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mrs-stans · 2 months ago

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Sebastian Stan Tells All: Becoming Donald Trump, Gaining 15 Pounds and Starring in 2024’s Most Controversial Movie

By Daniel D'Addario

Sebastian Stan Variety Cover Story

It started with the most famous voice on the planet, the one that just won’t shut up.

Sebastian Stan, in real life, sounds very little like Donald Trump, whom he’s playing in the new film “The Apprentice.” Sure, they share a tristate accent — Stan has lived in the city for years and attended Rutgers University before launching his career — but he speaks with none of Trump’s emphasis on his own greatness. Trump dwells, Stan skitters. Trump attempts to draw topics together over lengthy stem-winders (what he recently called “the weave”), while Stan has a certain unwillingness to be pinned down, a desire to keep moving. It takes some coaxing to bring Stan, a man with the upright bearing and square jaw of a matinee idol, to speak about his own process — how hard he worked to conjure a sense Trump, and how he sought to bring out new insights about America’s most scrutinized politician.

“I think he’s a lot smarter than people want to say about him,” Stan says, “because he repeats things consistently, and he’s given you a brand.” Stan would know: He watched videos of Trump on a loop while preparing for “The Apprentice.” In the film, out on Oct. 11, Stan plays Trump as he moves from insecure, aspiring real estate developer to still insecure but established member of the New York celebrity firmament.

We’re sitting over coffee in Manhattan. Stan is dressed down in a black chore coat and black tee, yet he’s anything but a casual conversation partner. He rarely breaks eye contact, doing so only on the occasions when he has something he wants to show me on his iPhone (cracked screen, no case). In this instance, it’s folders of photos and videos labeled “DT” and “DT PHYSICALITY.”

“I had 130 videos on his physicality on my phone,” Stan says. “And 562 videos that I had pulled with pictures from different time periods — from the ’70s all the way to today — so I could pull out his speech patterns and try to improvise like him.” Stan, deep in character, would ad-lib entire scenes at director Ali Abbasi’s urging, drawing on the details he’d learned from watching Trump and reading interviews to understand precisely how to react in each moment.

“Ali could come in on the second take and say, ‘Why don’t you talk a little bit about the taxes and how you don’t want to pay?’ So I had to know what charities they were going to in 1983. Every night I would go home and try not only to prepare for the day that was coming, but also to prepare for where Ali was going to take this.”

Looking at Stan’s phone, among the endless pictures of Trump, I glimpse thumbnails of Stan’s own face perched in a Trumpian pout and videos of the actor’s preparation just aching to be clicked — or to be stored in the Trump Presidential Library when this is all over in a few months, or in 2029, or beyond.

“I started to realize that I needed to start speaking with my lips in a different way,” Stan says. “A lot of that came from the consonants. If I’m talking, I’m moving forward.” On film, Stan shapes his mouth like he can’t wait to get the plosives out, puckering without quite tipping into parody. “The consonants naturally forced your lips forward.”

“If he did 10% more of what he did, it would become ‘Saturday Night Live,’” Abbasi says. “If he did 10% less, then he’s not conjuring that person. But here’s the thing about Sebastian: He’s very inspired by reality, by research. And that’s also the way I work; if you want to go to strange places, you need to get your baseline reality covered very well.”

A little later, Stan passes me the phone again to show me a selfie of him posing shirtless and revealing two sagging pecs and a bit of a gut. He’s pouting into a mirror. If his expression looks exaggerated, consider that he was in Marvel-movie shape before stepping into the role of the former president; the body transformation happened rapidly and jarringly. Trump’s size is a part of the film’s plot — as Trump’s sense of self inflates, so does he. In a rush to meet the shooting deadline for “The Apprentice,” Abbasi asked Stan, “How much weight can you gain?”

“You’d be surprised,” Stan tells me. “You can gain a lot of weight in two months.” (Fifteen pounds, to be exact.)

Now he’s back in fighting form, but the character has stayed with him. After years of playing second-fiddle agents of chaos — goofball husbands to Margot Robbie’s and Lily James’ characters in “I, Tonya” and Hulu’s “Pam & Tommy,” surly frenemy to Chris Evans’ Captain America in the Marvel franchise — Stan plunged into the id of the man whose appetites have reshaped our world. He had to have a polished enough sense of Trump that he could improvise in character, and enough respect for him to play him as a human being, not a monster.

It’s one of two transformations this year for Stan — and one that might give a talented actor that most elusive thing: a brand of his own. He’s long been adjacent enough to star power that he could feel its glow, but he hasn’t been the marquee performer. While his co-stars have found themselves defined by the projects he’s been in — from “Captain America” and “I, Tonya” back to his start on “Gossip Girl” — he’s spent more than a decade in the public eye while evading being defined at all.

This fall promises to be the season that changes all that: Stan is pulling double duty with “The Apprentice” and “A Different Man” (in theaters Sept. 20), in which he plays a man afflicted with a disfiguring tumor disorder who — even when presented with a fantastical treatment that makes him look like, well, Sebastian Stan — can’t be cured of ailments of the soul. For “A Different Man,” Stan won the top acting prize at the Berlin Film Festival; for “The Apprentice,” the sky’s the limit, if it can manage to get seen. (More on that later.)

One reason Stan has largely evaded being defined is that he’s never the same twice, often willing to get loopy or go dark in pursuit of his characters’ truths. That’s all the more true this year: In “The Apprentice,” he’s under the carapace of Trumpiness; in “A Different Man,” his face is hidden behind extensive prosthetics.

“In my book, if you’re the good-looking, sensitive guy 20 movies in a row, that’s not a star for me,” says Abbasi, who compares Stan to Marlon Brando — an actor eager to play against his looks. “You’re just one of the many in the factory of the Ken dolls.”

This fall represents Stan’s chance to break out of the toy store once and for all. His Winter Soldier brought a jolt of evil into Captain America’s world, and his Jeff Gillooly was the devil sitting on Tonya Harding’s shoulder. Now Stan is at the center of the frame, playing one of the most divisive characters imaginable. So he’s showing us where he can go. The spotlight is his, and so is the risk that comes with it.

Why take such a risk?

The script for “The Apprentice,” which Stan first received in 2019, but which took years to come together, made him consider the American dream, the one that Trump achieved and is redefining.

Stan emigrated with his mother, a pianist, from communist Romania as a child. “I was raised always aware of the American dream: America being the land of opportunity, where dreams come true, where you can make something of yourself.” He pushes the wings of his hair back to frame his face, a gold signet ring glinting in the late-summer sunlight, and, briefly, I can hear a hint of Trump’s directness of approach. “You can become whoever you want, if you just have a good idea.” Stan’s good idea has been to play the lead in movies while dodging the formulaic identity of a leading man, and this year will prove just how far he can take it.

“The Apprentice” seemed like it would never come together before suddenly it did. This time last year, Stan was sure it was dead in the water, and he was OK with that. “If this movie is not happening, it’s because it’s not meant to happen,” he recalls thinking. “It will not be because I’m too scared and walk away.”

Called in on short notice and filming from November 2023 to January of this year (ahead of a May premiere in Cannes), Stan lent heft and attitude to a character arc that takes Trump from local real estate developer in the 1970s to national celebrity in the 1980s. He learns the rough-and-tumble game of power from the ruthless and hedonistic political fixer Roy Cohn (Jeremy Strong), eventually cutting the closeted Cohn loose as he dies of AIDS and alienating his wife Ivana (Maria Bakalova) in the process. (In a shocking scene, Donald sexually assaults Ivana in their Trump Tower apartment.) For all its edginess, the film is about Trump’s personality — and the way it calcified into a persona — rather than his present-day politics. (Despite its title, it’s set well before the 2004 launch of the reality show that finally made Trump the superstar he longed to be.)

And despite the fact that Trump has kept America rapt since he announced his run for president in 2015, Hollywood has been terrified of “The Apprentice.” The film didn’t sell for months after Cannes, an unusual result for a major English-language competition film, partly because Trump’s legal team sent a cease-and-desist letter attempting to block the film’s release in the U.S. while the fest was still ongoing. When it finally sold, it was to Briarcliff Entertainment, a distributor so small that the production has launched a Kickstarter campaign to raise money so that it will be able to stay in theaters.

Yes, Hollywood may vote blue, but it’s not the same town that released “Fahrenheit 9/11” or even “W.,” let alone a film that depicts the once (and possibly future) president raping his wife. (The filmmakers stand behind that story. “The script is 100% backed by my own interviews and historical research,” says Gabriel Sherman, the screenwriter and a journalist who covers Trump and the American conservative movement. “And it’s important to note that it is not a documentary. It’s a work of fiction that’s inspired by history.”) Entertainment corporations from Netflix to Disney would be severely inconvenienced if the next president came into office with a grudge against them.

“I am quite shocked, to be honest,” Abbasi says. “This is not a political piece. It’s not a hit piece; it’s not a hatchet job; it’s not propaganda. The fact that it’s been so challenging is shocking.” Abbasi, born in Iran, was condemned by his government over his last film, “Holy Spider,” and cannot safely return. He sees a parallel in the response to “The Apprentice.” “OK, that’s Iran — that is unfortunately expected. But I wasn’t expecting this.”

“Everything with this film has been one day at a time,” Stan says. The actor chalks up the film’s divisiveness to a siloed online environment. “There are a lot of people who love reading the [film’s] Wikipedia page and throwing out their opinions,” he says, an edge entering his voice. “But they don’t actually know what they’re talking about. That’s a popular sport now online, apparently.”

