#I’d draw art for it but I’ve been trying to draw them in a style akin to Monkie Kid

[getosugurusbangs]

i miss you like i miss summer

[quibbs126]

So some time ago I had made some ideas for a Ninjago reboot, and recently I’ve been trying to work on it again, and I had a new idea for Lloyd and I’m not sure which version would work better

We have the original idea where he’s a normal human who was adopted by Garmadon and later on became part of his ranks, being one of his samurai warriors. However the armor tends to hinder him more than it helps as it’s just too heavy, and when the ninja fight him he’s not that strong, but after something happens and both Wu and Garmadon go missing, he joins the ninja in searching for them, ends up realizing he’s better without the armor and ends up joining the ninja because he just likes them better. He has no powers, up until they’re fighting the Overlord and need the help of the First Spinjitzu Master, so Lloyd offers to be essentially his vessel so he can help them in the real world, and afterwards being left with energy powers as a result of it. Oh also he’s blind in one eye and is missing an arm on the same side/has a prosthetic arm, due to whatever happened that led to him being taken in by Garmadon

The new idea I had was keeping him as Garmadon’s biological son, and he naturally has green/golden power, and also he’s centuries old, despite only looking like a teenager. He had a lot of latent power, and when something happened to Wu and Garmadon (the best I have is that they were turned into statues of some kind?), Lloyd got so distraught that his powers were fully unleashed and he lost control of it, going into his golden Oni form and causing a rampage across Ninjago, the likes of which no one knew how to defeat now that the protectors of the realm are incapacitated. Eventually they were able to stop him by sealing his powers away into four weapons, which creates the Golden Weapons, and him being sealed away somewhere so that he won’t cause any more harm. This becomes known throughout Ninjago as the Tale of the Golden Oni/Master, though in everyone else’s eyes, the Golden Oni was just some villain who took advantage of Wu and Garmadon’s situation; people don’t know who he really was. He does eventually get out, but what happens to him afterwards I’m not sure. He may become an actual antagonist, or he’s been wandering the realm for a while. I’m also not sure whether he wants to regain his powers again. I dunno, I haven’t fleshed it out much yet

So yeah, which one do you think would work better?

Oh yeah and for reference, I should probably explain Wu, Garmadon and FSM in this hypothetical continuity. So Wu and Garmadon are full blooded Dragon and Oni respectively, and they have no biological relation to one another. For countless millennia, the two fought one another across the realms, and one day they eventually came across the primordial Ninjago, still being created by the First Spinjitzu Master. They continue their fighting, only for it to be stopped by the FSM, who’s angry because they won’t let him finish his realm with their constant battling. When the Overlord shows up, the FSM makes them both help him fight the Overlord, and after finding some sort of beauty in this primordial realm, and coming to some level of understanding between one another, the two help and they defeat the Overlord. Afterwards to finish his realm, the FSM has to essentially become one with the realm, and in his stead he makes Wu and Garmadon the protectors of his realm, which they agree to, considering each other something akin to sworn brothers, or at least brothers in arms. One condition he has for them is to not fight each other, at least not at full power. And so that’s what they’ve been doing since. Oh yeah, and the FSM isn’t a Dragon/Oni hybrid. In fact, no one’s quite sure what he is, but he gives off eldritch horror vibes. He also takes on the appearance of a young boy, and even acts like one sometimes too, but he does have his mature moments. The two are honestly terrified of him

[art]

Creator Spotlight: @themetalhiro

Hi, I’m Metal! I’m a freelance artist from good ol’ New Jersey. My favorite things to work with are a lot of bright colors, exaggerated poses, and candid scenarios. I try to farm sensible chuckles whenever I can, so I’m also big into comics. I love making them about my life, and the media I’m into, and one day I’d like to publish my own series!  Thank you to everyone who has gotten me this far!!

Check out Metal's interview below!

Did you originally have a background in art? If not, how did you start?

I guess so! It’s funny, I don’t remember a single time in my life that I wasn’t drawing as a hobby… somewhere in middle school (a little late, I know.) I put the pieces together that animated movies were made by artists, and that it wasn’t just for fun, they were paid to do it. The moment I discovered people could be paid to make art, I decided I would do that, too. Now I’m here!

How has your style developed over the years?

I think the best way to answer this would be with an example! Over the last few years, I have made more of an effort to draw more intentionally, which sounds silly. Now, I put more thought into my poses and step out of my comfort zone with shape language and composition. I had a phase where I drew everyone with a huge, perfectly circular head and no nose. That definitely did not lend much variety...

Which 3 famous artists (dead or alive) would you invite to your dinner party?

Ack! I’m so terrible at history! I’d love to give a well-thought-out answer about fine artists of old, but I don't think we’d have much in common… Most artists I admire and who have driven me forward creatively are the people behind comics I’ve read. Andrew Hussie, Bryan Lee O’Malley, Eiichiro Oda... these guys have inspired me greatly and had a heavy influence in developing my art style and sense of humor. I’d love to ask them questions about their processes and upcoming projects. I think it would make for an entertaining night!

Over the years as an artist, what were your biggest inspirations behind your creativity?

Outside of pure aesthetics like searing bright colors, layered clothing, and loud noises…. the best and most inspiring moments in my life were those surrounded by friends and loved ones! I cherish the hell out of memories of hanging around in fun locations, trying weird food together, and impromptu midnight walks... so I try my best to capture that atmosphere and my own memories in my work when I can, even if I’m imposing fictional characters on top of them. That’s always the core of it.

What is a medium that you have always been intrigued by but would never use yourself?

I would never permanently refuse a medium, but every time I pick up clay, I’m like a baby using its hands for the first time. Absolutely dreadful. If one day I could make and paint a figurine like the ones I admire in videos, that would be awesome... But for now, I’m not counting on it.

How do you want to evolve as a creator?

I’ve had an absolute blast drawing fanart over the years, and it’s certainly played a massive role in my growth as an artist. But my dream has always been to publish my own stories for y'all to enjoy! I have lots of worlds I want to introduce to you before I’m old and gray. I want to get faster, work harder, and get better at drawing interesting settings so I can get the wheels turning as soon as possible. I also want to stop avoiding the color blue like a coward.

What do you wish you knew when you first started out creating art that you know now?

Pay your taxes quarterly. Tablets will break at the exact moment you need them most, so have a spare. Wear your blue light glasses. You’re going to need to wear a brace on every joint on the right side of your body. It can be lonely sitting at your desk all day. The car on the side of the road that costs $1000 cash….. don’t trust it!!!

Who on Tumblr inspires you and why?

@cranity—They use absolutely beautiful colors and weighty line work. Everything looks so sharp and clean! I wanna put it all up on my wall!

@vewn—Their ability to crank out quality short films and illustrations packed with detail is incredible. The off-kilter perspective they use really sells disorientation and catches your attention like nothing else.

@nelnal—They have absolutely banger character designs again and again, I can’t believe one person’s mind can come up with so many creative ideas!

@jinx88kc—They have a beautiful and recognizable style, and the way they incorporate animation into their illustrations sometimes is SO cool!

Thanks for stopping by, Metal! For more of Metal’s work, follow their Tumblr, @themetalhiro! If you haven't seen their Meet the Artist piece, be sure to check it out here!

[le-poofe]

Finally~

I wanted to make a little something to say "Thank you for reading" to cap off WYS! Excuse me while I get mushy for a second-

Y’all are the reason this was able to get done. Your enthusiasm for updates and how the story unfolded really means so much to me. It was the little things that kept me motivated, even during the long hiatus. Seeing you guys pick up and point out little details sprinkled throughout the comic always made my day and gave me a sense of validation. Reactions to things like the surprise of Sans’ nightmare or Grillby’s comfort all made me super happy. And you guys gave the finale pages the sweetest reception I could ask for. l'm so grateful that you stuck around for the whole thing!

Overall, I’m very pleased with how this turned out! Interestingly, the main thing I’d want to change if given the chance is how I wrote Sans and Grillby themselves. Especially Sans’ dialogue. My characterization of them has changed quite a bit over the years (hard to tell bc I don’t draw them a lot atm). But that can’t really be helped. Just like the way that my art style changed over time. Hindsight does that stuff all the time. Nitpicking aside, I stand by the creative decisions made by 2019 Me

The funny part is that the original comic was 17 pages and I got them all done before hand so I wouldn't run into the issue of falling into a hiatus between pages!!! If y'all are interested in a bts post, I’ll try to dig up those og pages from my old computer. And maybe I'll show the even rougher epilogue draft I threw together for shits and giggles to see if I could get the page count to 69

Sansby has already been super special to me for a long time, finally getting this done and seeing the response strengthened that. I’ve had so many people find me through WYS over the years, it blows my mind. The messages from people who hold it dear really means the world! Without you guys this comic wouldn’t be what it is now. Thanks for Staying~

[alnair-jpg]

Olympics AU Info dump!

First, I am blown away by how much love the series is getting, thank you all so much! I do really enjoy all the comments and reactions in the tags. Know that they all delight me and the only reason I don’t reply to everything is because there are so many! But I read them all 💕

General questions:

Can you draw the designs or concepts? Write fanfic in this AU?

