I stopped him pulling him close again and did the “come hither” with my index finger and took his lips.

“Let’s go home then.”

[mysteriousdragon2]

Howdy everyone. Been a while since I posted anything, hasn’t it? Well, now I finally have the time to sit down, and talk about my feelings and what’s been happening. So, again this is venting, if you don’t want to hear it, you may disregard this post. But if you want to read, everything is in the “keep reading” tab. Thank you.

First of all, I’d like to say that it’s been difficult drawing digitally. My art device keeps acting up, and I’m fed up with it. So for the moment, you will most likely see me draw traditionally. A shame too because my traditional doodles don’t get as much love as my digital pieces, but it is what it is. So if I owe anyone any art pieces, chances are they’ll be done traditionally.

Second of all, which is relevant to the first point, it’s been getting hot where I live. 30+ degrees all week, making it hard to draw. I just apologize for taking so long in terms of art in general.

Third of all, my “parents” keep shaming me for who I am. Whether it’s as an artist, or for my body. But they adore to mentally bring me down, sometimes accusing me of having a mental illness or depression.

This household of mine is indeed a curse, you’re damn right Hol Horse. It’s simply infuriating that nobody understands my feelings around the house, everytime I express a single thing about myself, it goes to rot and put themselves first. And they say they worry for me for being away from home…please, it’s for my own good. My mental state has been declining a lot since then. The heat fries my brain, and my household is making me feel insignificant about myself. It’s bad enough that my self-esteem isn’t the greatest due to my past.

Fourth point, I’ll be honest. Making friends with a lot of people at this point feels pointless because 70-80% of the friends I make abandon me without saying a word, or neglect. Not a pleasant feeling. Hurts me a lot. There’s been many friends I’ve made that did just that, and even if I try to reach out to them every now and then, no luck. So I’ve kinda…stopped trying. People can be busy, or have more going on in life than expected and that’s understandable. But if you don’t say anything, I’ll never know a single thing.

What does it mean? It means that things have been very slow on my behalf. Too much stress on my mind, and I hardly have any time for myself anymore. It’s saddening, but I’ll still keep drawing, even if it’s severally slow. Just wanted to inform to those who’re reading this post that I’m still around, just exhausted from life.

I’d like to mention a couple people in this post: @spamtonjuice420 , @stardust-vi , and @fellow-traveller

Why, you ask? Simple. You guys have been amazing people in my life in many ways. Very talented artists, very kind individuals, and chill to talk to. We all know Hol Horse, so that’s a massive plus…I love how I’ve converted some people into liking Hol Horse too hah. But I just wished I could speak to some of you more often. But I can’t control what happens in one’s life, and I’ll simply have to be patient until I get an answer. But…even to all of my followers, it means a lot to me that you guys stick around too for my content. Even if it’s not that great. Thank you so much.

I’ll try to post commissions too. Even if they’re traditional, the prices will probably have to be juggled, but I’ll do something. Chances are, they will be rather cheap for a while. Just something to think about.

Thank you guys for sticking around, and have a good one. I’ll be trying my best to post something soon.

(Sources are from the Anime, OVA, and CDDH volume 1, chapter 1 pages 10-11)

[lizardperson]

six damn clocks

fandom: original work rating: t wc: 518 prompt: #fff264 counting clocks for @flashfictionfridayofficial