Unprompted, Stan brings up the idea that Trump is so widely known that some might think a biographical film about him serves no purpose. “When someone says, ‘Why do we need this movie? We know all this,’ I’ll say, ‘Maybe you do, but you haven’t experienced it. The experience of those two hours is visceral. It’s something you can hopefully feel — if you still have feelings.’”

After graduating from Rutgers in 2005, Stan found his first substantial role on “Gossip Girl,” playing troubled rich kid Carter Baizen. Like teen soaps since time immemorial, “Gossip Girl” was a star-making machine. “It was the first time I was in serious love with somebody,” he says. (He dated the series’ star, Leighton Meester, from 2008 to 2010.) He feels nostalgic for that moment: “Walking around the city, seeing these same buildings and streets — life seemed simpler.”

Stan followed his “Gossip Girl” gig with roles on the 2009 NBC drama “Kings,” playing a devious gay prince in an alternate-reality modern world governed by a monarchy, and the 2012 USA miniseries “Political Animals,” playing a black-sheep prince (and once again a gay man) of a different sort — the son of a philandering former president and an ambitious former first lady.

When I ask him what lane he envisioned himself in as a young actor, he shrugs off the question. “I grew up with a single mom, and I didn’t have a lot of male role models. I was always trying to figure out what I wanted to be. And at some point, I was like, I could just be a bunch of things.”

Which might seem challenging when one is booked to play the same character, Bucky Barnes, in Marvel movie after Marvel movie. Bucky’s adventures have been wide-ranging — he’s been brainwashed and turned evil and then brought back to the home team again, all since his debut in 2011’s “Captain America: The First Avenger.” Next year, he’ll anchor the summer movie “Thunderbolts,” as the leader of a squad of quirky heroes played by, among others, Julia Louis-Dreyfus and Florence Pugh. It’s easy to wonder if this has come to feel like a cage of sorts.

Not so, says Stan. His new Marvel film “was kind of like ‘One Flew Over the Cuckoo’s Nest’ — a guy coming into this group that was chaotic and degenerate, and somehow finding a way to unite them.”

Lately, knives have been out for Marvel movies as some have disappointed at the box office, and “Thunderbolts,” which endured strike delays and last-minute cast changes, has been under scrutiny.

“It’s become really convenient to pick on [Marvel films],” Stan says. “And that’s fine. Everyone’s got an opinion. But they’re a big part of what contributes to this business and allows us to have smaller movies as well. This is an artery traveling through the system of this entire machinery that’s Hollywood. It feeds in so many more ways than people acknowledge.” He adds, “Sometimes I get protective of it because the intention is really fucking good. It’s just fucking hard to make a good movie over and over again.”

Which may account for an eagerness to try something new. “In the last couple of years,” he says, “I’ve gotten much more aggressive about pursuing things that I want, and I’m constantly looking for different ways of challenging myself.”

The challenge continued throughout the shoot of “The Apprentice,” as Stan pushed the material. “One of the most creatively rewarding parts of the process was how open Sebastian was to giving notes on the script but also wanting to go beyond the script,” says Sherman, the screenwriter. “If he was interested in a certain aspect of a scene, he was like, Can you find me a quote?” he recalls.

Building a dynamic through improvised scenes, Stan and Strong stayed in character throughout the “Apprentice” shoot. “I was doing an Ibsen play on Broadway,” says Strong, who won a Tony in June for his performance in “An Enemy of the People,” “and he came backstage afterwards. And it was like — I’d never really met Sebastian, and I don’t think he’d ever met me. So it was nice to meet him.”

Before the pair began acting together, they didn’t rehearse much — “I’m not a fan of rehearsals,” Strong says. “I think actors are best left in their cocoon, doing their work, and then trusted to walk on set and be ready.” The two didn’t touch the script together until cameras went up — though they spent a preproduction day, Strong says, playing games in character as Donald and Roy.

After filming, both have kept memories of the hold their characters had on them. They shared a flight back from Telluride — a famously bumpy trip out of the mountains. “He’s a nervous flyer, and I’m a nervous flyer,” Stan says. Both marveled at the fact that they’d contained their nerves on the first day of shooting “The Apprentice,” when their characters traveled together via helicopter. “We both go, ‘Yeah — but there was a camera.’”

Stan’s aggressive approach to research came in handy on “A Different Man,” which shot before “The Apprentice.” His character’s disorder, neurofibromatosis, is caused by a genetic mutation and presents as benign tumors growing in the nervous system. After being healed, he feels a growing envy for a fellow sufferer who seems unbothered by his disability.

Stan’s co-star, Adam Pearson, was diagnosed with neurofibromatosis in early childhood. Stan found the experience challenging to render faithfully. “I said many times, I can do all the research in the world, but am I ever going to come close to this?” Stan says. “How am I going to ever do this justice?”

Plus, he had precious little time to prepare: “He was fully on board, and the film was being made weeks later,” director Aaron Schimberg says. “Zero to 60 in a matter of weeks.”

The actor grappled for something to hold on to, and Pearson sug gested he refer to his own experience of fame. “Adam said to me, ‘You know what it’s like to be public property,’” Stan says.

Pearson recalls describing the experience to Stan this way: “While you don’t understand the invasiveness and the staring and the pointing that I’ve grown up with, you do know what it’s like to have the world think you owe them something.”

That sense of alienation becomes universal through the film’s storytelling: “A Different Man” takes its premise as the jumping-off point for a deep and often mordant investigation of who we all are underneath the skin.

The film was shot in 22 days in a New York City heat wave, and there was, Schimberg says, “no room for error. I would get four or five takes, however many I could squeeze out, but there’s no coverage.”

Through it all, Stan’s performance is utterly poised — Schimberg and Stan discussed Buster Keaton as a reference for his ability to be “completely stone-faced” amid chaos, the director says. And the days were particularly long because Oscar-nominated prosthetics artist Michael Marino was only able to apply Stan’s makeup in the early morning, before going to his job on the set of “The Marvelous Mrs. Maisel.”

“Even though I wasn’t shooting until 11 a.m., I would go at like 5 in the morning to his studio, or his apartment,” Stan recalls. The hidden advantage was that Stan had hours to kill while made up like his character, the kind of person the world looks past. “I wanted to walk around the city and see what happened,” Stan says. “On Broadway, one of the busiest streets in New York, no one’s looking at me. It’s as if I’m not even there.” The other reaction was worse: “Somebody would immediately stop and very blatantly hit their friend, point, take a picture.”

It was a study in empathy that flowed into the character. Stan had spoken to Pearson’s mother, who watched her son develop neurofibromatosis before growing into a disability advocate and, eventually, an actor. “She said to me, ‘All I ever wanted was for someone to walk in his shoes for a day,’” Stan recalls. “And I guess that was the closest I had ever come.”

“The Apprentice” forced Stan, and forces the viewer, to do the same with a figure that some 50% of the electorate would sooner forget entirely. And that lends the film its controversy. Those on the right, presupposing that the movie is an anti-Trump document, have railed against it. In a statement provided to Variety, a Trump campaign spokesman said, “This ‘film’ is pure malicious defamation, should never see the light of day and doesn’t even deserve a place in the straight-to-DVD section of a bargain bin at a soon-to-be-closed discount movie store, it belongs in a dumpster fire.” The campaign threatened a lawsuit, though none has materialized.

Asked about the assault scene, Stan notes that Ivana had made the claim in a deposition, but later walked it back. “Is it closer to the truth, what she had said directly in the deposition or something that she retracted?” he asks. “They went with the first part.”

The movie depicts, too, Ivana’s carrying on with her marriage after the violation, which may be still more devastating. “How do you overcome something like this?” asks Bakalova. “Do you have to put on a mask that everything is fine? In the next scene, she’s going to play the game and pretend that we’re the glamorous, perfect couple.” The Trumps, in “The Apprentice,” live in a world of paper-thin images, one that grows so encompassing that Donald no longer feels anything for the people to whom he was once loyal. They’re props in his stage show.

“The Apprentice” will drop in the midst of the most chaotic presidential election of our lifetime. “The way it lands in this extremely polarized situation, for me as an artist, is exciting. I won’t lie to you,” says Abbasi.

When asked if he was concerned about blowback from a Trump 47 presidency, Stan says, “You can’t do this movie and not be thinking about all those things, but I really have no idea. I’m still in shock from going from an assassination attempt to the next weekend having a president step down [from a reelection bid].”

Stan’s job, as he sees it, was to synthesize everything he’d absorbed — all those videos on his phone — into a person who made sense. This Trump had to be part of a coherent story, not just the flurry of news updates to which we’ve become accustomed.

“You can take a Bach or a Beethoven, and everyone’s going to play that differently on the piano, right?” Stan says. (His pianist mother named him for Johann Sebastian Bach.) “So this is my take on what I’ve learned. I have to strip myself of expectations of being applauded for this, if people are going to like it or people are going to hate it. People are going to say whatever they want. Hopefully they should think at least before they say it.”

It’s a reality that Stan is now used to — the work is the work, and the way people interpret him is none of his business. Perhaps that’s why he has run away from ever being the same thing twice. “I could sit with you today and tell you passionately what my truth is, but it doesn’t matter,” he says. “Because people are more interested in a version of you that they want to see, rather than who you are.”

“The Apprentice” has been the subject of extreme difference of opinion by many who have yet to see it. It’s been read — and will continue to be after its release — as anti-Trump agitprop. The truth is chewier and more complicated, and, perhaps, unsuited for these times.

“Are we going to live in a world where anyone knows what the truth is anymore? Or is it just a world that everyone wants to create for themselves?” Stan asks.

His voice — the one that shares a slight accent with Trump but that is, finally, Stan’s own — is calm and clear. “People create their own truth right now,” he says. “That’s the only thing that I’ve made peace with; I don’t need to twist your arm if that’s what you want to believe. But the way to deal with something is to actually confront it.”