Yes of course! I’d love for you to tag me if you post them so I can see

Do they all know each other?

At first, I would say no- with the exception of Nico and Will (they’re developing a whole backstory in my head that I cannot and will not stop.). But they all meet in the Olympic Village after the opening ceremonies and quickly become friends. They all try their best to attend each other’s events. (Someone please tell me how Percabeth becomes a thing. Please. 🙏 )

Why didn’t Percy win gold?

Percy was an Olympic medalist in swimming before moving to diving. After competing in several swimming events and feeling like they were all just small variations of the same thing, he wanted more of a challenge. He chose diving to stay rooted in to the water, but to add a new dimension to his bodily awareness and control.

What’s Annabeth and Luke’s rivalry?

They most definitely trained together, and it was Luke’s skill that motivated Annabeth to aim for the Olympics. But, she wanted to compete for her home country, Greece, which Luke thought was just a shortcut since there was a clearer path to an Olympic team in a smaller country. Annabeth is constantly trying to prove to him that she would have made it to the top of the sport either way.

Also, apologies to the IRL fencers out there for the inconsistency. I know fencing is a gendered sport, and Annabeth’s gear/style are inconsistent, please forgive the oversight ☺️🫶

Volleyball?

The whole Hunters of Artemis are a volleyball team (that apparently has no country 😅). Thalia ends up the captain. When Reyna moves on from tennis they welcome her with open arms.

Rejected sports

Will as a runner. Canonically, he’s super fast, but just having him as a sprinter didn’t fit with his personality.

Will as a pole vaulter. Specifically the guy that lost because he was ‘blessed a little too much’ and knocked down the bar. I will not explain further.

Will as a gymnast. He was this || close to being a gymnast essentially modeled after Steven Nedoroscik, I had the sketch and everything. (I shared it here!) But when an anyonomous ask clued me into the sick medical team uniforms it all fell into place from there. (Thank you no-longer-anon @helyeahmangocheese !)

Percy in anything equestrian related. I see him not having the patience for all the formality of it all, but he definitely crashes Hazel’s shows and chats up all the competition (the horses.)

Annabeth on a sailing team. Also, related to that, Reyna on a sailing team. It was a fun idea, especially for Reyna and her history with pirates but ultimately it was really hard to capture in a few illustrations.

Nico in several winter sports. For consistency mostly. He could fit for a lot of winter sports - ice skating and snowboarding are my personal favorites.

Leo as a shooter. He would most definitely build his own gear and make tweaks to his weapon. Which would get him immediately disqualified.

Jason in discus. Jason as a basketball player. Golf is just… fitting. 😂

Other Characters I’ve been thinking about

(that may have art in the works… and may not actually be athletes!)

Clarisse

Meg

Grover

Rachel

Lester / Apollo

Mr. D

Chiron

[randomyuu]

the way it follows you home, the stories i never told

My guy Vox once again graced us with lovely Goyuu fanfics, and the way it follows you home, the stories i never told, made me go FERAL.

Time travel? Two Gojou Satorus? Double affection for our sunshine Yuuji? Yuuji sandwich? What feels like possible continuation of (you'll whisper, serpent tongue) what you fear you have become???

FUCK.

I need to stop indulging my imagination too much. I should’ve been content with writing long-ass comments but noooooo, my brain goes “you gotta draw it”. DAMMIT VOX, YOU AND YOUR DELICIOUS WRITINGS HHHHHH

So… usually I should’ve picked a favourite scene that is within my drawing capability, but I just… love all three chapters??? So I made a questionable time investment? I can’t stop??? Help???

This is probably the most ambitious fanart project I’ve ever done so far. Fair enough, considering I might combust if I keep these welled-up emotions inside from reading Vox’s Goyuu fics. Fuck.

Fic info:

Title: the way it follows you home, the stories i never told

Author: @voxofthevoid

Pairing: YuuGoGo. Future!Yuuji, Future!Gojou, Teen!Gojou

(idk why I laugh writing YuuGoGo. I’m beyond help)

Currently, it is 3 chapters out of 8. And it’s gonna be NSFW chapter 4 onwards, so don’t forget to read the tags first, folks!

The drawings are under Read More, because I have lots of thoughts surrounding each chapter and drawings. It’ll be hella long if I didn’t hide it here. It was a mess down there. A combination of hours before, during, and after I read said fic. I’d say good luck finding the art among the sea of jumbled words but… you’ll find them easily. Don’t worry about it haha

SPOILERS FOR ALL 3 CHAPTERS! I highly recommend reading those first before diving into these drawings!

Also for the comics, read from right to left please!

From here on, I will be referring to the Future!Gojou as Gojou and the teenage one as Satoru.

Overall, drawing all these is fun! Really fun! This project pushed me quite hard, forcing me to test my limit (because I rarely draw this much back to back). Since this is a combination of drawings and comics, the coloring style will not be consistent. In a way, I want to try some brushes I never get to use, as well as try out my new graphic tablet. Drawing these got me giggling because I was finally able to let loose during line art. It's much easier to do so, and sometimes I just get to reread the fic and giggle to myself for the nth time.

CHAPTER 1:

Whooo. Whooooooooo—

Ok, ok, the premise is just that good. It intrigued me, fascinated me, and I just… oomph. I cannot refuse a Time Travel Yuuji Sandwich. Sign me up.

Honestly, there are two scenes that are just… a bit too clear in my mind when reading this chapter. That would be the one I drew above, and the other is when Yaga called Gojou to come outside of the class. I love, loooove how Vox wrote Satoru’s POV. And when Yuuji fucking giggles?

I lost it.

Can you imagine, drawing Yuuji grins, with shiny stuff, maybe some sunlight, just purely happy and indulging Gojou?

Help me, for I am drowning in my love and adoration for Yuuji.

Page 2 is an experiment on using harsh black as shading (kind of?). I really enjoyed colouring Yuuji, and drawing those buffalo skulls! I wish I can grasp the concept of contrast a bit better tho :v

CHAPTER 2:

This is probably the only chapter where I picture still images instead of comic panels. A bit like those cool chapter covers in mangas. The one I really, really want to draw is the scene with Satoru on the table. Can’t pass the opportunity to highlight Satoru being a brat, albeit a really cool brat.

Cool idea drawing always proves to be a challenge, because of course my artistic skill just so happens to be below the requirement. Thank you, Sketchfab, for the chair and desk’s perspective otherwise I’m screwed lmao

The second scene that I want to draw the most is this:

Gojou is one step away from climbing Yuuji. Also, I have a bit of a problem picturing a man pouting that makes him look crazy instead, so please have Gojou pouting adorably instead. Because, as Yuuji said (with love), Gojou is (also) a brat.

This is possibly my favorite art in this project, after Yuuji's in Chapter 1 page 2. It's clean because I don't have to draw background, and I was having a fun time drawing Yuuji. And Gojou's squishy cheek as well.

Oh, actually, there is a “manga” scene in this chapter. It’s when Yuuji said, “I love Satoru.”

I just—

AAAAAHHHHH YUUJIIIIIII YOU AND VOX ARE GONNA BE THE DEATH OF ME. That secure relationship between Yuuji and Gojou? Satoru’s description of how Yuuji’s smile could blot out the sun??? Not me screaming 💀 I also see bits of hints of possible co-dependency, though I could be reading those wrong, but either way I’m good. Secure and possessive relationships are fun to consume hhhhhh

But yeah. There are too many wholesome Yuuji smiles in this fic, and I… I am not confident enough to draw genuine happiness. It’s too much for me ∠( ᐛ 」∠)＿

For this chapter, another reason why I chose these two scenes is just because I want to try and draw cover-worthy pictures of Yuuji and Satoru, and Yuuji and Gojou (cough)

CHAPTER 3:

We start the chapter with Nanamin. Ah, Nanamin. I forgot what his teen self looked like and was surprised to see his design again lmao

I want to draw Yuuji and Nanami scene because… I just want to, I guess. I have never drawn him before (Yaga as well) so that's an interesting challenge. I got two ideas on how I want to draw it. One is a bit painting-esque, and the other one is like another chapter cover. In the end, I chose the cover one because I want to emphasise the difference between teen!Nanami and the Nanami from Yuuji’s original timeline, and how the watch feels like a connection between the same (yet not) person. It’s a bittersweet feeling? In a way?

I’m not really good at explaining my intention ∠( ᐛ 」∠)＿

I love Yuuji’s answer to Nanami's question.

AND FINALLY.

A Yuuji SandwichTM scene.

And oh B O I do I love it. Have I told you I like every chapter? I probably have. But this one? Satoru’s curiosity, Yuuji’s on-brand self-deprecation, and Gojou come strolling down to show more of Yuuji to his mini-self. I want to draw this whole scene, from Gojou finding them, feeding Yuuji snacks, bitch-slapping Satoru into the backroom, to Yuuji growling. Them trying to hide a boner from Yuuji’s growl got me cackling so hard I LOVE IT 😭

I love it all. Please love Yuuji in my stead, Satoru and Satonyan :3

Oh! Also! 40-finger Yuuji sounds really, really cool! I’ll be happy with whatever Vox will give us in future chapters, but 40-finger Yuuji… possible scene with this timeline’s Sukuna… my god. The action! The drama! The bloodshed! One can only hope.