---

Six clocks. While walking from her room to the kitchen, Mika had passed six clocks. The funny little novelty alien alarm clock on her desk that flashed and made UFO noises when it went off. The boring-ass wall clock without numbers in the hallway that looked like it was straight from some middle-aged people furniture catalog. The one she had been meaning to sneakily replace with something cooler since she moved in here. The old art deco clock in the living room shelf that Gabriel loved so much, and rewound meticulously every Sunday. The digital oven clock with the extremely annoying beeping sound. Her trusty laptop with all the silly stickers, which she had used to watch some random video while eating. And her phone with the scratched display and rainbow-colored case on the counter next to her. Six clocks. Six damn clocks, all showing the precise time of day. Six clocks telling her that if she wanted to be on time, she had exactly ten minutes to finish her snack, and another ten minutes to get dressed and ready. Now the big question was, why was it almost twenty minutes after she was supposed to leave already? Because she had somehow spaced out again and got distracted by the internet, just like she always did. "For fuck's sake," Mika grumbled and slammed the laptop shut. Traitorous thing. Yes, she could have just set an alarm, on one of the many clocks around here, but she was convinced it wouldn't be too hard to stay focused for ten fucking minutes. Call that hubris. Maybe one day she would learn - but probably not. Gabriel would be so annoyed. He had texted her earlier - twice, in fact - to remind her of this work-dinner-thing, and she had promised to be on time for once. Well, that wasn't going to happen now. Why had this damn law firm so many social get-togethers anyway, and why had she even agreed to come along... Right, because Gabriel had asked her right after sex, which usually made her say Yes to almost anything. He knew her too well. In record speed she managed to get ready, leave the house just in time for the next bus, and arrived at the restaurant exactly twenty-eight minutes later than originally intended. In her book that almost counted as punctual. Gabriel smiled when he saw her, surprisingly un-annoyed, and pressed a kiss on her forehead. "Hey. Sorry I'm late, I kinda spaced out," Mika apologized, still a little out of breath from rushing here. "Don't worry, everyone's just turning up." "What? But I thought-" "I gave you an earlier time." She looked at him, flabbergasted and slightly offended. "Seriously?" "It worked, didn't it?" "What if I would have been on time?" "Figured that's pretty unlikely." Mika wanted to complain about that assumption - of course he was right, but did he have to say it like that? - when Gabriel pulled her closer and smiled at her. "I'm glad you're here." She lightly punched his arm and chuckled. "Asshole." He really did know her too well.

[whompthatsucker1981]

been thinking abt the gay sex cats post again. while the original point of the post is something for shits and giggles i would say to my art classmates after class, in extreme summary it still kinda stands, popular post making me wanna bash my head against the wall notwisthstanding. even if i hadn't put out a wall of text that was fueled by 1. being a few days out of the surgery table and still on various medications, 2. having read billy bat in two days and therefore having a fuck ton of thoughts about art, and 3. being immensely frustrated that people unironically used human soul of art spark of creativity etc as a talking point wrt generative art; the gist of my point is that you can't win any discussion about what gets to be art by appealing to idealist ideas of soul, creativity, or genius. it's been settled for more or less a century now. a tool is a tool, art can be made out of anything, and the medium is part of the message. end of that post.

of course the regret of anyone that has put out a popular post in whatever Discourse there is is that you can't leave a post scriptum disclaimer that yeah. of course this isn't the entirety of the subject. because everyone that has ever written a post never made a second post because the first covered everything. lol. that's why it continued in my askbox. as in, the issue with quote unquote ai art isnt philosophical or metaphysical, but of labor, and that it is as in marxist division of labor, not whatever people with small business owner brain make it out to be centered on copyright and potentially owed royalties that gets called an issue of labor. ai art is a threat as long as it is a tool in the hands of capitalists to hold working artists hostage. it's not the first tool to be used like that against laborers in art (and obviously other laborers too, but since people have bad idealist views on art it's what gets seen as more of an issue and an outrage lol) and it certainly won't be the last. tighter copyright laws wouldn't have saved any individual artist to ever upload works publically online, if anything abolishing copyright, even if just in regards to generative art would make it so the tool loses its leverage against the worker. also copyright as an argument misses the point because it's not a problem of any person uploading images missing out on royalties they could have earned with use of their images, if there's anything we were supposed to have learned from the nft shitshow is that right click saving isn't fucking stealing. art exists in The Age Of Mechanical And Digital Reproduction. what's more damning is that we take for granted that publically avaliable images and data online are able to be bought and sold from third parties to other parties for fun and profit in the first place, data privacy is more of an issue to machine learning than supposedly lax copyright law could ever be

and the things unsaid are the most frustrating; i did hammer home the point that you can't win an argument on art and meaning by appealing to creativity, soul and genius, but it was at the cost of having things unsaid, and that having a post become popular sucks ass in an unbelievable way. i also have regrets with regards to my tone but i was a bit silly from having read all of billy bat in two days, so even if i cringed afterwards i understand why. and with that is also the unsaid matter of taste. unlike the actual political arguments, i'm not mad that it got passed on, and i think it's better to say my two cents now with some hindsight. the gimmick of ai art is getting old now, people without art education are realizing that a program that can output pretty pictures doesn't mean you can get instant clout and a career out of it, especially with public opinion on the subject ranging from people cringing at it or being actively hostile. in the end artisanal artstation/instagram slop is gonna prevail over ai generated artstation/instagram slop in the content machine, especially since the idealistic views on art also include upholding the grindset. i think the only people left that are gonna keep relying on generative art are people with an insatiable fetish, people who think there aren't enough thomas kinkade paintings to use in their facebook posts, people who understand the comedic value of slop, and people with enough patience to mess with with image processing softwares as to get something satisfactory out of it, which is to say, artists.