#Variety #Sebastian Stan #Photoshoot #A Different Man #The Apprentice #Thunderbolts*#Marvel #Interview #mrs-stans

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meanbossart · 3 months ago

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If DU Drow were to have the natural (long) lifespan of a drow and eventually became elderly and passed away while Astarion didn't age due to vampirism, how badly would Astarion take it?

I think Astarion has had a lot of time to process the special conditions that come with his vampirism. He seems to resent what he is but simultaneously try to embrace it. You get a feel for that when he asks you to compliment his appearance, and the responses that please him the most seem to be related to (but not explicitly about) characteristics that would have been acquired after he became a spawn. I suspect that a non-ascended Astarion would continue to grow in that respect.

Which means he would have to contemplate his own immortality, and hence the mortality of others. He also really desires independence and to develop self-reliability regardless of whether or not he has a partner (See: his reaction to the optional dialogue you have where you swear to protect him after his quest ends).

And, again, there is the fact that for a solid 200 years everyone he saw and was intimate with would immediately die/disappear. Whether he liked any of those people or not, that would leave some sort of long-lasting impression on a person - or lead them to develop mechanisms to cope with it.

So with all of that in mind, I think he wouldn't take it too badly. He'd grieve, he'd miss him, but he'd have a whole lot of un-life ahead of him to look forward to and would have spent a lot of time mentally preparing for the fact that he would outlive his significant other.

This all might seem awfully mature depending on how you take his character, but I just feel like Astarion is very much wired for independence and a "rolling with the punches" mindset if he doesn't ascend, for better or for worst. So he'd be perfectly capable of being very much in love while also ready to move on and build a different life for himself when the time came, while holding the memory dear still.

#ask #astarion #du drow and astarion

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lj-lephemstar · 4 months ago

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Progress Checkup! (Aug. 2024) | Scratchin' Melodii Devlog

Hello again, strangers! I thought it was about time to add another devlog again! This time I'm trying out a more in-depth approach to this, to somewhat make up for the lack of gameplay previews. Let me know what you think!

For starters, I've revamped the rhythm system 🤯 (like... again! 🤯) Don't freak out, though. Surface level gameplay-wise, it works mostly the same as it did in the last demo, so you won't have to re-learn much. I just needed to redo some things so it'd be easier for me to work with in the long-run while developing the rest of the game. Way less headaches await me now when working on new levels. In the process, I was also able to incorporate some neat new aspects to it and make the core aspects of it better. If you're familiar with older rhythm games, it's now a tad closer to what the dog was doing.

The opponent's icon has been covered up to avoid spoilers. I might be updating all of the character icons soon, actually.

I still plan to revamp the game's tutorial at some point. Something I've noticed is that often, new players don't seem to understand the purpose of the beat dots. Initially, I thought the idea that "on the beat dot = on beat" would come as second nature to new players without need for explanation. However, I hadn't considered that many players are likely to be more familiar with rhythm games that don't even have beat dots in this manner, so they're probably inclined to focus more on getting as close as possible to matching the order of the suggested inputs, and in this game, even at the cost of being off-beat if they aren't keeping up. So, I think the most important thing I need to emphasize when I give a new in-game explanation of the mechanics is the beat dots and really getting new players into the mindset of prioritizing the tempo. I think I should also have the tutorial's gameplay portion try to discretely get the player used to the control scheme to help people who haven't particularly memorized where all of their controller's buttons are without looking. This'll probably result in the tutorial song shown in the demo being replaced in the full game. I do still like its instrumental though, so maybe that will be repurposed for another game feature, at least.

There's probably some guy out there who just REALLY loves Astral Advisory as the tutorial song that will be very upset to hear this. In solidarity with them, I've depicted their enthusiasm with this rather silly image I've created.

As for other levels, now that I've got the updated rhythm system up and running, the 3rd rival battle of act 2 is almost complete. If you didn't like the Pow-Notes in Supastar Tennis, you might not like me very much after this! So far, I think this level has some of the best and most ambitious animation work I've done yet, so I hope you'll look forward to it. Not sure when I'll show a gameplay preview of this level, but I probably will at some point.

Also, I've made a new logo for the game! I'll gradually be phasing this one in to replace the old one, but until the full game releases you'll probably still see the old one hanging around too in some places.

That's all I can talk about for now, but thanks for reading! - LJ

#scratchin melodii

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felassan · 4 months ago

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Snippets. 🐺💜

For Game Informer’s July 17th DA:TV article, "BioWare On Returning To The Dragon Age Series, 10 Years After Inquisition", the article is still titled as such on its own page, but it looks like on the GI DA:TV Hub page its listing was updated to "Dragon Age: The Veilguard Is 'Respectful And Referential' To Previous Games Without Making Them Mandatory"

[previous comment for context - Brenon: "we do have "decision saves" before big choice moments, but there are still a bunch that depend on a whole mess of stuff you've done earler...so yeah...RIP"]. Derek on this: "Choice and consequence, baby." [source]

[context: DA official Twitter's news about what's coming in August] Derek: "Buckle up!" [source]

Bryony Corrigan (Rook) on the strike: "I care a lot about this game! @/dragonage. Gutted we are unable to speak more about the game for now but absolutely in solidarity with actors in the US. I hope @/EquityUK are also fighting for better protection against AI clauses in the UK too…!" [source]

Matt Rhodes recently wrote to his mailing list that "The project I’ve been working on for many years is nearing completion. In my rare free moments, I’ve been starting to organize concept art to start posting after the game ships." [source] So it sounds like DA:TV is nearing completion and that he will be posting DA:TV concept art that he created after release. [This] is the link to his website where you can view his art, including some existing DA:TV and previous DA game concept art. If you click the envelope symbol on this page, that's how you can subscribe to the mailing list

from Community Councilmember Ladyinsanity - Lucanis x Rook apparently might be an "angst pairing" and there's maybe another one of these in the game also...? 👀 [source]

A user mentioned that they aren't keen on the word "roadmap". Michael Gamble explained: "all it means is a list of cool things you can expect to see us showing." [source]

Bellara's family name Lutare wasn't recently changed as some users wondered, it was Lutare at least a year ago during development. It seems it was just mis-printed or mis-reported in the GI coverage [source]

This article describes DA:TV as the most beautiful game the writer saw at SGF. It says the prologue is dated 9 years after DA:I. "Varric isn’t a ginger so much as a grizzled gray fox now". On Solas, he "wants to tear down the Veil that separates Thedas from the world of demons, restoring his people’s immortality and glory and sacrificing thousands in the process. But when his ritual goes awry, two of his most ancient and powerful adversaries are released. They seek only to finish what they started millennia ago – the complete and utter domination of our world." The game moves quite seamlessly from action to cutscene, and in the prologue "every cutscene is clearly building toward something larger". Position matters in combat. There is an accessibility option which involves the path-tracing of enemies' ranged attacks. At the beginning of the demo, the devs mentioned that they thought about the way different lighting affects your character. " The animations associated with combat are complex for one reason: responsive character features." CC has "inclusion of thick curly hair and capturing the tightly curled texture of Black hairstyles and natural hair", customizable shoulder-width and "a much-welcomed broad spectrum of skin tones—capturing both cool and warm undertones of both white and brown skin". The article highlighted the fluid movement of cloth. The writer also said, "I’m sure other Summer Game Fest previews will have a lot to say on the evolving relationship between Varric and Solas". [source] ((I don't remember seeing this article til now, it's from June though so I either missed it or have seen it and forgotten. also I don't know how accurate it is but the writer was one of the attendees of the DA:TV demo at SGF))

[character limit text break!]

Malcolm: "When I joined DA:Ve I was really hoping there'd be a romanceable dwarf companion and boy howdy did that come true. Harding is ☀️delightful☀️" [source]

[context: this Tumblr post of some neat art] Malcolm: "This is amazing and I fully went "oh wow that really sounds like Emmrich" before remembering that Nick Boraine is in fact a entire human person." [source]

User: "Speaking of Stalker, as a player the description of Bellara and Veil Jumper i've heard so far, alongside their exploration of Arlathan, somehow reminds me of Clear Sky and Chornobyl in Stalker series..." John Epler: "great eye! roadside picnic, Annihilation and STALKER were all absolutely inspirations" [source]

John Epler: "time to slowly make my way home after an awesome 4 days. thanks for an amazing experience to everyone who was a part of it. back to work." [source]

User: "We know there are returning characters in The Veilguard, so my question is: How would you and the rest of the writers go about writing a returning character who was originally primarily written by a writer who is no longer at the studio? What is the process?" Trick Weekes: "1. Watch videos to get the performance, how the character speaks. 2. Don’t try to replicate the character exactly. Allow them to have grown. Morrigan in DAI wasn’t Morrigan in DAO. She’d grown up. 3. Trust Character Art and Performance/VO. As soon as Morrigan walks in and talks in DAI, it works." [source]

Ali Hillis (Harding) on Twitter: "@dragonage @/bioware @/BioWarePulse @/ea #/DragonAge #/SDCC #/SDCC2024 FOLLOW ON INSTA FOR MORE!" [source]

Alex Jordan (Rook): "To all the D&D loving Dragon Age fans out there, let me tell you about my D&D group, made up of faces from the games industry! Including the voices of Geralt from The Witcher, Clive from Final Fantasy XVI, and Noah from Xenoblade! We are ⁦@/NaturalSix ⁩#/DragonAge" [source]