However, as much as I love that whole scene, it’s still too much for me :”) I’m still not yet confident in delivering the humour and action. Also my already-long drawing plan had my brain groaning in protest so I can’t push my luck :'D

When Gojou said "He looks sweet, but he's a bit of a beast", I kept picturing Yuuji staring innocently, but there was an edge to his look. As if the moment Satoru looks away, he will pounce. But in the end I just stick with innocent-looking Yuuji because I accidentally drew his eyes that way and I want to keep it in lol

Since Satoru points out how soft and cuddly Yuuji is, I also want to draw soft Yuuji :v

And the last one… is the last scene. For some reason, I read that both Gojou and Satoru share Yuuji’s lap and was having a frustrating yet fun time figuring out how it’s… physically possible, without having their butts on the ground because they both are not small at all. As I lined the art, I reread it again and… perhaps I read it wrong? Satoru is beside Yuuji, and not on his lap? So yeah, this one might be the least accurate, but hey, at least you can view it as a crack drawing or something :v

AAAANNNDDD I HAVE EXCEEDED TODAY’S BRAIN CAPACITY OF FORMING WORDS

Have I told you I love this fic?

…I probably have.

Have an amazing week (❁´▽`❁)*✲ﾟ*

[steftastan]

Carian Stroll

“Tell Blaidd, and Iji…I love them.”

Before this piece, I had been wanting for a long time to create my own piece of Elden Ring fanart featuring Ranni. I had tried several sketches unsuccessfully, just wasn’t particularly feeling the ideas I had sketched up until that point.

One day of usual internet scrolling, I stumbled upon this gorgeous piece of art by Shimomura Kanzan.

I knew immediately I wanted to do something like this for my Elden Ring fanart. In fact, if you look at this piece, there is tons of inspiration that I drew from the original artwork, such as the style of the yellow leaves and the main subject matter being a prominent silhouette of the brightest value, placed at approximately the bottom third of the image.

The main character is cleverly shrouded amidst various layers of trees and foliage, giving us the impression that we're peeking into candid moment of their life. In the case of the fox, we caught it during a mid-day snack. In the case of Ranni and her party, we caught them in a leisurely stroll, while Iji outfits the dreaded Fingercreepers with their iconic rings.

I wasn't sure if I wanted to capture a happy moment, but Ranni goes as far as to ask us to deliver to Iji and Blaidd the message that she loves them dearly as her quest draws near its end. I would imagine they all must have had fun moments together as a family. Hey, maybe even the hands liked to be around them?

The process

I started this on my iPad using the procreate app. Sadly the full process is not captured on video, as I switched to Photoshop for the rendering phase of the illustration. This video is a fun window into my chaotic process and how I iterate on the fly on the same canvas. I probably wouldn't do that in a professional setting where you often need to have color keys and iterations to be reviewed and analyzed. I like to I cut myself some slack when doing personal art to keep things fun.

Trying and failing some more

This illustration was not a straightforward path. I haven’t been very diligent about personal art, and at some point I started deviating too much from my reference by adding too many levels of depth to the background and suffocating the piece. I got into a weird loop where I would randomly open the PSD, play around with the values, pushing Iji to the back, then bringing him back, cranking all the levers on Ranni, etc., decide it would look horrible, then begrudgingly determine I’d never complete this image and go on with my life.

As artists we likely have unfinished work sitting everywhere, be it in our sketchbooks, canvases, or hard drives. But it’s a different kind of sting when you feel like you can’t even nail the fundamentals.

Anyway, so a couple weeks ago, I decided to give it another go, but this time I would get rid of all the unnecessary stuff, even stuff that I had been trying to render for ages. I would not hold on to anything, I would try and recapture what drew me to Kanzan's beautiful painting to begin with.

After it became a matter of pushing and pulling pixels until the image was finished!

That’s about it. I didn’t go crazy in depth but lately I’ve been enjoying reading into artists’ processes and I’d be remiss to not share my own thought process also.

Thank you for viewing!

[crtastrophe]

Hi hello it seems I’ve caught a rare strain of art block that makes me unable to draw in anything other than Kid Pix Deluxe 4™, but I still need to buy groceries and stuff so!! I’m gonna try my hand at some experimental commissions.

If you have some kind of whimsical OC and you want me to let me loose on them, now’s your chance! Give me a character and I will cook up something cool — there's no pose/style/background tiers, though I will try to put an equal amount of effort into every drawing.

Payment in USD through PayPal invoice only.

More info under the cut!

Inquiries through Tumblr DM or via crtastrophe@gmail.com.

You can give me some brief prompting (e.g. “I’d like a drawing of my wizard OC casting some kind of spell”, “Can you work in some robot/tech motifs?” etc.) – or give me free rein, if you’d prefer.

I will need a minimum of one visual reference of the character’s design, but the more material I have to work from, the better! Tell me about their lore, what they’re like, their associated themes and motifs, all that jazz! Show me their aesthetic moodboards, the funnie tumblr textposts you associate with them, their playlist even.

As the nature of the program makes revisions difficult, I might turn down a request if I do not feel confident that I can compose a satisfactory piece from the provided material.

Once we’ve worked out all the details, I will send you a link to a PayPal invoice. I will not begin working on the piece until payment has been recieved.

Please note that I won't be providing WIPs! I can show you my initial sketch for the composition if you'd like, but after that the end result will be a suprise.

Once completed, I will send you a link to a drive containing the resized drawing in the form of a .png, as well as the original 665 x 477 bitmap.

Once payment has been received and I have begun working on the piece I cannot refund it. However, if I for any reason have to cancel the commission from my side I will refund it fully, regardless of level of completion.

Some limitations of the program (good to keep in mind!):

No layers

One (1) level of undo

Image size: The Kid Pix 4 drawing area is 665 x 477 pixels. I scale up the final image file x4 to make it more compatible with the modern internet, but the drawing itself will still be crunchy. That’s part of the charm! (I can also make the image dimensions 1:1, if requested.)

Colors: It is possible for me to create colors outside of the palette provided by the program, but replicating hues precisely can be tricky. Expect some stylization.

Okay, I think that’s everything! Thank you for reading this far, and feel free to contact me if you have any questions <3

[hannaloony]

I’ve just been spending my morning scrolling through your art, and I’ve already liked and reblogged basically every post, so I figured I’d pop by to tell you how much I adore your art style! The details and the expressions and the hands!!! 12/10 love love love 💕

THANK YOU SO MUCH 💓🌸🌸

I really appreciate your kindness and support!

Drawing expressions is one of my fav things, although my younger sister always laughs at my face when I grimace, trying to figure out how to do them better 😭

I am incredibly glad that you mentioned hands! Because I spend most of time on them (I hate drawing hands!)

Lots of love and huge hugs!

Have a beautiful day! 🌺

[epiicaricacy-arts]

without the sour the sweet wouldn’t taste

why are you as a man eating another man’s ear after you failed to make him eat his ex girlfriend. 🤨🏳️‍🌈⁉️

im allowed a bit of toxic yaoi. as a treat

process discussion utc ⬇️

for those familiar with my work you’ll know that i like trying a lot of new styles and experimenting in order to achieve a certain vibe. usually those are heavy painterly styles such as the sunday art inspired by Yuming Li, which is what i’m familiar and comfortable with, both traditionally and digitally

what im NOT familiar with is watercolour. i’ve never had a good time with it 🥲 i just cant seem to wrap my head around the process since its requires me to work backwards (light to dark vs dark to light)

for this piece i just couldn’t imagine myself rendering it in my usual style. i needed to do something new so that i’d stay invested enough in the piece considering that it has two people, meaning double the work. for some reason i thought it’d be fun to do double the work with a style i am completely uncomfortable with but oh well!! i managed to do it 🤷‍♀️ i was specifically looking at the works of Ko Byung Jun, an artist i’ve seen all over my pinterest feed

while i didn’t end up really following the style super closely i still learned quite a lot just by looking at it while i drew. i tried my best to stick to watercolour brushes and an ink pen but as i was nearing the end i needed to make some alterations that i wasn’t bothered to try fixing with the watercolour brushes so i just went over it with my digital ones 🫡 i did my best that’s what matters!!!

i had to repaint rody a few times cause i just couldn’t get it right and the colours never ended up matching vincent. i painted them separately and i think i got possessed while painting vincent cause it happened in like. 40 minutes. and i couldn’t get it to happen again 😔 it didn’t really matter cause i ended up going ham with the curves tool as always but you know 🤷‍♀️

here’s the image without all the effects:

i find lately it’s been more and more common for me to be sketching several iterations of a concept for days, even weeks before i land on something i like. i have an entire separate canvas that i’ve spent 5 hours just doing thumbnails trying to figure out how i wanted to pose these two in a way that would showcase the characteristics that mattered in the story of this piece.