[horsesteak]

“Now thank the good lordy above this absolute belter of a nook is still open in the wee hours of the day!”

The sudden blast of energy the newcomer radiated as his voice joyfully boomed through the tiny, cramped eatery was an immediate overdose for the overworked waitress. It was far too late (or rather, early, according to the man) for this sort of social interaction.

Check out Everything and Nothing by beans (with 6 e's and 6 a's) on AO3! Also check out my co-artist @gearbroth 's (!!!) art on their blog!

For the 2023 TF2 Big Bang! @tf2bigbang

~~~

See below for bonus sketches and infodump!

It's been a while since I did a big art piece like this. It was fun, and it got me experimenting with watercolour pencils for the first time. I'm still learning the craft, and as much as I want my first ever watercolour painting to be perfect, it'll have to do. I'm satisfied with my attempt this time.

Although I do wish I could capture the painting in a higher resolution; phone camera and scanner couldn't cut it, everything is still a bit blurry. Here's the best I can take on my phone:

It's also the original colours, before digital shenanigans were done to it. The work of a sleep deprived art wizard waving his silly little magic wand tool to get everything to look nicer.

The original concept for this mini-comic came to me while I was sitting under a tree, halfheartedly trying to study for my two exams the next day. I quickly sketched this:

I honestly like the lineart of this sketch better than the final. What could be better than demo's sparkley anime eyes?

I was excited I finally came up with an idea after being high and dry for weeks. Basically my mental state:

I was going to have Demo stride in, burst through that door with exuberant energy that filled the Spy's shitty dead-end cafe. And also showcase his traditional Scottish garb, which let me tell you is a whole rabbithole that I eagerly leapt into while researching for cultural accuracy. (I tend rely on real life references alot. Trying to branch out to stylised drawing would be cool.)

What happened next were these little sketches on post-it notes. I draw on them first before committing paper because...it's fun :)

Also in this case, this is a comic, so I could rearrange the drawings how I liked, so this was actually goated.

In the second image, see another case of liking the lineart more than the final. I had half a mind to keep that sketch of Spy and paint over it, but that wasn't watercolour paper, so no... :(

I was surprised how well the sketches turned out. Bloody hell, I'm an artistic genius! Now lets see how that translates to paint, eh? Well, you already know.

Some things to improve on, personally, is to make the lineart cleaner next time, so the paint doesn't mix with the pencil to make this weird greyish colour. Anatomy, always. Clothing folds is another big one. And finally, time management. Man, art is a passion, but damn does having too little time screw my art quality over. Well as they say, scarcity breeds innovation.

If you've made it this far, I am putting a virtual turtle (vurtle) in your hand, because turtles are cool, and you are too.

As a bonus bonus to this info-dump, have the original concept sketch while I was feeling out how to draw Demo in formal Scottish suit and kilt.

THAT IS ALL.

[eziojensenthe3rd]

Midnight Gaming: Long Live Eggbug

So last night I played Atari 50th anniversary collection, checked socials later to find.... cohost will shut down by the end of the year... aww..

So Atari is a company thats been around for a long while in the gaming industry, all the way back in the 70's with pong and asteroids, leading to the atari 2600 or vcs as it was called and finally leading to thier last console, the atari jaguar which flopped hard. It was a console that was advertised as a true 64 bit console even though it was really just 2 custom 32 bit processors, making it difficult to make games that run well, in the same decade that has the playstation and the nintendo 64. Yeah, "do the math".

Never really got to experience much of Atari when they were a contender in the scene, heck I wasn't even a year old when the Jaguar was launched so it wasn't really a part of gaming that I had a hands on experience with but I have heard of them. In my general interest in all things gaming in my youth, Atari was brought up sometimes in some gaming mags and online media, AVGN is probably for many people how they heard about Atari as he covered some games on the 2600, even did an episode on the failed 5200 and the Jaguar consoles.

So Digital Eclipse (not to be confused with digital extremes, the warframe folks) has done a 50th anniversary collection that has various games from atari's history, including some unreleased games. Naturally since these games can be easily emulated, a collection of old games wouldnt mean much but theres more to this than just that. You also get a bunch supplemental material such as artwork, behind the scenes documents and videos of interviews with several employees and key figures in atari's history, talking about various things. Cliffy B is there too for some reason.