Erika Ishii (Rook): "Grateful I got to spend SDCC celebrating my roles in 2 games I love. Thank you to the devs (including laid-off workers who deserve full credit!), my friends, and the community. This is the last you’ll hear from me about my games from struck companies until they sign an interim agreement or the strike is won. Keep playing games, but share info from the union and let people know we’re taking a stand for all creatives. See you on the other side! ✊🏼🎮" [source]

Jeff Berg (Rook): "Damn, I love making video games. It’s like the perfect blending of theatre on film, where an actor is encouraged to collaborate and let their imaginations soar. And damn, do I ever love the incredible support from the fans of this incredible medium. Unfortunately, we’re in a time of upheaval in the industry. So let me make it perfectly clear: Video game performers deserve fair wages, safe working conditions and A.I. protections. I call on the employers to #/LevelUpTheContract. Guys, this is no single player game. We need you on our team. #/SagAftraStrong #/VideoGameStrike". Text in the accompanying video reads “Video game performers are stuck in a grind. AI is stealing voices, and companies are hoarding profits. The future of voiceover and performance capture artists is at stake. But out fight isn’t single-player. Whether you’re a gamer, a fan, a performer, a labor ally, or just someone believes in fairness. Keep video games people powered. We need you on our team. Video game companies must offer AI protections to ALL video game performers. Join me and show your support for those who bring our favorite games to life.” [source]

Jessica Clark (Neve): "Aaah a true bucket list moment!! Thrilled to play Neve Gallus a Private Investigator & one of the companions in the upcoming DragonAge The Veilguard Video Game!! We are appearing at the San Diego Comic Con as we speak!! With so much thanks & appreciation for the most fantastic team @/bioware & inspiring fellow cast members including (not limited to) @/missalihillis @/nickboraine @/zach.mendez @/jeffberg1 & more 🙏🏽 Draon Age The Veilguard releases this Fall 2024 & from what I've seen... It's truly epic!! You will love it & yes, it's worth the wait. (SAG-AFTRA issued us a specific window to promote & celebrate at Comic Con & from Sunday night onwards we will all be joining our fellow actors in the picket line for the Video Game Strike)." Text in the accompanying video reads "I’ve wanted to share this for so long! Thrilled to reveal that I play Neve Gallus in the upcoming Dragon Age The Veilguard!! Appearing at Comic Con San Diego as we speak” [source]

[source]

Jessica: "Last night's Comic Con San Diego's Fandom red carpet celebrating Dragon Age The Veilguard! Releasing this Fall 2024!!" [source]

Zach Mendez (Lucanis): "A truly amazing first day of SD Comic Con at the @/dragonagegame poster signing at @/darkhorsecomics booth. Thank you to the fans who made my first con unforgettable #/sdcc /#sdcomiccon #/dragonage #/darkhorsecomics #/lucanisdellamorte #/voiceacting #/bioware #/eagames #/theveilguard #/babysfirstcon" [source]

Zach: "Dragon Age. Dancing. Derulo. Thanks @/fandom for a killer party" [source]

Nick Boraine (Emmrich): "Thank you @/bioware @/ea and @/comic_con - had an incredible time! #/dragonage #/theveilgaurd #/emmrichvolkarin @/zach.mendez @/missalihillis @/thejessicaroseclark - can’t wait for the fall release date." [source]

Ali: "Honored and thrilled to have been a part of another epic @/bioware story w @/ea . Thanks from the bottom of my heart to the whole team! We worked hard, and put our all into this one. Can’t wait to see you all at #/sdcc2024 this week to celebrate @/dragonagegame #/dragonageveilguard" [source]

Ali: "1st day of San Diego Comic Con 2024 !! The lines were long and the signings so much fun! Met some really nice fans, hung out w dragon age performance director @/ashley___barlow , companions @/thejessicaroseclark @/zach.mendez & Nick Boraine . So SO grateful for this #/dragonageveilguard family!" [source]

Ali: "I love every one of these people. There, I said it! What a warm welcome we received! Thanks to ALL! For EVERYTHING!" [source]

Ali on SDCC: "Gooooooood times. ❤️" [source]

Here is a 'behind the scenes at the DA:TV SDCC panel' photo -

[source]

Here is a photo of Erika Ishii with Rook's blue knife -

[source]

Here is an excerpt from Brianne Battye's website:

Text reads: "Dragon Age: The Veilguard Defy the gods. Rise as Rook, Dragon Age’s newest hero. Be who you want to be and play how you want to play as you fight back and lead your team of seven companions, each with their own rich story. Together, you will become the Veilguard. Coming soon From EA/BioWare. I was responsible for a companion story arc, significant side characters, faction content, exploration content, and helping develop and expand worldbuilding lore."

[source]

Also, last year Zach Mendez (Lucanis) made a prior podcast appearance:

Zach: "I was lucky enough over the pandemic to have just hit a really nice commercial, and then I got this beautiful job on a video game where I was doing motion capture. Motion capture? Okay, so you put on this leotard, this black suit, and those little dots on, and you do all the motion for a video game, and you get to do the voice, and they put all these black lines on your face, so they capture your performance and whatnot. And so I was doing that and had some commercial money, so throughout the pandemic, for the past few years, I’ve just been getting to live off acting, which is great." -- Zach: "[Voiceover is] what I'm working on right now." -- Zach: "My father's from Spain." -- Zach: "I'm currently working on a video game, I can't say which video game." "It is a big one, it's not a big deal, it's a big one, I'm one of the main characters, it's not that big a deal." The interviewer asked about how acting in video games works. "Somebody's giving some performance that of course, they layer on imaging afterwards, like in graphics, right? But you're giving facial expressions, that's what gives it the reality, that's what I find so fascinating about motion capture, is that, you get to give big performances, because you're playing these crazy characters in crazy situations, and a lot of your performance is coming through in the final product which is, just gets me excited about the future of things about all the different ways. It's my voice, a lot of my facial features, I voice, I think, one or two characters in this game."

[source (dated ~a year ago. source link isn’t work-appropriate. I don’t recommend the podcast)]

#dragon age: the veilguard #dragon age the veilguard spoilers #dragon age: dreadwolf #dragon age 4 #the dread wolf rises #da4 #dragon age #morrigan #queen of my heart #solas #bioware #video games #long post #longpost #covid mention #first bullet point was mentioned to me by the-rebel-archivist #ty!#k #(actor soc media posts from before strike began)

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hayatheauthor · 6 months ago

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Hello! 😊 Do you have any advice on word-building? I can imagine multiple scenarios in my head, but I can't seem to put them into words. 🥹

First off hi sorry I took forever to write this blog! I hope it helps you get your ideas onto paper <3

Worldbuilding is the backbone of any compelling story, especially in genres like fantasy, science fiction, and historical fiction. Crafting a believable, immersive world can captivate your readers and provide a solid foundation for your narrative. In this guide, I’ll walk you through the essential steps to create a vivid and engaging world for your story.

Understanding Worldbuilding

Worldbuilding involves creating a complete, fictional universe that serves as the setting for your story. This process includes developing geography, cultures, history, politics, and even the rules of nature and magic (if applicable). The goal is to make your world feel as real and intricate as the characters who inhabit it.

Starting with the Basics

Define the Genre and Tone

Consider the genre of your story. A high-fantasy world will have different requirements than a dystopian future or a historical setting. The tone—whether it's dark and gritty or light and whimsical—will also influence your worldbuilding decisions.

Establish the Setting

Start with the physical world. Sketch out maps, outline the geography, and decide on key locations where your story will unfold. Think about the climate, natural resources, and the flora and fauna that inhabit this world.

Develop a History

Create a backstory for your world. Major events, wars, discoveries, and cultural shifts shape the present-day setting. A rich history can add depth and realism, influencing characters’ beliefs and motivations.

Building Cultures and Societies

Craft Unique Cultures

Think about the various cultures in your world. What are their customs, traditions, and social norms? How do they dress, what languages do they speak, and what religions do they follow? Diverse and well-thought-out cultures can add layers to your narrative.

Political Systems and Power Structures

Define the political landscape. Who holds power, and how is it distributed? Are there monarchies, democracies, or tribal councils? Consider the relationships between different nations or groups and the potential for conflict.

Economics and Resources

Understand the economy of your world. What resources are abundant or scarce? How do people trade, and what currencies do they use? The distribution of resources can drive plot points and character motivations.

Crafting Magic and Technology

Magic Systems

If your world includes magic, establish clear rules and limitations. What are the sources of magic? Who can use it, and how? Consistent magic systems prevent plot holes and maintain suspension of disbelief.

Technology Levels

Consider the technological advancements in your world. Are they using medieval weapons, steampunk machinery, or advanced futuristic gadgets? The level of technology can influence daily life, warfare, and exploration.

Time and Place

Historical Context

Establish the timeline of your world. Is it set in the past, present, or future? Consider historical events that have shaped the current state of the world. How have these events influenced societal development and cultural evolution?

Daily Life and Schedules

Describe the daily routines of your characters. What does a typical day look like for different social classes or cultures? Consider work hours, leisure activities, and societal expectations. The pace of life can vary greatly depending on technological advancements and cultural norms.

Timekeeping and Calendars

Develop a system of timekeeping and calendars. Are there specific seasons, festivals, or holidays that are significant? How do people measure time—by the sun, moon, or a mechanical clock? Unique timekeeping methods can add depth and authenticity to your world.

Clothing and Fashion

Cultural Significance

Explore how clothing reflects cultural identity, status, and occupation. Different regions and social groups might have distinct styles, fabrics, and accessories. What materials are commonly used, and how are garments crafted?

Fashion Trends

Consider the evolution of fashion in your world. What are the current trends, and how do they vary across different societies? Fashion can be influenced by historical events, climate, and interactions with other cultures.