that’s my process for coming up with drawings: i find inspiration somewhere, i figure out the key concepts/characteristics/symbols etc i want highlighted, and i work around those. sometimes i have a composition in mind or just a general vibe i want to portray. for this one i wanted to make sure the towel, rody’s injured finger and vincent’s face could all be clearly seen, while also portraying the fight scene and the vibe i get from the reference song. almost all of my work revolves around a specific lyric from the song which drives the story of the piece. here i interpreted the line “without the sour the sweet wouldn’t taste” as a connection to all the little actions vince takes with rody that can be seen as “sweet.” drying rody’s hair, bandaging rody’s cut. i then asked myself how i could take those actions and make them “sour” or show them in a different light, in which vince is biting the finger he bandaged and pulling rody closer, preventing his escape with the towel he used to dry his hair. what im trying to communicate in this illustration is the idea of “if it weren’t for how i’m treating you now, you wouldn’t understand how kind i was to you then” in an attempt to illustrate the complexities of the way vincent acts towards rody.

i’m truly in love with the story telling of this game. it’s hard to really say anything about how the characters acted during the story because it’s so complex in how it’s done. it’s very hard to summarize their relationship because there’s so much about it i can’t explain without just quoting the game directly. i think it’s such a beautiful portrayal of obsession and just being fucking weird about someone. i wanted to ensure the elements i mentioned in the above paragraph because i didn’t want to be portraying vincent as solely a villain and rody as a victim. i wanted the storytelling of this one illustration to live up to my impression of this beautiful game and i hope i did it justice.

thank you for reading this if you’ve made it this far. i love rambling on all my art posts cause i think it’s so valuable for artists to expand on their work outside of the result alone. i hope what im saying is at most helpful to someone and at the very least a good read. i’m probably gonna take a bit of an art break after this since it took a lot out of me, plus im on the last days of my trip. thank you again for reading!

here’s my dog

[uchihaharlot]

I didn't mean to break their hearts, I was just curious, srry!😭😭 (but Itachi's one was kinda funny-)

But anyway, now I'm wondering about how they would react if they found out that you can draw really cool and beautiful.

(I'm an artist, so😎)

Nonny 🥹🥹

That put me in an really good mood; lol. That was way too fun to write; maybe I can one day write a super angsty break up (but I love them too much!!!).

I love all artists 😭😭😭 Painters, writers — digital or paper. Anything that expresses the inner workings of someone’s mind and the fact that they can manifest it to reality is so so so beautiful. I hope I’ve secretly seen your art, I’d probably simp over it. Always simp over art. 😂😂🥹🥹

N/SFW; very cute Uchiha men adoring your artwork! 🥹🥹🥹 (ooc Madara??); Simpy Obito; …Scandalous Shisui; abnormally observant Itachi 😂 suggestive themes rolled out the further I got. For some reason, I just had to. (P.s. I should not be allowed to write when tired??? Half of this was done while my eyes rolled shut in bed).

Madara:

It’s not everyday that Madara is blown like a leaf in the wind. When you mentioned being a patron of the arts, he thought maybe the art of battle?? Didn’t expect your weapon to be a paint brush with some acrylic paint. Thought it was some weird jutsu infused shit.

And then you just had to go above and beyond and do a portrait of him for his birthday!!!!! It’s hung on the living room center wall so that it’s the first thing anyone sees! Honestly, this man is a brute, but your art envokes his softer side! A side that he hasn’t been in touch with for…well, a long time.

Makes sure that everyone and I mean, everyone, is aware of your talent! Still, he tries to find the side hussle in it, soliciting customers for you and all. 😭😭 Will trash talk the chalk art children make on the sidewalk, which ‘…that’s not nice, they’re children..’ you say. He shrugs, nobody is as good as you.

Obito:

Finds out and tries to ‘secretly’ commission you lmao. Makes it totally obvious too, his handwriting is shit and eveeeerrryyyyone knows who Tobi really is…. Plus how can you even begin without discussing what he wants done!! Duh, Obito! Unfortunately for him, you are more interested in drawing matters of the flesh. He’ll only show his chest, nothing more.

‘That’s fine.’ You shrug, and get to work. Obito, however, does not have the resolve to sit still! It’s frustrating to no end, but alas, after what seems an eternity— its done. Sort of. Still much to add, but the basics are there and you’ll work better when he’s not asking how does it look every twenty minutes.

Eventually you do finish this beautiful piece of him, and Obito cries. You made his scars tolerable and beautiful with your mind’s creativity, he feels less self conscious about them, only a little.

Shisui:

Is the least normal about it when he discovered your sketchbook — more like snatched and played keep away. Had to fight him for it, literally. Will ask you to paint/draw him naked…many times lol and you respectfully say no... Not that he likes people to see him naked (ok maybe a little?) but he secretly hopes it might happen one day. It would be a private thing for the two of you, cause he wants that ass.

And when you do cave to his whim, just to satiate him. He’s nervous lmao. Had this oh so macho man idea of rocking a hard on but Shisui simply maintains his usual semi. It’s nice though, you make sure it’s extremely detailed..as he asked for.

But, ‘(y/n)… this is chibbi!!!’ Lol, jokes on Shisui!! He didn’t say how to draw his pp.

Itachi:

Is the most normal about it. Though he still will praise you every time you finish a piece and show him, he is still massively impressed. How does your wrist not get tired? …maybe this is why your hand jobs are so good. 😈 Just watching you try a new technique (pointillism, which is my favorite style) makes his wrist hurt. Enjoys when you ask him for ideas! He has lots of them! Mostly…obscure and derelict landscapes though.

Would not be opposed to having his portrait done, but it’s really not his style. He is disciplined enough to sit still but doesn’t see the value in it. Not until the final product is revealed, does he truly understand how important this piece was. You’ve captured his personality in a new light.

[rrrrinmaru]

picasso (marius x fem!reader) (nsfw)

wc: 5.7k rating: E warnings: nsfw, vaginal fingering, handjob, squirting, they're both freaks for each other

“I think it’s pretty,” you say plainly. “I like the look of it. I’ve always had a soft spot for ink wash works.”

The exhibit is held in a famous glass museum in downtown Stellis. There had been a controversy about the full glass walls and privacy issues a few years ago (you had read this case once, out of curiosity, and never again), but that was eventually resolved and now the first floor of the museum was regularly used for art exhibits. 

Before you knew Marius’ secret identity, you had invited him to visit one of Z’s exhibits. And Marius, the most shameless man to ever walk this Earth, had agreed. 

Fortunately, you learnt about this secret before you bought tickets for the exhibit. Not that you wouldn’t want to see his works displayed in the gallery, but the thought of you gushing over Z’s artwork in front of Marius without knowing the truth… 

It’s embarrassing. 

Today, however, it’s a different artist’s work on display. Thomas Mikeden, a foreign painter who’s been going on an exhibit world tour. Stellis is his latest stop, and everything just lined up. Both of you had the day off and tickets were on sale. You had invited Marius to the exhibit, excited to hear his artistic insight about the paintings, but Marius has been… a little petulant.

“I can’t believe we’re looking at a Mikeden painting,” he mutters, arms folded across his chest. “The first time you invite me to an art exhibit and it isn’t even mine; I can overlook that, but Mikeden?”

“What do you have against him?”

“We’re friends,” Marius says solemnly, looking like he doesn’t even believe the words coming out his mouth, “but we suffer from creative differences. Severe creative differences. If I ever have to see the way he mixes his oil paints again, I’d end up on the news for criminal activity. And he said if he ever had to see me try to sculpt a pot again, he’d wring my neck himself. He said my clay pots were an abomination against God.”

You blink at him. “You know how to do pottery?”

“According to him, I don’t.”

And suddenly, you get it. Creative differences, more like a bunch of children arguing over who does something right, or who does something better. Like kindergarteners fighting over whose parent made them the better lunchbox. 

“What are your thoughts on his ink wash painting?” 

Marius gives you an appraising look. “Not his worst work. He’s alright with ink wash. I've personally dabbled in ink wash before. It’s not my preferred medium, but we learnt it as part of our curriculum.”

You turn to look at him, eyes bright. “Really? Do you still have those ink wash paintings hidden away somewhere?”

“Of course. I never throw my works away. I’ll bring you to one of my storage warehouses one day.” 

One of his storage warehouses? It never occurred to you that painters would need a lot of space to store their paintings, even more so if they were particularly diligent and practiced different painting techniques often. With how many easels and canvases were strewn about Marius’ house, you suppose you should have made the connection.

“I’m looking forward to it.” 

The next few works are insightful, to say the least. Marius gets up close and personal with one of them to sneakily point out to you a place where Mikeden allegedly made a mistake and had spent hours trying to cover it up. 

“This is from when he tried to lean into the Baroque style,” Marius says, using his thumb to frame certain parts of the painting to draw your eye to them. “The colors here, see, the stark contrast between the light and the dark? That’s the use of tenebrism, popularised by Caravaggio.”

“Hm,” you note, eyes wandering around the painting. It’s a stunning piece of work, and Mikeden captured the likeness of the male form well. The extreme contrast almost seems to frame the figures with a halo, a light that blooms from their very center to strike at the viewer’s attention. “They’re quite handsome.”

Marius makes a sound at the back of his throat. “You’re more into modern men, jiejie.”

You hide your laugh behind a cough. He’s like a needy kitten pawing at you for attention, and you’re helpless against someone this cute. 

“Yes, yes, look at how handsome you are,” you say, turning around to face him head-on. You reach out, smoothing the non-existent creases away from his button-down. 