For me its damn fascinating to follow along a timeline of events, looking at various media and playing some games, getting a feel on Atari's journey over the years. You do learn a few things about the company and how it ran at the time and uhhh.. it certanly looks a bit familiar. Developers having to work overtime, upper management ignoring concerns from thier employees, games being marketed beyond what could actually be delivered leading to consumer backlash, employees losing their jobs in mass. Yeah those problems are still around nowadays huh. 50 years later and nobody has really learnt anything, still making the same mistakes that one time led to the most infamous market crashes in history. Funny thing tho, while the games market did indeed crash in 83, leading to several businesses going bankrupt, for the average 2600 player it was just an odd time in which new 2600 games werent made. Because the 2600 had such a massive install base, eventually new 2600 games got made again, even during the time when the Sega Master System and the Nintendo Entertainment System were leading the console scene. To quote one Garry Kitchen "No one told consumers that there had been a crash. No one went to their house and said "You don't like video games anymore"".

Digital Eclipse also did some other games in the documentary style, the art of karateka and llamasoft. I wouldn't mind checking those out as I feel a documentary that covers a particular subject sounds fascinating to put the lenses of an interactive game, though I suppose it does veer a bit close to "edutainment" territory.

So now with that done, lets move onto the.... news. Cohost is announced to be closing down at the end of year with it converting to a read only format in October. I genuinly enjoyed my time on cohost even if it was short. From looking for alternatives to Tumblr, I stumbled onto it and found a chill sort of site that I felt comfortable browsing, chatting with peeps and sharing posts. It was a site that had an independent vibe that was unique and humble compared to some of its contemporaries. Tumblr weared the mask of being queer friendly despite nuking the odd trans blog every now and then, twitter is a cesspit run by that nepobaby bastard, discord seems to have issues with power tripping mods and creeps. A lot of social media seems to either be.full of techbro crypto ai weirdos or algorithmic data-harvesting software or both! But cohost had the vision of a place that didnt had user-unfriendly practices, instead of just making a site that demands engagement from the user for the sake of profit, the team made the site comfortable to browse and post on, letting people build up communities to hang out and chill in. Sadly that ambition wasnt sustainable due to the issues with both work and finance and in the end, it'll all be shut down.

I'll still be posting Midnight Gaming on Cohost until October as well as on tumblr until I find another site to host this series. Maybe I'll try that dreamwidth place I heard about, maybe i'll actually make a neocities site. We'll see what the future holds.

Until then, Rest in Piece Cohost. Hug your local eggbug today.... oh yeah james earl jones passed away too... awful lot of death lately, an old friend on my fathers side recently lost thier wife too. September what the hell you doing?

Hey whatever happened to those prizes that were won during the Swordquest contest?

Thats all for today, see you tomorrow. Feel free to leave any game suggestions or feedbacks. Anons are currently on.

[k-d-t-art]

My long-winded review of Hazmat Haberdashery

Because since most of us have been living in the age of the internet where you have to explain your reasoning behind your liking or disliking of a show or something, I'd say it's to be expected lol

My wife had been singing the praises of Hazbin Hotel for a while (she even said that Angel reminded her of my OC Eros!), and I finally cracked and gave it a look cos I wanted to see what all the hullabaloo was about

Verdict: it's ok lol. I didn't hate it, nor did I love it

There's a lot of things that I liked about it:

The voice acting

The animation

The premise

The art deco inspiration

SOME of the songs (was not expecting it to be a musical, so I had to tolerate some of the songs like I did with Steven Universe lmao)

And other things that I did not like about it:

The script/dialogue

Some of the character designs and color palette

The fact that it tried a little TOO hard to brand itself as an adult cartoon

Like... look y'all. I cuss. I cuss like a SAILOR. But God DAMN, it's like the dialogue was written by little Timmy who just learned the word "fuck" and is using it in every sentence lmao not even South Park uses "fuck" that much!

It's like, "HEY HEY LOOK WE'RE AN ADULT CARTOON WE USE CURSE WORDS AND TALK ABOUT SEX ALL THE TIME LOOK LOOK LOOK" and honey, it was exhausting lmaoooo

I think if a few things were changed around and rewritten, it could have been great in my eyes, but alas, yours truly only thought it was "okay".