Practicality and Symbolism

Think about the practicality of clothing in your world’s environment. How does the climate affect what people wear? Additionally, consider any symbolic meanings attached to certain garments or accessories. For instance, specific colors or patterns might denote rank or allegiance.

Religion and Beliefs

Pantheon and Deities

Create a pantheon of gods or a single deity, depending on your world’s religious structure. What are their characteristics, domains, and myths? How do they interact with mortals, if at all?

Rituals and Practices

Detail the religious rituals and daily practices of your world’s inhabitants. Consider ceremonies, festivals, and rites of passage. How do these practices influence daily life and societal norms?

Religious Institutions

Define the structure and influence of religious institutions. Are there temples, churches, or shrines? What roles do priests, shamans, or other religious figures play in society? The power dynamics between religious and secular authorities can add layers to your worldbuilding.

Languages and Communication

Linguistic Diversity

Develop the languages spoken in your world. Are there multiple languages or dialects? Consider the history of these languages and how they evolved. Language can be a powerful tool to convey cultural diversity and conflict.

Writing Systems

Design writing systems and scripts used for communication. Are there ancient texts or runes with special significance? How do literacy rates vary among different social classes and regions?

Non-Verbal Communication

Explore other forms of communication, such as body language, sign language, or symbolic gestures. How do people convey messages in situations where spoken language is impractical? These non-verbal methods can add depth and realism to your interactions.

Integrating Worldbuilding into Your Story

Show, Don’t Tell

Instead of dumping information on your readers, reveal your world organically through the narrative. Use dialogue, actions, and descriptions to weave worldbuilding details seamlessly into the story.

Character Perspectives

Different characters will experience and interpret your world in unique ways. Use their perspectives to highlight various aspects of your world, making it richer and more complex.

Consistency and Continuity

Maintain consistency in your world’s rules and details. Keep track of your worldbuilding elements to avoid contradictions and ensure a cohesive narrative.

Worldbuilding Tools and Resources

Maps and Diagrams

Create visual aids like maps, family trees, and diagrams to help you keep track of your world’s layout and relationships. Tools like Inkarnate or Wonderdraft can be helpful for map-making.

Worldbuilding Bibles

Maintain a worldbuilding bible—a document where you compile all your world’s details. This can include notes on geography, history, cultures, and more. It’s a valuable reference as you write and develop your story.

Inspiration from Real World and Fiction

Draw inspiration from real-world cultures, histories, and landscapes. Similarly, reading widely in your genre can provide insights into effective worldbuilding techniques.

Final Thoughts

Worldbuilding is a rewarding yet challenging aspect of storytelling. It requires imagination, attention to detail, and a deep understanding of your narrative’s needs. By following this comprehensive guide, you can create a vibrant, believable world that will captivate your readers and enhance your storytelling.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!

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anthonsgi · 11 months ago

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★’･ﾟ:｡･:*:First kiss with HSR characters PT.1:｡･:*:･ﾟ’★

【Note: Hello! I haven't written anything in a while, but I recently got a surge of motivation, so why not take advantage of that? :) There will be a few parts because I want to write for many characters and the process of writing each one is really long for me so I prefer to spread them out a bit, so if the character you would like to read about isn't here, keep an eye out for future parts, perhaps I will include them there! As per usual, English isn't my first language and I'm learning as I go, please be patient with me. Requests are open! (˵ •̀ ᴗ - ˵ ) ✧】

【Pairings: Kafka, Argenti, Blade x GN!Reader】

【CW: I may have added some angst here and there, but I couldn't resist (I tried to end it with a good, slightly bittersweet conclusion each time though)! I wanted to make the characters' traits as similar to the game's as possible, but a few things may still be out of character, sorry in advance!】

a lil note: this is literally just all of these characters being absolutely SMITTEN for you and them fawning over you, but every day is a good day to get praised left and right, no?

☆〜KAFKA〜☆

It shouldn't be much of a surprise that you fell in love with this young and exceptionally charming woman. As a Stellaron Hunter, she ensures that Elio's predicted plans are carried out. That being said, you were a completely unpredicted element in a series of missions; there was never a mention of you ever being included in situations that you always found yourself stuck in. Kafka always saw it as "the usual result of the unforeseen nature of destiny," as she liked to explain to you.

After a while of simple acquaintance, she has grown more fond of you than she has of anyone. Not only were you beautiful in her eyes, which was a big thing for a connoisseur of beauty such as herself, but she felt at ease with you. She may be a sly, unbothered criminal whose prize for capturing her is enough to provide many good-lived lives for a bunch of Vidyadharas, but she actually really appreciates the times when she doesn't feel like she's being chased by people or by time itself.

Being with you was as enjoyable as studying the waves—a peaceful activity, a thought-provoking process. She desired to look at the horizon and discover more than meets the eye, however, it was quite impossible. The job of a Stellaron Hunter is challenging not only because of the relentless pursuit of destiny and the never-ending dangers but also because it entails never staying in one place for too long, never forming more meaningful connections, and never attaching yourself to finite, frail matters. Even though she knew she was more unlikely to run into the same individual twice as a Devil Hunter than she was now, her options were usually limited.

Kafka isn't one to fully hide her true feelings; she spoke very highly of you, your way of being and thinking, your appearance, and your tendency to be the miracle of one's destiny (*cough* talking about herself there). She has developed a habit of complimenting you just to see you squirm away from her gaze and bite your lower lip to try and stop a smile from forming. These occurrences weren't rare; they always followed the same pattern: she said something = you discreetly reacted = she noticed and couldn't stop noticing.

A kiss from her would be more of an indication of her love than a reveal, showing rather than declaring it. It may have happened during one of your late-night chats where you slowly opened up to one another, or it could have happened in the early morning after she invited herself into your home after you had just woken up and weren't sure if you were still asleep. In any case, without having said much, she leaned in, rested her hand on your cheek, and left a tender and delicate kiss on your lips. It didn't last long, but it meant more than a decade of stolen glances and conversations with hidden meanings.

It didn't feel like a goodbye kiss, it never did, but it was clear it was some form of leaving you wanting more, leaving you yearning for her to come back and see you again, and leaving you wondering how long it would be before she does it once more.

☆〜ARGETNTI〜☆

Knight of Beauty, a follower of the fallen Aeon Idrila. He's constantly on the journey to honor the principles of beauty itself, spreading the grace of his Goddess all over the universe. Discovering numerous forms of beauty in the ordinary and in the extraordinary. When he first laid his eyes on you, it was as if time began to bend around you, a black hole in which the concept of time didn't seem to exist, trapping anyone and everyone residing in its proximity.

Recognizing refinement in people was second nature to him, admiring their souls that mirrored their personalities and beliefs. He wished nothing more than to convey compassion to those who possessed honorable qualities, pure hearts, and desirable traits. Your beauty shone with such radiance that it put the stars to shame; your existence was an excellent reminder of Idrila's presence in the universe.

To Argenti, love is a miraculous feeling that is a joy to experience; it reflects a person's deepest desires and is an act of care so poetic that it almost brings a tear to the eye. In a way, having never experienced it before and having no opportunity to try due to his commitment to traversing in solitude, he decided it wasn't he who was supposed to feel it and that he was merely destined to admire the beauty of it from afar.

Meeting you meant the world to him; you made him feel love for another person for the first time—the all-consuming love from every classical novel he had read. The purest form of it is tragic love, one that breaks down the foundations that hold one's life in perfect balance. He spent several days and nights with you, staying in one location longer than he ever did since becoming a knight—the place where he started to ponder his destiny and his vocation.

He made every effort to push these thoughts away, thinking such things felt like a violation of the universal code of chivalry he upholds, yet when he gazed at your gentle smile as he held your hand, it was a tougher battle than that of a wax candle facing the sun. He was melting into a pitiful puddle as your very being formed him again, never to be the same as before.

One beautiful night, when the birds had gone to sleep, no expectations were laid forth, and no secrets were to be unveiled, Argenti took you by both hands, kissing each knuckle as if they would break if he put pressure on them. He spoke of you as if you were the one he had devoted his life to worshiping, his lips singing silent praises; perhaps it was a prayer, perhaps an apology. His eyes met yours, a nonverbal plea, and you leaned in, connecting your mouths in a passionate kiss, electricity coursing between each soft teeth clashing.

What an outstanding farewell kiss that was. The thought alone made you gulp down the lump growing in your throat. Argenti has to leave, or rather, ought to leave; otherwise, he's afraid he may decide to stay. He's certain your paths will cross one day; it's just the way of the world. Either way, he always finds himself drifting towards beauty. Behind him, he will leave a timeless tale of a wounded and repaired heart, as well as a dose of fate that makes no mistakes.

☆〜BLADE〜☆

The undying man who became a blade, a shell of a person, a mara-stricken monster with no hope for craved demise. His story is one of endless agony and misery. In this everlasting life, Blade's abilities are used in matters including bloodshed, spreading the pain he felt himself, and only then would he feel himself disappear, even for a moment. As bitter as that was, it was reality, his burden to bear. Blade didn't have "companionships" and never needed attachments. The closest he had to an acquaintance was Kafka, whose voice managed to calm the monsters who grew inside him relentlessly, and possibly Silver Wolf. However, he didn't understand her, nor did he wish to.

How you were able to capture his wounded heart remains a forever-unsolved mystery. He, of course, didn't decide one day that the way you laughed made him feel emotions so intense that he wondered if what he was feeling was some form of suffering he'd never experienced previously or that his intensified urge to protect you wasn't just due to the fact he was always nearby when danger struck, but because he genuinely cared. It was a lengthy process imbued with a myriad of understatements and denial. An "I love you" leaving his lips was as bizarre as the prospect of hell freezing over... yet when it did happen, you only wished to hear it again.