Without really thinking too deeply, your fingers linger on the stretch of the fabric across his chest—the thought that you can see them if you squint hard enough comes unbidden to your mind. The small bumps under the fabric, stiff from the slight chill of the room. 

It’s the kind of thought that grips you by the throat, sitting in your mind and taking up space, holding you captive until you do something about it. 

You brush your thumb against one of them, just because they’re right there, because you can, because Marius’ hands are on your hips and you’re feeling a little… playful. 

Immediately, a hand catches your wrist. It doesn’t stop you from pressing the pad of your thumb lightly against that raised bump, and Marius’ breath hitches. His fingers flex against your wrist, hard enough that you can’t help but smile. 

He’s usually the one making you flush in public, so you mark this as a victory. The sight of him, red-faced and pouting, heart pounding so desperately you can feel it through his chest—you pull your hand back, and he lets you go. That hand drops back to your waist as you bring your thumb to your lips, and you hold Marius’ gaze as the tip of your tongue darts out to lick your thumb.

Marius goes still. It’s as if he’s nothing more than one of the paintings hung up on the gallery walls, with how still he is; his pupils are blown wide and he gives you this shaken look, as if you’ve completely disarmed him. Swept him off his feet and left him grasping at straws to find the words to say. 

Eventually, you go back to smoothing out his shirt. Properly, this time. No messing around.

“You’re driving me crazy,” Marius murmurs, his breath puffing against the curve of your throat as he leans down. His voice is soft, barely louder than a whisper, but it somehow feels deafening in the quiet of the room. 

Your hands tighten around the front of his shirt. “Marius?”

“Be quiet for a moment,” he says. His fingers rest on your hips and you swear you can feel the heat radiating off his palms. It makes you want to shuffle away, pull back and put some space between the both of you—he doesn’t do anything, doesn’t tighten his grip, but his hands somehow get heavier. Like a weighted blanket resting around your waist, shackles holding you in place without really holding you at all. 

Your heart kicks in your chest. It isn’t often that Marius gets this way, so quiet and possessive, like he has to cage you in a small corner and watch you to make sure you don’t get away. His forehead rests against your clavicle—it’s not a comfortable position, not when he’s so much taller and he’s pressed up so closely against you that you can feel the way his chest shivers when he drags in a long breath. 

“Jiejie,” Marius whispers, voice quiet. “Sometimes, I wish I could wrap you up like a piece of art and hang you on my wall.”

He’s crazy, you think, and you realise even your subconscious thoughts have taken on this air of fondness when thinking of him.

“Is that so?” You reply, voice just as hushed. From the corner of your eye, you can see another patron glance at the both of you—they glance away, then look back, as if doubting their gaze. Yes, you think weakly to yourself, Marius is indeed clinging to you in the middle of a public gallery for expensive artworks that easily go for three times the price of your apartment. “Which wall will you put me up on?”

This time, Marius’ grip tightens imperceptibly on your hips. “Any wall that jiejie wants to be put up on,” he says huskily. His voice has dropped an octave, and the tone he takes is one that you’ve become very familiar with when you tease each other. Never enough to really commit to anything, not yet, but enough that Marius gets that look in his eyes like he’d very much want to stop being a gentleman about things. 

Abruptly, you notice the double entendre. “Marius!”

“You asked,” he says smugly, lifting his head so you come face to face with the smirk pulling at his lips. He tugs you in to press your body fully up against his, hip to shoulder. “Is jiejie shy now? I can tell you about which walls I’ve thought about you up on—my bedroom, naturally, but the living room is a strong contender.”

You gape at him, too shocked to say something smart in return. “You—! Not so loud, we’re in public!”

“No one’s listening.” Marius tilts his head, giving the surroundings a cursory once over before catching your gaze. “They’re busy looking at the art on display. I’m looking at a different kind of art on display.”

He’s so shameless that it makes you want to burst out in laughter. A different kind of art on display? Who does he think he is, a host from a host club? Where did he learn these phrases from? The Internet? His brother? Worse, Vyn? 

The thought of Marius asking the one and only Vyn Richter for advice on how to pick girls up makes you laugh. 

“You think you’re so smooth,” you say helplessly, lips curving up of their own accord as you reach up to loop your arms around Marius’ neck. “You think I’m going to fall for that?”

“I’m not a gambling man,” Marius tells you, a confident glint in his eye, “but I’ve always been lucky.” 

He puts up a strong front, but you know better. The back of his neck is hot from embarrassment. The tips of his ears are flushed red. You brush a stray strand of hair past the shell of his ear and pinch the crimson tip along the way. 

“Jiejie,” Marius whines, caught in the act. “Come on, let me pretend for a bit. Don’t you want to come home with me and have a better time?” 

He gives you this beseeching look, brows furrowed and lips turned down. You’re weak to that look—it’s suckered you into agreeing to far more things than you normally would have agreed to. But how can you say no to a face like that? To a man built like that, shoulders so broad they could dwarf you in a hug, fingers so long they could encircle your wrist, a face like God himself came down to carve it from marble—when Marius looks at you with that pleading gaze, millimeters away from begging, how can you say no to anything he asks for? 

Perhaps a stronger man would be able to resist the power of Marius’ visual attack. But you never proclaimed to have a strong willpower, and you fold like a castle of cards in a stiff breeze. 

“Let’s finish looking at all the works first. And no, just because you know who the artist is and insist that you could bring me over to his studio to see his other works—that doesn’t mean I don’t want to see the works exhibited here.”

“His art isn’t even that good,” Marius says, just to be contrary. “If you really wanted to see something from him, you should see his sculptures. I’ll admit those are impressive.”

“Finish the gallery, and then we can go home. You get to pick dinner.”

He perks up. “Italian or Chinese?”

“Later,” you insist. “I want to see this painting—” you glance at the title, raising an eyebrow when you catch sight of it, “—Lotus III.”

“Inspired by the same lotus garden that was featured in Lotus 0, Lotus I and Lotus II,” Marius grumbles as he takes one hand off your waist. You slide your hands down his shoulders, his chest, and furtively pat him on the ass before letting him go. 

He jumps, eyes wide as he swivels his head around to look at you. You give him an innocent look in return. 

“If you insist on being naughty, jiejie, don’t be surprised if I snatch you away and kidnap you back home.” The hand still on your waist squeezes in warning, and heat slithers down your back at the tone in his voice. 

You put a hand over the one on your waist, sliding your fingers in between his. “Be good.”

“Good boys get rewards. Is there a reward waiting for me later, jiejie?”

Naughty, you think to yourself, side-eying him. There’s a charming smile on his face, not even bothering to hide the playfulness lurking beneath his eyes. He’s testing you, pushing and pulling at your limits to see how far you can bend over backwards. 

“Maybe,” you reply. It’s never a good thing to reveal all your cards too early when dealing with a von Hagen in a playful mood. 

Marius laughs, leaning in to press his lips against the side of your head. “I’ll be good, I promise.”

The way he practically attaches himself to your hip, thumb rubbing possessively over your waist—you can’t help the flush crawling up to your cheeks, or the heat that flares between your legs. His hold on you isn’t tight, but it isn’t loose either. It reeks of a promise, and you can’t help but look forward to what that will happen once the two of you get back to his house. Or what will happen once you get into his car, when Marius has you right where he wants you to be and there’s enough privacy for something to happen. 

You shift, thighs rubbing together involuntarily at the stray thought. Desire slips through your body like a snake coiling in your veins; if you cling a little tighter to Marius in return, your mind only half-focused on the works displayed on the walls, well, no one will know. 

You think Marius might suspect something, though, going by the way his smirk grows larger with every glance he shoots you from the corner of his eye. 

Like he’s found something he can’t take his eyes off. Like he’s found something he likes. 

You fail to give Mikeden the attention his works deserve for the rest of the time you spend in the gallery, but he’s truly friends with Marius then you think the man won’t mind too much.

==

To your surprise, Marius doesn’t immediately scoop you into his lap when you get into the car. 

He leans over to help you pull the seatbelt, and very conveniently buries his face in your neck for half a second before he pulls back. Long enough for him to press his lips against your collarbone, the tip of his tongue swiping wetly against your skin; short enough for you to wonder if you hallucinated it.

But the smug look in his eyes as he pulls the seatbelt over your chest to click it into place tells you that you most definitely did not hallucinate it. 

“Home first,” Marius tells you, pretending to be casual as he leans back in his seat and does his own seatbelt. “If you keep looking at me with those eyes, jiejie, I can’t promise I’ll keep my hands to myself while we’re on the road back.”

Right, you think dazedly. You’d forgotten Marius had decided to drive the both of you here—it wasn’t far from his place, and the both of you typically take a chauffeured car, but Marius wanted to do something special today. You haven’t been on a date in a while due to your unfortunate work schedule, and it definitely surprised you when Marius pulled up to your apartment in the driver’s seat, the window wound down, sunglasses sliding down the bridge of his nose as he grinned at you. 

“What a shame,” you murmur under your breath, watching as he does his own seatbelt before pulling out of the parking lot. 

Your words make Marius stiffen. He glances at you from the corner of his eye, one hand resting lazily on the steering wheel as the other finds its way to your knee. 