Like I said, I do like some of the characters, so I'll be doing some fanart (don't expect much), but I feel so let down after that because of all the hype surrounding it. It had SO MUCH POTENTIAL TO BE GREAT, but it just ain't for me lol

I'll stick to Clone High and Digital Circus for now, thank you

[felixknow]

Maybe it gives someone inspiration for a fanfic I just feel like I am in a circus 🤡💀

So I dated a guy from the us for three and a half years it was long distance he ended up cheating saying “oh it’s bc ur too far” at first so there was a weird 6months of him and I still being together while he was with her. She wanted to be friends with me which was crazy but long story short they broke up before that he fully apologised and I realised I have feelings still.

Fast forward today he knew about me having feelings and he (told me before he still have feelings for me) goes to other girls and trying to date them to “figure out who he is” and when I asked why not me since apparently we feel the same he said “she was a friend in hs there is not resentment and baggage” the last part is valid and the first part is fucking funny since I don’t have any resentment bc he apologised I let it go even before that but why does he? All he did is play with me for half a year and I literally gave him everything I could.

Anyways I confronted him about it we shall see if he will be mad or block me or both (he never liked when I called him out and always made it out like it’s my fault when we were together I wonder what’s gonna happen now *sips tea*

Anyway how have you been?

-🌿

....................BROOOOOOOOOO..................

I'm on the aromantic (and asexual) spectrum, I do not put up w this shit 💀 go for love, find fulfillment, live happily and sweetly, but god damn do not let someone treat you like that, especially not some insecure ass american fuck boy trying to "find himself" 😐

I edited several insults out of that message btw

Anyway I'm great!! I'm branching into fan art but I'm not sharing until I feel comfortable with my progress. I've been a landscape artist for around 9 years now, but I've never really bothered with portrait or character art so I have to accept that I'm not good at it and learn and grow my art skills all over again 🤓 not to mention I want to learn how to do digital art which is a whoooole other issue 😳

[lilbearie]

Yall I need help!!!!

I've been planning birthday art for Chuuya! Just him in a American Diner eating a burger (it's hidden by the sticky note cos that damn thing did not look like a burger and the hands looked like noodles) and being offered a napkin, it took a while and now it's a week since I started on it but I CAN'T FIND MY REFERENCES I LOST THEM so, if you guys can, I'll try to find good references and yall could try and help me in the process! In return you'll receive a much better digital version of this artwork!!!

[nachfo]

ok time to ask you the same question you asked me, and don’t fuck up this time /j

When did you decide to get serious with art? did you ever expect to in the first place.

I’d also would love to know more about the OCs you shared, is there anything you could tell about their story, it looks so interesting and cool!

"sob sob" Forgive me 🥺🥺🥺 My brain is smooth and I have only 3 brain cells left. This shouldn't have taken me so long to answer.

I think I decided to get serious with it when I got my drawing tablet. That was in the pandemic and since then I've been improving. before I would just make little doodles on exam papers or sometimes I would do little comics. One time I gave one of my comics to a friend so that they could borrow it and they never returned it. I remember I would make like 5 - 6 pages of a comic and then grapple them together. One time my cousin helped me digitalize one of them. I still have that comic (it's horrible). I always looked up to my cousin because she was really good at digital art and she was studying that. So now that I am following her same steps, she gives me tips and classes which we sometimes stream on younow. We have very similar interests and we get along really well. She is the only person in my family I get really well with. Also, my brother was a big part of why I decided to start drawing because he also drew but in traditional.

To answer the other question I'd say no, I never would have imagined I would be doing this and be actually good. I never thought of pursuing art as an actual career and studying it. But look at me now! Before art, I was more into video editing and today I still enjoy it, but now it has passed to be more of a hobby than something serious.

Oc lore under cut :3

Okay, so you remember the characters I drew before? The boy is Anthony, and the car girl, oh shit, I still don't have a name for her. I need to come up with one.

So Anthony is part of a band with his friends (I still don't have names for them, damn it). So in the band there is Anthony, his childhood friend, his brother, his brother's girlfriend, and like two more unimportant people to the story (and by that, I mean I haven't developed them).