He frequently wonders why he finds himself faintly grinning primarily in your presence alone (and obviously during combat). When you resided in his vicinity, everyone could feel a shift in the atmosphere surrounding him, as well as a change in his usual behavior. It was almost comical to observe, especially to his fellow Stellaron Hunters, who never missed an opportunity to tease him. Nonetheless, love expressed by a presumably loveless man is as fascinating as it is arduous. Your existence was curative, helping him to rediscover parts of humanity he thought he had lost, yet healing is a part of him he has come to loathe with every fiber of his being. At one point, he distanced himself, as if limiting your healing influence on him was the sole thing that he could control about his 'condition'.

That didn't last long, and he scurried back to you like a moth to a flame. Blade didn't grasp the concept of physical touch as a kind of comfort; it never failed to remind him of how many times he had been hurt. You, once again, were the exception. Gentle arm touches, random lacing of fingers, your scent, and that insufferable (not really) look in your eyes whenever you stared at him drew him in. As much as he despised life, he did not detest the idea of living simply to be with you; that paradise that always seemed to be out of his reach, a mere push away, appeared to be standing right in front of him.

A minor brush of your body against his made you excited, but a kiss? It's overwhelming to even imagine. You'd have to initiate it, subtly steering the conversation to a topic where it wouldn't be too odd to inquire about moving to the next step in your relationship, acting as lovers. If Blade didn't wear a stoic expression on his face more than half the time, you could tell by his nervous swallowing that he would be at least blushing a little. He wasn't an adolescent, and he didn't think of a kiss as the grandest gesture of intimacy; nevertheless, that didn't free him of hesitations. Being vulnerable and helpless in the hands of another, all of his shortcomings could be easily revealed.

Kissing Blade had to come naturally when you were alone and indulging in small talk; there was no need for a perfectly timed gust of wind or a captivating blanket of stars above, just two imperfect people pouring all of their desires, yearning, and passion into a single imperfect kiss. Your lips met, linking your souls and creating a sensible spark deep within. There was no distance between you, and you were both entirely defenseless against the other's will. After you moved away, it was as if a thousand sentences were pulled from your mouths, yet no one spoke a word. With swollen lips, you were unable to resist a grin while Blade leaned in for another kiss.

lil ending note: hope you enjoyed! also, I have to mention that I know that both Kafka and Blade are Stellaron Hunters so the main problem portrayed in Kafka's part (the never being in one place too long) could potentially be brought up In Blade's part as well, but I decided that would be pretty repetitive so I wrote about Blade's history instead :D

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lua-magic · 10 months ago

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D9 Chart and desires of your past life .

Seventh house of D9 chart shows, what qualities you expect in your soulmate (subconsciously) and how it is going to manifest in real life.

Check your D9 chart and see which planet occupies your seventh house, if house is empty check who is the lord of the seventh house.

Sun 🌞 in seventh house or Lord of seventh House 🏠

Sun is debilitated in seventh house, so person with seventh house sun wants soulmate who has leadership qualities, bold, smart, extrovert. He wants to be recognised by his soulmate, and wants everyone to think highly about his soulmate as sun is bright, so he/she also expects his/her partner to shine like sun every where.

Such person could get angry or irritated when his/her soulmate doesn't act according to his/her expectations, and that is what becomes the problem. Native could be controlling in nature and has ego issues with his/her soulmate. Native should learn to be humble in relationship.

Moon in seventh house 🏠

Moon in seventh house, or lord of seventh house natives desires soulmate with emotional connection and nurturing or motherly in nature, they have unconditional love towards their partner.

The problem here is that, they become so emotional in love, that they sometimes can't see the red flags, and get cheated or feel betrayed.

You have to learn little logical and pay attention to details as well.

Mercury in seventh house or Lord of seventh house 🏠

Mercury is logical planet, and quite selfish as well, that is why Mercury is responsible for business.

Native would be devoted and love partner, but has conditions applied.

Such natives seek good communication and adventures or lot of fun and play in relationship.

Mercury sees it's own benefits first, so, here native would be calculative in love and wants soulmate who could benifit him/her.

Problem here is that, sometimes they become so perticular about the qualities of partner, that they find it difficult to find someone who matches their expectations, or even if they find one, they won't be satisfied fully as they feel partner is not matching 💯 of their expectations, more over they can get bored easily in relationship if they find relationship has nothing new to offer.

Venus In seventh 🏠 House

Venus is all about beuty especially your looks, so here native desires partner who are beautiful and senseous, someone who could please their senses.

Problem is that, they go for external beauty so much, they ignore the inner beauty and character of a person and and later they regret or be unsatisfied in relationship. So, here you need to see the compatibility and values as well.

Mars in seventh 🏠 house or seventh Lord.

Such natives get attracted by physical features alot, they desire partners with good body features. Such natives

If Mars is not aspected by Jupiter or Saturn here native would be insecure in relationship as well, and that could become the cause of anger or frustrations in relationship.

Rahu in seventh house or Lord of seventh House 🏠

Rahu in seventh house natives are quite innocent in relationship, they fall in love easily, and trust people easily.

Rahu also makes you insecure in relationship. Issue, is that, rahu attracts karmic partners easily, so they get heart broken and later develops trust issues and feel insecure.

Here, native won't be knowing much about relationship in early state but with heart breaks they learn alot later in their life.

Such natives trust easily what others say and that sometimes backfire.

So, here, it is better you observe the person carefully before committing in a relationship and take your time, don't rush the process or jump into romantic relationships quickly.

Such natives also get attracted to people outside their cast and culture easily.

Ketu in seventh house or seventh Lord.

Here, native would be extremely obsessed with relationship initially and would be having great and illogical expectations just like fairy tale, later in life they get detached from relationship because they understand relationship is not fairy tale but we also have to be logical and has human expectations from people.

Such natives also attracts karmic partners, and they experience great pull towards their partners and force to believe in soulmate concept but later in life with the same person they get detached and lebel them as their karmic partner..

Such natives believe alot in soulmate, karmic partners because, they believe that their soulmate would complete them, and then they will live happily ❤️ ever after but later get disappointed.

Hence, intially itself start noticing all the red flags and don't jump, don't rush but take it slow and let relationship progress with time, so give your relationship time..

Mars, Rahu and ketu makes you insecure in relationship and hence native reacts quickly or agressively sometimes which becomes problematic in relationship.vSuch native should learn to develop patience in relationship and be more grounded and humble.

Rahu and ketu or retro planets in seventh house attracts past life relationships easily. Hence, native are advised to take their relationship slow and learn to observe and don't jump on conclusions fast, otherwise they will suffer heart breaks and educate yourself more on relationship..

Saturn in seventh House 🏡 or Lord of seventh house

Saturn is exalted in seventh house, now such natives actually serve their partner.

They take care of them, in all aspects but as Saturn is cold and dry planet they will have that cold attitude towards their partners and think partner knows about them and will come to know without them expressing it.

Problem here is that sometimes they become so non expressive and cold towards their partners that it becomes problem in relationship.

Saturn here will make you work alot for your partner and you would be loyal and devoted, but native should understand here, woman needs husband and not the servent similarly man needs wife and not the maid in relationship. Saturn here loves to follow all the ethics and rules of relationship and be selfless towards their partners.

So, learn to express emotions in relationship.

Such natives desires partner who is matured and responsible, and takes their work seriously.

They have serious attitude towards relationship hence, they get partners who are matured or more in age than them.

Jupiter in seventh 🏠 house or Lord of seventh House.

Jupiter being divine planet, trust people and sometimes even have blind faith on their partners.

Such natives loves unconditionally, and treat relationship very sacred bond

Most of time, natives spoil their Jupiter by not not being righteous and moral in relationship.

Such natives also give value to righteousness and morality in relationship alot, only issue is that sometimes they trust too much and once, something goes wrong in relationship they won't be able to recover from it quickly, because they had blind faith and never imagined anything could go wrong in relationship.

Such native would get spiritual partner or becomes spiritual after marriage. Such natives get married in their religion, and follow all the religious rituals associated with marriage. They desire relationship where they feel guided, and someone who is matured and counsel them

Natives having bharani nakshatra in seventh house, or Mars Jupiter and Venus in bharani should be careful, because such natives would be fully dependent on their partners and suddenly their partners would change and then such natives becomes clueless in life because they never imagined their life without them and had lot of emotional attachment

As bharani is the sign of transformations, so such natives face huge transformations in life because of their partner.

#vedic astrology #astro observations #astro community #astro notes #astrology #spirituality #occult

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dorothylarouge · 10 days ago

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Dorothy's Top Five Games of 2024

Honorable Mentions:

Suzerain: A gripping and fully-developed world of politics and international relations, Suzerain released its Rizia DLC this year, and I played through both it and the main campaign. Its realistic portrayal of political and economic processes, in the backdrop of a world almost our own, proved extremely addictive.

Goodbye Volcano High: A heartfelt and moving interactive animated miniseries about coming of age in apocalyptic times, with some great indie rock-flavored music.

We Love Katamari Reroll: A delightful followup to the original Katamari Damacy, We Love Katamari is more of the same - and what more could you ask?

Sea of Stars: A beautiful love letter to classic JRPGs, with gorgeous environments, delightful timing-based combat, endearing characters, and wonderful music, including guest tracks composed by legend Yasunori Mitsuda.

Dragon Age: the Veilguard: Now the story of a studio who lost everything, and the one game that had no choice but to get them back on track. It’s Arrested Development.

And now, the list proper.

Fifth Place: Penny's Big Breakaway (Evening Star)

I have a tremendous soft spot for 3D platformers. Some of my earliest memories of video games involve playing Super Mario Sunshine, Sonic Adventure 2, and Spyro (the bad one) on GameCube.