Again with that loose grip that feels like a shackle holding you in place. Marius isn’t doing anything more than just placing his hand over your knee—there’s not even any real pressure behind, no force or flexing or tightening of his grip, but you feel weighed down. You feel held down.

You wonder, a little stupidly, if Marius would do something if you spread your legs apart. 

But you’re on the road. Despite the heat flaring insistently in your gut, you’re not actually ready to risk it all while Marius is behind the wheel. It would have been a different story if the both of you were in the back seat with the partition drawn up. The ride back is what, ten, fifteen minutes? There’s a lot you can get done in that period of time.

Right as you resign yourself to a normal, quick ride back home, Marius’ hand slips a little.

Just a little. It’s so subtle that if it weren’t for the heat practically bleeding through his palms, you think you wouldn’t have noticed. 

His hand goes from right above your knee to cupping the inside of your knee. 

You eye him speculatively. Was it inertia? The car made a turn and his hand simply slipped with the centrifugal force? 

His lips quirk up. “I’ll get shy if you keep looking at me, jiejie. I need to focus on the road.”

“Hm,” you say, feeling your cunt clench involuntarily when Marius’ hand moves further up your thigh. It’s not in direct contact with your skin, not when there’s your silk dress in between, but the material is thin and you swear you can feel the calluses from Marius’ fingers rubbing gently against the sensitive inside of your thigh. 

Fifteen minutes, you think. Surely you can’t die from a little fun on the road. 

“Your hand’s on the wrong place,” you murmur, gently placing your hand over his. 

Marius hums at the back of his throat. “Ah? Sorry, I—jiejie.”

You lift his hand off your thigh for a quick moment, draw apart the slit of your dress, and slide his hand under the fabric.

Directly on your thigh. You even curve his fingers back down so he can maintain that grip on you.

You can see his fingers flex. They’re stiff, knuckles tense as if he doesn’t know what to do with himself. When you peek at him, his ears are flushed a bright red and his Adam’s Apple bobs furiously, like he’s swallowing desperately. 

And right between his thighs, you can see a tent in his trousers. You kind of want to reach out to touch it, but you hold yourself back. 

“Jiejie,” he whines, and chances a glance at you before reluctantly dragging his eyes back to the road. “I was joking—you can’t distract me while I’m driving.”

“I’m not doing anything,” you say mildly, burying the laugh that threatens to escape when his fingers squeeze pointedly around your thigh. The grave you dug is for both of you; his hand is higher now, on your thigh, so close to your core that one road bump would probably be reason enough for his fingers to slide right home. 

You almost want to pretend to jerk forward. But you have enough of your wits about you to recognise that if Marius felt the heat of your pussy through your panties press up against his fingertips at this moment, he would probably drive the car into the nearest building. 

“I’m trying to be good,” Marius complains. His fingers keep twitching against your skin, as if he’s really, physically holding himself back from doing something. 

“Good boys get rewards,” you echo, patting the back of his palm. “We’re almost home, see the gates up in front?”

He clicks his tongue. “As if I can focus on anything right now.” To prove his point, he speeds up, leg bouncing impatiently as he turns into the driveway. “Park, I have to park…”

The whole time, his hand doesn’t leave your thigh. And there’s something really sexy about it, you can’t help but realise—the slant of his jaw from the side, the way driving comes so easily to him, where he only needs one hand to maneuver the wheel. Even the way he looks over his shoulder as he eases into his parking spot makes you want to press your thighs together in a useless attempt to stave off the heat building in your core. 

“Good enough,” Marius declares, switching the engine off. “Out, out, come on—”

He snaps the seatbelt off and practically flies out the car. You’re so taken aback that you’re still in your seat when he comes to your side and yanks the door open, petulance written all over his face when he finds you still strapped in. 

“C’mon,” he whines, reaching over to unbuckle your seatbelt. “Jiejie, come on, come on—”

“Impatient,” you chide, even as you reach out to steady yourself while you exit the car. “Hold on, my heels—”

“Jiejie,” Marius says, and he seriously sounds like he’s about to burst. 

In that split second, you make a decision. Your panties are ruined as is, and you really, really want to be filled right now. You’re not sure if you can make the distance from the car to the lift, especially when the garage is so fucking huge—

“Backseat,” you murmur, and Marius reacts much faster than you expect. He pulls you up and into his chest, making you let out a sound of surprise at how aggressive he is, but he’s surprisingly gentle when he cups your jaw and slants his lips over yours. 

It’s a desperate kiss. Marius licks into your mouth, hands tight around your waist as he pulls you in close. The bulge in his slacks feels like it’s burning a brand into your hip—you want to skate your hands down, cup that swollen cock and rub your thumb over the tip. You’ve never seen it, not yet, but the two of you have fooled around every now and then so you’re somewhat familiar with the curve of his cock through his pants. 

It’s a hefty weight in your fingers, and Marius always makes the most delicious sounds when you rock your hips against him, squeezing around his thigh between your legs as you trace over the outline of his cock. 

“Fuck,” Marius curses. His fingers dig greedily into the sides of your body—the grip now is entirely different from the one at the museum. The positions are roughly the same, but this time he holds you like he’s trying to burn his brand into you, leave an imprint of bruises around your waist so you ache every time you move tomorrow morning. “Fuck, jiejie, your mouth—”

“Mmhmm,” you hum into his mouth, shoving one thigh between his legs so you can get a good seat on Marius’ thigh. It’s as if Marius has a direct line of sight into your mind—he hikes you up on his thigh so the hard line of his muscle presses right into the swell of your clit, and you groan out loud as you start rocking against his thigh. 

Fuck, you think you could cum like this. Marius’ hands have dropped lower, cupping the curve of your ass and every squeeze he makes goes straight to your cunt like there’s a livewire connection. He pulls you so high up that you’re struggling to keep your toes on the ground, and Marius is practically pulling you back and forth on his leg, helping you rut against him. 

His breath is hot. His kisses are searing, and it feels like there’s a nonstop feedback loop where your arousal pours into each other over and over again. It’s a fire in your gut, threatening to eat you alive, and when he pulls back to catch his breath, he immediately bows down to lick against your jaw. 

Marius sucks at your skin, bullying a bruise into the underside of your jaw. He isn’t satisfied with just one, and he just keeps going down the expanse of your neck, biting at any patch of unblemished skin. 

“Baby,” you whisper, one hand trailing down to press your palm over the tight bulge begging for attention. The lightest touch is enough to make Marius groan, hips stuttering as he chases your touch. “Can I—can I touch?”

Marius freezes for a heartbeat. Before you can second guess yourself, he moans into your neck, hips jerking as he pushes his clothed cock into your palm. “Yes, yes, yes,” he chants, nodding while avoiding eye contact with you.

His ears are crimson. So cute, you can’t help but think through the fever in your mind. It’s almost too easy to find your way around the button in his pants, and there’s some trouble with getting the zipper down from how hard he is. His briefs get caught for a moment, long enough to make Marius groan from frustration, but you shush him with another slide of your hips, cunt wet enough to drench his slacks, and Marius shuts up. 

“Good boy,” you murmur breathlessly, arching your back so you get a better angle to grind your clit against his thigh. “Be good, come on, let me—”

Unfortunately, there are no flaps in briefs for you to pull his cock out from. You reach in instead, shivering at the proper weight of it in your palm—skin on skin, you think deliriously to yourself, cunt clenching at the feeling of Marius’ cock in your hand. His cock, so thick that you can’t even really wrap your fingers around it properly, and the head is dripping. 

Marius sucks in a tight breath, cursing as he cants his hips up, almost bouncing you on his lap from the force. 

“Jiejie,” he begs, plaintive and desperate. “Nngh, please, the tip, you need to—fuck, I’m not going to—I’m going to cum, jiejie…”

And you stop thinking. You grab one of his hands and drag it to your front, so commandingly that Marius’ head flies up. His eyes are red, lips parted as he sucks in a shaky breath every time you swipe your thumb across the sensitive slit at the head of his cock. 

“In, inside,” you whine, rising as high as you can go on your toes. It’s not very high, given how far up Marius has pulled you onto his thigh, but it’s enough for your to drag his long fingers under your skirt and press them up against your cunt. 

Marius’ eyes are blown wide. “In-inside?” He stammers, fingers crooking automatically to press against the throbbing bud of your clit. Such clever fucking fingers, already familiar with the shape of your cunt to know where your clit is. 

Without needing much direction, he uses two fingers to drag your soaked panties to the side and rubs the knuckle of his index finger against your pussy. 

“A-ah,” you cry out, hips jerking. Fuck, you understand now why Marius reacted like that when you got your hand on his cock—there’s something about the texture of his skin, the calluses on his fingers that’s stroking the sides of your pussy, the sheer heat radiating off him—and the knowledge, the knowledge that it’s his hands on your cunt. After months of frotting, the most you’ve done being Marius’s palm flat against your cunt while you held eye contact and grinded against his shaking palm until you cummed—

“Inside, baby, come on,” you plead, rocking your hips insistently against his curious fingers. 