So they have a consert, and when they get there, Anthony's friend has a panic attack right before they get on the stage and runs from the building, and Anthony follows him. They decide to cancel the concert, and Anthony calls his mom to pick them up. But it was raining really hard, and while going, Anthony's mother crashes and dies. Just before, his mother gave him a pendant that contained a yellow gem.

Anthony now blames and has hatred for his friend. He isolates himself from everyone, and this has a big effect on the group. 2 years later, and Anthony still can't let it go yet, so in an effort to set things right, they all go on a camping trip. At night, they are all around a campfire, and they start talking and having fun, all but Anthony, who doesn't want to talk to anyone. Then his friend says something about his mom, Anthony gets angry, they have an argument, the argument turns into a fight, and Anthony breaks his friend's guitar in a flash of rage. Anthony realizes what he has done and runs into the woods. They all go after him. Anthony stumbles upon a big door made of rocks with a little hole in the middle to insert something. Anthony's pendant starts glowing, and he places the pendant in the hole that opens the door.

there is nothing but pich dark inside. In desperation, Anthony crosses the door without hesitation and keeps walking. It seems like it never ends until he sees stars all around him. All of different colors. He sees a light on the other side and starts running towards it. And gets to the light…

And thats all you are getting. Now that I am writing this, I realize it is very cringy oh god. This looks so much better in my head. I need to rework this a lot. Oh god this is so horrible. Well this might seem cringy because this is just surface level and i haven't talked about a lot of important things about characters and their personalities. I'll expand more of the story another time. I still need to talk about the cat girl, and there is a whole other world. It's a lot, it really is. This would be like the start of the story, and it is the only thing that I have completely planned out in my head.

[windycityazan]

Looking to make some Penpal friends

Been searching around trying to find any pen pals from Instagram mostly, dont really trust the FB groups that are made for pen pals.

I did meet a pen pal on IG but she had stopped really with the letter writing or damn USPS got lame and may have lost her letter that she said she was gonna send months back so not sure if I am just personally bad at making any friends in the real World.

I haven't done one in ages since i was prolly in my elementary days but i guess being in the late 30's can be boring. But would love to meet new people either online or on paper which I rarely have done.

Is anyone on Tumblr looking to make Real Life friends?

I am 35, American (Korean) born and raised in the hell hole Chicago has become now with all the crazies going on. Likes: pretty much all sort of tv dramas from the American to Kdrama and C dramas and some animes (will take on recs for any other Asian style dramas if there good plots) If you want to know more I can post a list. Music: Kpop (mostly the boy bands like BTS, ATEEZ, SF9, Astro,Seventeen) some Black Pink- had some favs as teen but been so long since I listened to girl bands and cant remember much, have gotten back into Kpop for about the time Covid started but slowly building into liking more bands) Also love listening to certain Kdrama OST's which lead me to fall in love with korean music more as the shows aired. But i have a spotify playlist i build for a bunch of KDrama songs. Also Chinese music has also gotten some of my likes from Ren Jialun (Allen Ren) has some great songs and acting, Zhang Zhehan who was a good actor now mostly into singing is pretty good too. I like also being creative with digital art like fan art of tv dramas like making gifs or plane fan art posters and such, used to do a lot on LiveJournal if you know that site. Been mostly making short vid clips for Twitter here and there haven't really done gifs in a while but I sometimes do for the fun of it. I also graduated from Uni with a BFA in concentration in Graphic Design since all I love is being on the computer so have that as a hobby. Fav foods: korean bbq love spicy pork and pork wit lettuce also the short ribs marinated. American wise Pizza, pasta, Chinese cuisine a bit of mix of everything. Fav books: scifi fantasy, romance, mangas ( Sailor Moon, Haikyuu, Shadowhunters series, Harry Potter series, Twilight saga, Fifty Shades series, Gabriels Inferno series)

If you have any questions you can DM if you want to snail mail hopefully t doesn't get lost in the mail on both ends or we can chat before deciding on giving out addresses.

Twitter: judy1987

IG: jca_creates (online store coming soon and where some of my art gets posted or judychodesigns (was made mostly for university senior art class reasons) has some of my works kind of