Penny's Big Breakaway feels like a refugee from that era of platformer, one which would have felt at home on the Dreamcast, GameCube, or even the original Xbox or PlayStation 2. It combines energetic, almost frantic platforming with a high skill ceiling and combo system with a turn-of-the-century graphical aesthetic and fantastic music by Tee Lopes to provide a return to form for a genre which has for too long been permitted to languish.

As with most 3D platformers, story is not a major focus. You play as Penny, a yo-yo-toting busker who ends up running afoul of an emperor and must escape imprisonment by his army of colorful penguins. That's it. That's all you need. This simple premise provides ample excuse for Penny to run, jump, and roll her way through a host of themed worlds. Sometimes, less is more.

With that said, this is not a perfect game. The controls take a lot of time and effort to master, and even after a good amount of play time one is liable to fling oneself off of the map. Health powerups are not as plentiful as they should be, especially in boss encounters, and a lack of camera control can be downright painful at times. Still, these complaints do not ruin the game, and hopefully they can be addressed in a sequel.

The developers of Sonic Mania have created a true gem with this, the debut game from new studio Evening Star, and I look forward to seeing what the studio comes out next - like the best platformer mascots, Penny has the charisma and style to inspire adventures for years to come.

Fourth Place: Neva (Nomada Studio)

Neva is the latest release from Nomada Studio, creators of the brilliant game Gris, and where Gris was a parable of grief and loss, Neva is an ecological fable in which a girl and her dog must make their way through an increasingly-ravaged natural world beset by decay and corruption.

The core gameplay of Neva builds and iterates upon what was seen in Gris, with a dash, double jump, and ground pound, but added in are a sword, which main character Alba uses to fight enemies as well as unlock obstacles, and abilities involving the titular dog which are unlocked over the course of the game. The combat is fun but fairly rudimentary, and I saw it as a garnish on the real focus of the game, which is robust and engaging puzzle platforming of the kind that made Gris such a delight.

The game, as expected of Nomada Studio, is gorgeous, with a beautiful art style, impeccable sound design, brilliant use of color, and haunting, atmospheric music. The level design is also excellent, spanning a number of natural environments which are slowly but surely overtaken by the creeping decay, as well as man-made structures resembling those in Gris, which are also crumbling and in a state of decay. The degradation of nature and collapse of the structures of man are linked in Neva, giving rise to uncomfortable thoughts about the state of the world today.

Neva is defined by cycles, cycles of life, death, decomposition, and the cycle of the seasons, which give each of the game's four chapters their names. The game ends in an echo of its beginning, a beautiful and bittersweet ending I will not spoil here.

Neva is a hauntingly beautiful, if frustratingly short, gaming experience which I think will stay with me for a long time. I felt compelled to hug my dog after it was done.

Third Place: Metaphor: ReFantazio (Studio Zero)

When Metaphor was first announced, the impression that everyone got was that it was fantasy Persona, with a large amount of development staff carried over from the Hashino Persona games, a lot of mechanics and systems carried over from those games, and even some summonable demons from the mainline Persona and Shin Megami Tensei games. Commentators made note that this was fantasy Persona. Journalists endlessly referred to it as fantasy Persona. Reviewers regarded it as fantasy Persona. It was such a cliche, so aggravating to fans, that it became verboten in the fanbase to refer to the game as fantasy Persona.

Metaphor: ReFantazio is fantasy Persona. This is in no way a bad thing. As in the Hashino Persona games, there is an emphasis on social simulation, with the main character forging bonds with his party members and honing his social skills - not to self-actualize as a social being, as in Persona, but to prove his mettle and worthiness as a king to a kingdom cast into chaos after the last king's murder.

It is this emphasis on fantasy that sets Metaphor apart. The game is constantly musing on fantasy tropes and the transformative nature of the genre, and it has a surprising amount to say about the appeal of fantasy narratives, to say nothing of its overarching themes of prejudice and self-determination.

In terms of gameplay, Metaphor actually takes a lot more from the Press Turn system of Shin Megami Tensei than the One More system of Persona, and it took me a while to get into the groove of it. Once I did, though, I had a great time chaining attacks to strike at opponents' weaknesses and finishing my turns with devastating damage via the game's Synthesis mechanic. The game's central gameplay feature, the Archetype system - a sort of job system like those in Sqaure Enix RPGs - was also something I took to readily after some initial fiddling. The game lets you mix and match abilities from different archetypes via the skill inheritance system, and I had a lot of fun creating an ideal build for each playable character.

And then, of course, there's the characters. Metaphor features a large cast of characters, and I was happy to see that all of the social link equivalents featured strong and compelling narratives that made the time needed to invest in each rank of their story a worthy commitment. In particular, I found the narratives of Eupha, Heismay, and Maria especially compelling, and the bonuses provided through spending time with them to be particularly valuable.

Metaphor: ReFantazio is fantasy Persona. And that's a good thing! It's a great game, and I hope it's one that gets revisited sooner rather than later. Studio Zero have produced a real gem for their debut title, and I really hope they keep the momentum going.

Second Place: Ghost of Tsushima: Director's Cut (Sucker Punch Productions)

I am a huge fan of the works of director Akira Kurosawa - Throne of Blood is my favorite film of all time - and the jidaigeki genre of samurai films in general, so when I learned that Sucker Punch was making a game inspired by the genre I was filled with excitement which turned to dismay when I learned that the game would be PlayStation exclusive. Thankfully, though, little stays PlayStation exclusive for long, and I was happy to finally play Ghost of Tsushima when its Director's Cut released on PC this year.

The setup of Ghost of Tsushima is pretty simple, and slots in nicely with its genre - you play as Jin Sakai, the sole survivor of a massacre of samurai at the hands of invading Mongols, and must use all the tools at your disposal to free the jito, your uncle, and liberate your island home of Tsushima. Along the way, you begin to chafe at the code of honor you are expected to uphold as a samurai and as your uncle's heir apparent. While Ghost does have a simple premise, it is its characters, and their struggles and dreams, which kept me invested throughout the experience.

The game's combat is consistently satisfying, with the player rotating through various swordfighting stances to counter specific enemy types, while also having access to a bow, bombs, poison darts, and various quickfire items which can disrupt enemies and allow you to control the flow of combat. It's a fun system to master and learn how to get through any encounter without taking any damage. Occasionally the game also puts you in one on one duels with certain enemies, which are always fantastic - the one at the end of the game especially.

Where Ghost really shines, though, is in its exploration. I wouldn't call Ghost of Tsushima a true open world game - the player's access to the island's various regions is gated by story progression, and you unlock more of Tsushima as you progress, while having free reign of any area you have access to at any given time. The game heavily rewards exploration with a variety of activities and collectibles, which differentiate themselves from the typical Ubisoft-style open world icons by being fun, useful, and engaging. You'll scale mountains to reach a shrine to a kami, or rest for a while in a hot spring to increase your health, or (anachronistically as the art form did not exist in the 13th century) compose a haiku to earn a new piece of cosmetic gear. You'll also follow a number of character-based side stories, one-off side quests, and mythic tales which unlock powerful abilities and armor, all of which are extremely engaging and memorable. I would liken Ghost of Tsushima to last year's Tears of the Kingdom in terms of just how good it feels to explore and discover the island of Tsushima's beautiful environments, and uncover all of its secrets.

As a lover of the genre, I could barely put Ghost of Tsushima down in my initial playthrough of over 70 hours. It more than earns its spot on the list, but there's just one game I think left even more of a mark on me this year.

First Place: Persona 3 Reload (P-Studio)

I am a recent convert to the Persona series, having first played Persona 5 Royal in 2022 and playing Persona 4 Golden when it released on Xbox in 2023. However, I have fallen deeply in love with the series, and when Persona 3 Reload was announced I made the decision that I had to play it on release day. I called out of work and preordered the game - something I never do - and through a combination of being trapped in my home by a massive storm and losing my job the next week, I ended up plowing through Persona 3 Reload in about a week. I simply couldn't put the game down.

I had very little knowledge of the story or characters of Persona 3, having never played my copy of Persona 3 Portable since this game was announced so soon after that released, and so experiencing this narrative for the first time was an experience I'll never forget. Persona 3 is a game about death which is simultaneously extremely life-affirming, celebrating the relationships, connections, and simple joys that make life worth living, while embracing the fact that everyone must someday die and using that fact as motivation to live every day to the fullest. It is a moving, emotional story anchored by rich, engaging characters. I cried several times throughout.

The gameplay of Persona 3 Reload, a refinement on the turn-based systems of previous entries, is polished to a shine, and I found myself blowing through whole blocks of Tartarus, the game's only dungeon, in a single in-game night due to how engaging and addictive the combat felt. It felt extremely rewarding to find effective combos and a synergistic team that could raise each character's Theurgy gauge as quickly as possible, and the structure of Tartarus hooked me in surprisingly effectively, given that I wasn't a big fan of Persona 4's TV Wortld dungeons, or Persona 5's Mementos, dungeons with a similar structure to Tartarus. It helps that there's a surprising amount to do in Tartarus, from rescuing lost civilians to fulfilling requests for the Velvet Room attendant Elizabeth to exploring the various Monad Doors and plundering their rare items.

Persona 3 Reload is a very special game, one that I think will stick with me for a very long time. I can easily see why fans had been clamoring for a remake for so long, and I am extremely grateful that we finally got this game as a result. It is a genuine masterpiece, and easily takes the title of my game of the year.

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theillustraitor · 11 days ago

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Finally finished revising my ideas for post-AGIT Dan! It's under the cut, and it is similar to what I wrote out before(so if any of y'all read that much of the below will probably sound familiar).