Again, it’s like Marius gets you. He sinks his index finger in; you think he wanted to go slow, because he tentatively pressed up into your cunt, but you’re greedy and you’ve been thinking of being filled since Marius made that joke about putting you up against a wall and you whine, rocking forward until you sink down, down, all the way down to the base and Marius’ breath is hitching in his throat. 

“You’re—” his finger bends, the tip brushing against this spot inside you that makes your entire body shiver, threatening to bend in half from the electricity that surges through you. “Shit, you’re—fuck, jiejie, you feel fucking incredible.”

“One more,” you beg, holding his wrist in place while you clench around his finger. Christ, you didn’t think it could feel this good. It’s so foreign, so much longer and thicker than your fingers—and again, the knowledge that it’s Marius’ hand, Marius’ finger is enough to make your gut tighten and sparks burst at the very end of your fingertips. “One more and my—”

You break off, thighs trembling when he swipes against your swollen clit with his thumb.

Marius groans at the sight of you, leaning in to bite at your lips. “One more and my thumb on your clit? Is that what you want, jiejie? Is that what you need?”

“Mmhmm—ahhhhhn, fuck, Marius—please, please, I’m so fucking close—!”

You’re not even sure if you’re still stroking the length of his cock. All your senses have narrowed down to your cunt, the pressure on your clit and the way his fingers have gained confidence with every stroke—he fucks up into you with such surety, so certain that he knows exactly where to hit to get that same, body shivering reaction from you.

The worst part is, he does. It barely takes one, two, three strokes while he whispers filthy things about how hot and wet and slick your cunt is, about how it’s soaked through just for him, about how he wants to bury his face in it, please jiejie, please let him put your thighs around his ears and eat you out, and you’re gone. 

It hits you so hard you think you almost pass out. The ascent comes too quickly; it almost feels like the orgasm is ripped from you from clever hands that know you better than you know yourself. It leaves you breathless, your entire body jerking uncontrollably as you whine, pussy clenching around those two thick fingers buried in your cunt. You’re mumbling nonsense, not even sure what you’re saying as your cunt gushes around Marius’ ruined pants and when you resurface, Marius looks at you like you’re the second coming of Christ.

It takes you both a while to get your breathing under control. Marius recovers first, gently sliding his fingers out of your cunt. You’re a little embarrassed at the absolute mess you’ve made, but Marius eyes the wetness dripping over his palm, down his wrist, and decides to drag his tongue along his skin to lick it all up.

He even looks right as you as he does it. The sight is enough to make your clit throb, as if gearing up for a second round. Oh, you could definitely do a second round, but you think you’d prefer for it to be in a room with a bed and not a garage.

Almost absentmindedly, you start to rub your thumb against the cockhead in your grip.

“F-fuck,” Marius groans lowly, free hand reaching out to grab your wrist. “Wait, wait—nnngh, sensitive. Give me a moment.”

You pause. You look down.

His briefs are stained. There’s a massive wet spot at the front, and when you drag your fingers out, they’re coated in a sticky, white fluid. 

You look Marius in the eye as you, too, lift your fingers to your lips. You stick your tongue out, wiping the threads of cum on your tongue so Marius can see how white looks in your mouth—and he flushes even redder than he already is, eyes darting away before darting back, as if he can’t decide whether he wants to look or not—and then you swallow. 

Marius is speechless for a while. 

“That was really hot,” he says eventually, voice hoarse. “I—fuck, jiejie, I can go again. I’m serious, just give me a minute.” 

You suck on your fingertips for a moment. You’re clearly ready for a second round, but you know he gets more desperate when you keep him hanging. And a desperate Marius is always a delight to work with. 

“Bedroom?” You suggest, and your cunt tightens at the way his eyes immediately go dark with desire.

==

© rrrrinmaru 2024 | no unauthorised publication or reproduction allowed

[monstersandgirls-webtoons]

Question! How did you first get into art professionally? Like how did you gain enough confidence to sell your work? And then how did you get so darn good at drawing bodies?? I know practice is a part of it, but did you use specific references? Your style is so unique but also pleasing to the eye. I love how simple your backgrounds are without being too abstract, you have the perfect blend of color contrast, too.

1) I could never really call myself a professional artist, I’m just very passionate for it. I’d say I started selling my work the minute I turned 18

2) you just. Gotta trust yourself. You can’t wait to get better. If people already follow and support your art, it can’t hurt to sell it to them

3) lots of practicing and references. I have this practice called “30 second sketches”, tho I cut it down to 15, where I try to draw a pose as quickly as possible to get comfortable with anatomy. I also try to make my bodies feel appealing but not… unrealistic. Like my biggest pet peeve is art where you see a woman with curves and amazing rendering and then her boobs are… balloons.

And thank you for complimenting my backgrounds! I’ve been slowly trying to get better at them. I try to avoid making my characters blend in too much with them, so I like making backgrounds (particularly in hell) a little more muted

[trungles]

Processing Process, and More Processing

I made this post free and publicly readable on Patreon, but I'm reposting the whole thing right here too because, well, it's a free post, and I don't want to make you click away from your dashboard if you don't need to. But also if you want to support my work, here's the link to the post.

It's a little bit about cartooning, a little bit about drawing, and then it turns into a eulogy for a chicken.

I wrote “process” more than once, and now the word looks funny and is beginning to lose its meaning to me.

This post is about a few things, and it’s a little bit on the sad end of things. Nothing dire! No worries. There’s just a little mention of death, just as a heads up.

Before we get to that, though, I’ve been doing some work and had some thoughts.

I’m often asked about how I draw the noodle hair on my characters, and the answer is typically that I draw each and every line with my hand. But there are considerations of movement and volume that go into it beyond its texturally decorative purposes. I love being able to convey shape and motion with it. It’s less evident, I think, in my illustration work, but I think it’s much more obvious when I do sequential work. In the above image, you can see me working out a sequence of Angelica having a series of thoughts. Her head sort of moves, and her eyes follow. You can see I’d planned out the general shape of the hair and how I’d like it to move.

I wound up moving the drawings a little bit so that the readers eyes will actually follow the character’s eyes as it moves gently rightward on the page. The hair is there to accentuate the movement, like so:

It’s a consideration I employ in all my drawings, but especially when I’m drawing hair and fabric. I don’t use a lot of action lines, so this becomes an important way to give the reader the information that someone is moving through a space. Resistance, gravity, and motion are all things I have to keep in the back of my head when I’m doing these little drawings. I think the planning actually takes more time than the inking, which can happen pretty quickly once I map it all out.

In other news, I’m starting to take my extracurricular artistic development a little more seriously in the silliest way possible.

You wouldn’t know it, but I studied painting college—a medium I switched to after the printmaking professor and head of the Art Department at the time told me I probably shouldn’t be an artist (he gave me a hard candy for my trouble). I recently bought a bunch of little dolls, dressed them up, and am returning to my painting roots. It feels really nice to work in big blobs of color instead of lines. It’s an exercise I came up with in response to a common lament from art students.

One of the more aggravating generational tensions described to me by art school students is when professors describe a student’s portfolio as “too anime” without much explanation. I know what the professor means. They’re trying to get at how referencing your favorite anime or cartoons means that your style becomes a simulacrum, an imperfect copy of a copy, and you never learn to develop your own sense of judgment about where a line or a shape needs to go. And we can tell. It’s a way of working that is perfectly fine for cartooning because cartooning is closer to hand-writing than it is to drawing. I always turn to Charles Schulz’s work for an example. Those figures aren’t literally depicting children—with their little chessboard-pawn proportions and bread-loaf feet—but we read them as endearing children because we’ve come to a consensus between us, the readers, and Charles Schulz, the author, that those shapes mean those things. There are no whiskers or paws in the shape of the word “CAT” but you look at those three letters together, and you know the thing to which it refers. That’s an aspect of cartooning, too. Of course, what elevates it from mere writing is, in part, due to the fact that those little figures do not lose their meaning the more you depict them.

To really draw well, though, you have to do those fundamentals. You have to draw from life. There’s no way around it. It helps you develop a stronger sense of where you like to lay down your lines and shapes, no matter how stylized you like to work. It grows your judgment, and every artist’s best tool is their own well-honed sense of artistic discernment about their own work.

But that doesn’t mean you have to surrender the stuff you like or the things that inspire you to make art! I tell students that if they want to hold fast to their anime style AND hone their fundamentals to develop their eye as an artist, they should buy little figurines and toys of their favorite characters, prop those up against a light source, and draw them as still life objects. Like, yes, do the vases and the figure drawings and all those, I still think those are important. But if this is what you need to keep you interested in drawing from life, having some toys around is a great way to do it! Also, bless those sculptors and toy designers. They’re the best.

I think there’s something to be said about remembering to imagine the physicality of the things we draw, in all its dimensions and in the way it catches the light or casts a shadow. It helps sentimentalize things, too. Makes them feel more real, even emotionally.

Edwina died on Tuesday night, after a few final snuggles, surrounded by her favorite treats. She was about five years old, which is old for a chicken, and she had a very comfortable life. We buried her this morning. She was a good hen, J’s personal favorite.

It really feels like the end of an era. She was the last surviving member of our very first flock. After the other hens died, she really seemed to prefer the company of people over other hens. She is survived by Snooki and Nelly, our two other young birds who get along quite well together, actually.