The chart is so y’all can see the Dan ref next to Danny and Vlad. He’s meant to be a pretty even mix of them design wise, and I'm pretty proud about the blend :]

If there are any questions I’d love to answer them(whether about the specific story stuff below or if there’s anything else y’all are curious about with my ideas for him)! In spite of my fixation on the college trio, I think about Dan a ton lol

(This takes place in the range of about 2.5 weeks to 3 months after AGIT)

Dan’s clone body started destabilizing pretty soon after AGIT. With some convincing Danny and Dani agreed to use the ecto-dejecto to stabilize him(Dani still needs it so that’s why she had it/had to give permission. She sympathized with Dan melting.) Vlad was also hiding that Dan didn’t really mean anything he’s said about improving, and Dan was of course himself lying about it. That’s why Danny/Dani agreed to help(Dan does eventually become genuine, but this blurb will mostly focus on why Dan looks the way he does instead of his character development).

It worked, but Dan destabilizes so frequently that he goes through a lot of dejecto. His ghost form is really different from the clone, and has a lot more power than the clone can handle. The dejecto is also unable to be reproduced because 1) Vlad could not crack what tf Jack did to make it in the first place, and 2) There’s no way Jack would agree to make more(not that he even would remember how to replicate a failed experiment that would help ghosts). Giant problem for both Dan and Dani, because if they use it all, that’s it. They’ll melt into nothing.

This led Vlad to try another method to hopefully permanently stabilize Dan or at least reduce the amount of dejecto he needs(Vlad figures his ghost part should theoretically make up for the original stability problem of the Danny clones). Vlad started working on editing the clone to both age it up, and create a stable mix of his and Danny’s DNA that would allow the clone body to more closely resemble Dan’s ghost form and hopefully increase its capacity for ectoplasmic energy.

This was actually going pretty well and was slowly reducing the amount of dejecto Dan needed, but it wasn’t going fast enough. Vlad feels enough guilt over Dani by this point in time to be concerned for her well being, so once again is trying to find another alternate way to stabilize Dan faster. He comes to the insane conclusion to convert the ectoplasmic nature of Dan’s clone body into flesh. The bodies not matching wouldn’t matter then, and it obviously couldn’t melt anymore(note, the reason he doesn’t think to do this process directly to Dan’s ghost is because he still needs an anchor to not disappear from time. Being made of meat won’t fix that, so the best option is to keep him inhabiting a body. Even that aside, there could possibly be irreversable/undesirable side effects).

By the time Vlad is successful enough with testing to implement it with Dan’s body, he looks like what he looks in my design. He’s roughly 17-18, and really hates the idea of being stuck that age. However with a lot of convincing from Jazz and Vlad he finally agrees to allow Vlad to convert his clone body(convincing includes that he could finally go in public without any worrying(Jazz), he could have a bit of youth/being a kid to have fun with(Jazz), the obvious fact of not destabilizing(Jazz/Vlad), he’ll get a longer life(Vlad), and Vlad secretly mentions that Dan could get away with a lot more if he is young).

Vlad then goes ahead with it(Dan temporarily moves into another body to ensure only the clone body would be affected). Vlad is left pretty exhausted, but the conversion was a great success. Dan finds that it’s a bit tingly and is still like he’s possessing the body, however otherwise it feels pretty great.

Some later stuff:

- Dan finds that unlike before, he can turn into his ghost form halfa-style(not for too long though as he’ll start destabilizing time-wise).

- He eventually attends Casper High(of his own volition, though Jazz encourages it). Vlad puts him in Danny, Tucker, and Sam’s class. This is also when he gets his jacket; he joins the football team, but seeing as he still despises the popular kids he gets Sam to dye it black.

- He’s honestly a menace at Casper, especially to the popular kids, but Dash still thinks he’s cool 😭

#danny phantom #dp #dark dan #traitor's au

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amerricanartwork · 6 months ago

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You know that feeling when you look back on something you used to be relatively familiar with but then you dig deeper into it and realize it's so much cooler and more complex than you comprehended at first? Yeah, as of recently I have been experiencing that feeling with two things: Kung Fu Panda 2 (specifically, Lord Shen), and H & B pencils.

The latter is because, now that I'm really interested in understanding the nature of light and shadow and capturing that in drawings, I now see how those pencils are perfect for practicing this concept traditionally! And the former is because, now that I've found my passion for character design, storytelling, and decoding the psychology of fictional characters, I have reason to be genuinely invested in Shen and appreciate him from a more artistic/narrative perspective beyond just "mmmmmmmmmm, pretty bird..."

So anyway, here's a sketch combining the two concepts that I'm still pretty proud of! I still have a lot to learn in terms of shading different materials and developing a personal shading process, but until then it's fun to practice it with characters I like! And below is the full sketchbook page, where I also tried to do some basic intro sketches/construction stuff:

#art #artwork #artists on tumbr #drawing #sketch #sketches #sketchbook #traditional #traditional art #fanart #films #dreamworks #kung fu panda #kfp 2 #lord shen #quetzalli draws

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cartoonistcoop · 2 months ago

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ShortBox Comics Member Interview: Sloane Hong

Throughout the month of October, the Cartoonist Cooperative will be sharing interviews with members of the Co-op who have a new comic available at the ShortBox Comics Fair 2024!

NOTE: The Cartoonist Cooperative is not affiliated, associated, authorized, endorsed by, or in any way formally connected with ShortBox.

Today’s spotlight is Sloane Hong ( @plaest2k ) and their new comic for ShortBox, Expiry Date.

We’d love it if you could introduce yourself and tell us about your background in comics.

Sloane Hong: Kia ora, my name is Sloane Hong (she/her), I’m a Korean-tauiwi illustrator, comic artist and tattooer based in Aotearoa, New Zealand. I only started making comics professionally about five years ago but they’ve always been a significant part of my life for as long as I can remember.

Tell us more about your new comic?

SH: Expiry Date is an erotic, body horror, sci-fi short story about coming home from a long day at your shitty, minimum-wage job, crashing on your couch and fantasizing about how fucking good it would feel to just die.

I mean, it’s also about transness, labour rights, our relationship with our bodies and death under capitalism, etc but it’s mostly about shitty jobs.

My friend described it as “what if David Cronenberg was a transsexual dyke who grew up reading ero-guro”.

What are some early experiences as a cartoonist that shaped you or your process?

SH: My brother’s also an artist, probably better than I could ever be, and I basically owe any good taste I might have to him. Growing up, I always got home from school first so I’d sneak into his room to admire his drawings and read his comics. He had most of the usual stuff you’d find on any Korean kid’s shelf in the 90’s: Akira Toriyama, Masamune Shirow, Yoshito Usui, etc, and a couple of Korean manhwa that are all now damn-near impossible to find. As he got older, he started getting into American comics and brought home stuff like R. Crumb, Daniel Clowes, Fletcher Hanks, etc from the library.

But it’s not just that I had someone to introduce me to all this stuff, it’s the fact I’m six years younger than him and he was already reading this stuff earlier than most. So I think I started looking at all those misanthropic underground comics by horny white men when I was, like, what… about 10 years old?

Besides my brother, the trauma of working shitty jobs for years on end, The Terrible Boredom of Paradise, and this weird and fucked up miracle we call life are probably the wellsprings of both my inspiration and ceaseless burnout.

Tell us about your creative process; how did you develop this comic and what are the steps you took to bring it to the final stage?

SH: I did something really stupid for the 2023 ShortBox Comics Fair. I have ADHD and one of the many ways it manifests is that I have a debilitating habit of overthinking my stories. “Are the themes too obvious? Is it too heavy handed? Are the motivations for this character clear enough? Is this the right way to phrase this? Is this the right word? Is this the right letter? Is this the right punctuation?” etc, etc.

On paper, it probably sounds like something every writer goes through but when I say debilitating, I mean interferes-with-my-ability-to-live-a-normal-life-kind of debilitating. It’s kind of impossible to articulate how bad it was but it got to a point where I was so sick of myself and all the stories I never finished that I said fuck it–maybe if I just jump into a comic with nothing but a stupid premise, no planning and an impending deadline, I won’t have time to think about all these inconsequential details. So I sat down and forced myself to write, pencil and ink a comic, page-by-page.

It was essentially an exercise in automatism: I was still thinking about draftsmanship, composition, flow and everything but I kinda just let the story tell itself by writing/ drawing whatever felt like a natural progression for the narrative.

That was how I ended up with Marrow, which was kinda funny because the whole point was to make a goofy, low-stakes comic about nothing to circumvent the pressure of having to write anything good. Instead I’d inadvertently made something that was layered and deeply intimate and won the sci-fi category in the 2024 Minicomic Awards. But, more importantly, the whole process helped bring everything together. It reminded me of something I used to tell young artists: developing a style isn’t something you really set out to do, it’s something that just happens. You don’t practice drawing to get better at drawing; you do it to better channel your voice. It’s only when you can stop thinking about how to move your hand that your heart can take the lead.

I’d forgotten my own advice. I was so concerned about the technical details of how to write a story that I was basically assembling components rather than writing anything at all. Marrow helped me realize I’d already internalized everything I needed to write long ago. I just needed to stop thinking.

Expiry Date was a continuation of that process and made in basically the same way. There was just significantly less stress involved now that I knew I could trust myself.

Mostly.

Read the rest of the interview HERE! And dont forget to check out the Shortbox Comics Fair to support these lovely creators!!

#comics #comic artist #cartoonist #cartoonist cooperative #comic recommendations #illustration #comic #comic art #shortbox #digital comics fair #sbcf2024 #original comics #online comics fair #shortboxcomicsfair

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