A baby chick costs between three and five American dollars, typically. An egg-laying hen could be between twenty and fifty bucks, depending on the breed. There are roughly 26 billion chickens living in the world today, about 518 million of them here in the United States. They come pretty cheap. And a part of me was moved to cynicism, entertaining the thought that it might be strange to feel sadly over a little animal that, at most, might be roughly equivalent to the price of a fancy lunch and a coffee.

I watched the 1974 musical version of The Little Prince recently, and I remember it mostly because Bob Fosse was in it and scared the crap out of me as a kid—he played the snake that would take the Little Prince back into the sky when his body gets too heavy to take with him. Gene Wilder plays the Fox whom the Little Prince befriends and tames among a garden of roses. The Fox explains that he is like any other fox in the world, but he is changed—made special and particular to the Little Prince—with time, effort, and patience. So, too, is the Prince’s little flower special to him. Out of all the flowers in the universe, she was the one he watered and protected under a little glass jar. And that’s enough.

I knew my little hen would not live that long. It could be very easy to take a broad view of the life expectancy of a hen and distance myself from it by virtue of its mortality and its commonness. People who raise livestock do it all the time. But I also think it’s wonderful that we should all be capable of loving very small, very brief little things. Edwina is not, to my mind, the rough equivalent of a fancy lunch and a coffee. She was our little hen. For her whole life, she was ours. And I’m so happy she was here.

[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.

~ ~ ~

[bbybluemochi]

bbybluemochi's F.A.Q. ✧･ﾟ

Hi! Arun here! I thought that instead of answering your submissions one by one I’d gather all the frequently asked questions and answer them in a single post (this is a mix of art/OC/commissions related q's)!

Please note that I do read all your messages and I’m so grateful for every one of them!!!! I keep all your words really close to my heart, thank you for liking my art and loving my Ocs as much as I do, it means the world to me <3

What’s the name of your OCs?

They’re called Cotton (the blonde one) and Puppy (the dark haired one). The original idea for them was to make some silly wolf/bunny OCs (that’s why Cotton is called like that, it was supposed to be a joke about her tail…) but somewhere along the way they took over and became something completely different!

Is there a webcomic for your OCs?

Not currently! I don’t have the time or the skills (for now) but I’d love to give it a try in the future! 

I was wondering if you mind people using your OC art as character art/inspiration for DnD?Just games with friends that are for fun, nothing for commercial.

Go ahead! I find that really flattering.

Just out of curiosity, are any of your OCs bisexual?

Both Cotton and Puppy are lesbians. That’s what I feel comfortable drawing since I’m a lesbian myself. If I ever do draw a bisexual OC I’ll make sure to mention it! <3

I think you said Cotton was a dominatrix in a previous ask, but is Puppy on the opposite side of the spectrum or is she just glad to be there whichever way?

Puppy is very much a sub. They both switch (Puppy as a service top and bottom and Cotton as a top and power bottom), but the dom/sub dynamic never changes. Also I wanted to mention that these dynamics do not transcend outside of the bedroom that much, there’s more to them than their kinks but I do love to draw them deep in their submissive/dominant headspaces. 

Are one of the lesbian fairytale characters trans?

I didn’t design either of them with that in mind, but I’m super OK with people headcanoning them as trans!

May I use your art as a header/icon?

Of course! Remember to credit me tho~

Do you allow people to use your art freely?

I don’t allow reposts of my work (not that it matters that much, since almost all my art has been already reposted a million times ))): but I’d really appreciate it if you just shared my posts instead of reposting my art). As for phone backgrounds/wallpapers or stuff like that, yeah!

Do you have an instagram account or other social media, I would love to follow you there.

My main platform is twitter (same @), I post all my drawings there and I’m usually more active over there. Tumblr is kind of like an archive. I really like the community here but I find it easier to reply/interact with people on twitter! As for instagram, I do have an old art account (same @, again) but I haven’t posted in so long. I may start posting there soon if a certain rich guy decides to keep destroying the bird app tho. 

I’ve always thought about this… how do you think it’d look if the aesthetics/styles [of your OCs] were reversed?

I’ll have to explore that in a future drawing, I haven’t thought much about it! 

Do you write fics for your characters or has anyone else written fics about them?

Not yet! A couple of my friends have offered, tho! I usually like to stick to drawing because that’s what I do best, I don’t wanna subject anyone to my writing (it’s not very good,,,,). When I share some of my Ocs stories, I think it will be in comic format. 

What's the story behind your OCs? 

There are several, actually!! I like to put my OCs in different universes. As for now, there’s the Fairytale AU, the modern setting AU (this is the original one), and now the Werewolf/Vampire AU. I also did a drawing of them as spiderwoman and black cat but I don’t think that AU is gonna make a comeback for a while. I’m also planning a scifi AU but I’m not sure I’d be able to pull off that aesthetic with my current art style so I’m still working on it. 

The Fairytale AU is the one I’m working on most of the time. I wanna release a small artbook with their story + illustrations. That was my main goal for 2023 but life got in the way, so maybe,,, 2024??? *crosses fingers* 

Is your shop down? It’s saying that it’s not available.

I open my shop for 1-2 weeks every now and then, that’s why it’s closed most of the time! My plan is to open the store again in september, if i manage to finish all the merch in time! I’ll announce it on my twitter and tumblr account when I do. 

Would you ever share a tutorial on how you make your art?

Yes, of course! I’m not very good at explaining my drawing process but If it helps anyone I’d love to! Just let me know what part of the drawing process you’d like me to focus on, because If i try to make a full illustration tutorial it’s gonna be too long/difficult to follow. 

May I ask what brush do you use for your lineart?

I use a different brush almost every time I start an illustration, I’m not very consistent when it comes to that (I think it’s mainly because I haven’t found the perfect brush yet!). But let me know what illustration you’re curious about and I’ll try to remember which one I used!

Do you come up with poses off the top of your head or do you use some type of reference? I always struggle with them.

It depends on what I’m drawing! Some of my drawings are reinterpretations of paintings (I’m obsessed with pre-raphaelite painters and arthurian legend paintings in general), so in those cases I try to adapt the poses to my art style. Even If I’m trying to recreate an already existing painting I end up changing the poses/proportions a lot along the way to fit my personal taste/art style. 

Other times, I just sketch from imagination (this is more entertaining, I think, since looking at references can make the drawing process a bit tedious). If I find it hard to draw a certain pose/part of the body I will look up references on printerest, no shame in using pictures! If I still can’t find the pose I need I’ll just take a picture of myself (this is like, a last resort for me. I’m too lazy for this). 

My personal advice would be to use references for the pose and then tweaking the pose and trying to make it more personal 

I love the way the armor was designed and rendered! Can you share some tips on designing armor? 

Drawing armor is something I still struggle with most of the time. I think I’ve learned a lot in the past year (please don’t look at my armor drawings from 2022,,,,, sigh) but I still struggle to draw certain poses/angles. My advice is: don’t hesitate to draw non-functional armor!!! There’s always gonna be someone like “actually, that armour makes no sense :)” well !!!! it looks cool as hell so who caresssss !!!!! 

I think it’s more important for you to get comfortable drawing armor before you start beating yourself up for not drawing accurate ones. It takes a lot of practice (I’m still learning!!!), especially if you’re trying to draw historically accurate ones, so start by having fun, and then work your way up from there.

Most of the tips I can think about are really hard to explain without a visual example, so let me know if that’d be a tutorial you would be interested in and I’ll try to make one (I’m cringing a little just saying this bc I swear, my armor skills are so bad compared to some amazing artists out there………..).

Do you allow cosplays your OCs?

YES…. YES PLEASE !!!!!!!!!!!!!!!! IM BEGGING YOUUU ILL LOVE YOU FOREVER !!!!!! *rattles my cage* 

Do you allow fanart of your OCs?

Again,,, PLEASEEEEEEEEE !!! Just tag me so I don’t miss it and remember to give me credits if you do !!!!!!!!!!! :D

I was wondering if you use procreate , clip studio, or similar apps?

A mix of both. I used to draw on procreate only until I got a tablet and now I’m a clip studio user (csp sponsor me please), and now that’s all I use. I’m so used to drawing on PC now that I don’t think I’d be able to go back to procreate, but I still like that app a lot! All my drawings (even the ones I do on csp) always get retouched on procreate because I like some of the effects (*dreamy sigh* chromatic aberration filter,,, love u). 

I wanted to know if the marks Cotton has on her waist are tattoos or like a scar? 

Those are tats! Puppy is a tattoo artist ~~~ (I’m actually not sure if i’ll keep the waist tats on Cotton or if I’ll end up redesigning them,,,)

I was wondering if you take commissions?

Not right now. I also don’t have any plans of opening commissions any time soon! When I do, I’ll post a google forms on twitter and here on tumblr with the prices and type of comms I do. But there’s nothing scheduled. 

Even tho I'm not doing commissions atm, I’m currently looking for illustration jobs (specially book covers), so don’t hesitate to email me at bbybluemochi@gmail.com

That's all for now, thank you for reading!! I think I covered most of the questions, I'll make another q&a post in the future! Bye~~