#he’s been my inspiration for YEARS?? his style is what I’d want my art to be like !

[c00kiesart]

✨👽💖🍩✨

Twitter // kofi

[ranchstoryblog]

Ranch Story Community Q&A Volume 3: Igusa Matsuyama Returns!

Igusa Matsuyama, the legendary artist behind the Story of Seasons series since the original 1996 game has once again agreed to a Q&A featuring questions from fans from around the world! A big thank you to all the members of the community who helped make this possible.

Some aspects of the text have been altered to match localization people are familiar with. (Japanese names to English names, for example: Bokujou Monogatari (牧場物語) was formerly localized as Harvest Moon and is now localized as Story of Seasons, etc). Images were not part of the original text and have been added as a visual aid. Though we translated as many questions as we could, we did not include questions involving personal information or regarding unannounced releases. Please understand.

If you would like to read our original correspondence (in Japanese), that will be provided in a separate post.

Additional cosplay photo provided by Foxface from our community Discord.

Translations: @artycharmy (correspondence, outline) Editing and Clean-up: Jerome, @artycharmy, and @regularcelery

——— Anonymous asks: What is the relationship between Jamie and the Harvest Goddess?

Igusa Matsuyama: Jamie was treated as a fairy or spirit. I'm sorry, but I'm not sure if there's any points that link them and the Goddess.

Editor's note: the term Matsuyama uses is "妖精."

Tomato asks: I would like to ask about what their inspiration was for the outfits designs in the original release of harvest moon another wonderful life. Since I got reminded of the girl clothing brand Mezzo Piano when looking at the I love Kuma/I love bears outfit.

Igusa Matsuyama: I remember the only thing I thought of was using Spring-like colours! (All designs were made with seasonal colours In mind) When I knew that Daachan, who was planned to be used in a lot of events, wouldn't actually play a big role in the game, I put him on the T-Shirt so he could at least get some attention as a mascot-like existence.

Pansy asks: If you were able to create your own game for the Story of Seasons franchise, with no rules or limitations whatsoever, what do you think it might look like?

Igusa Mastuyama: Since I love dogs, I'd like to try making a Story of Seasons that's set in a world just full of dogs. Though that dream of mine probably won't come true.

Anonymous asks: The look of Story of Seasons has changed a lot over the years! What would you say is more challenging to create - simple designs, where you have to work with very little space, or complicated designs, where you have to consider many little details?

Igusa Matsuyama: A long time ago there were a lot of things you weren't able to replicate in video games. There were constraints for things like the number of colours and patterns for hair styles and clothes. It was difficult to work around those constraints, but at the same time a lot of fun. Nowadays, it's the complete opposite. Now we can design anything with hardly any constraints. And unlike a long time ago, now I'm asked to make more complicated designs, like patterns and decorations. However, if it's a big request, sometimes I run into quite a lot of trouble when designing. They each have had their own difficulties.

Anonymous asks: Hello, Matsuyama! Thank you for bringing the worlds of Bokujou Monogatari to life for many years. Your art has had a huge influence on me!

One of my favorite candidates is “Rock” from “A Wonderful Life.” I’d love to know any particular influences for his character design from 21 years ago, and his new design for the remake.

Igusa Matsuyama: I was told that he was a young, wannabe playboy, so I somehow ended up with that sort of design. For the remake, I made his clothes a little looser without changing his design, so he'd look even more playful. I, too, wanted to avoid changing him as much as I could as there are other people among the staff that also like the original for his “Rockness”. So, he got that makeover after everybody shared and checked their opinions with each other.

Jerome asks: On page 130 of the "Special Comic" manga there's artwork of Super Famicom characters that have never been printed anywhere else. Do you or Marvelous still have these? It would be great to see them in more detail in the future some time.

Igusa Matsuyama: They're all characters that appeared in the SNES version of "Harvest Moon." Nina's parents, Ellen's mother, Ann's father, Maria's parents (The mayor couple). I'm sorry. My SNES illustrations have gone missing...

Raven Bloom, Ryan, and Moth ask: How did you feel when your designs for the men in A Wonderful Life were repurposed to be bachelors? What do you think of the changes made to the bachelors in the remake of A Wonderful Life? I miss the “Bruce Campbell” look Matthew used to have.

Igusa Matsuyama: Matthew (マシュー) is Masshu (マッシュ) in the Japanese A Wonderful Life (Editors note: Charmy made a careless mistake when translating the questions, sorry Matsuyama san 🫣) When I first heard this name, the first thing that came to mind was Evil Dead's protagonist, Ash. You're right. I designed him after Bruce Campbell. I still love Bruce Campbell today. When Wonderful Life was under production, I had heard they weren't going to make a girl version, so I designed him not as a love interest, but as a quirky character. Knowing that he'd appear in the remake as a marriage candidate, I redesigned him as a character that would be liked by many. I hope you can enjoy the game for its nostalgia, as well as for being a shiny, brand new release.

Salmon Axe and Anonymous ask: I personally adore Doraemon x SOS game. Are you interested in working directly with or collaborating with other franchises in the future? And is there a series outside Story of Seasons you would like to work with now as a guest artist? (Could it be Pokemon?)

Igusa Matsuyama: I've loved Doraemon manga since I was a kid! Working as a guest artist? Hmm, I'm happier being the main illustrator, so nothing in particular comes to mind. I enjoy a lot of games in my free time, such as Fallout, Far Cry and Border Lands.

Anonymous asks: Even though we never see his face, was there ever a concept of how Woofio would look without his costume?

Igusa Matsuyama: I designed Woofio as the being that is Woofio, so there's no design of him without his costume.

Idris asks: Your style has upgraded a lot over the time to match the trends. Do you think you will ever go for an old school look (early HM) for a SoS game again? What do you think is the secret to your art’s charm?

Igusa Matsuyama: What I'm particular about when designing for Story of Seasons is making characters with head/body proportions and an atmosphere that go well with that release. First, I listen to the client's request then think of a design according to that. These days, game visuals have gotten fancier and fancier, so there's not many opportunities for characters with short proportions to make an appearance. To me, what's important when designing is "playfulness." More so than "pretty" or "cool" and such, I get attached to the character, have fun making the character. I find joy in character creation itself.

MacGyver asks: Yasuhiro Wada has shared some interesting stories about how chaotic the original game's development was. Is there anything interesting you remember from around that time? 

Igusa Matsuyama: Now it's a memory I can look back on and laugh about, but I'm not sure how much I can talk about it so please forgive me. If Wada hadn't been there back then, then "Harvest Moon" wouldn't have become a thing.

Toyberb and Anonymous ask: There’s a lot of different cow designs now, which is your favorite to draw?

Igusa Matsuyama: I've loved drawing animals since I was a kid, so I love all of the cows. Although the easiest one to draw is the cow with the big nose.

Anonymous asks: Were there any games where you made designs for protagonists of genders that did not end up available to play as? (Like a girl protagonist for Save the Homeland/Hero of Leaf Valley or a nonbinary protagonist for any game before A Wonderful Life)

Igusa Matsuyama: There's so many designs that got scrapped, but as far as I recall, there's not really many where that character's setting itself was scrapped. (Excluding Thumbelina, mentioned below)

Koharu asks: Were there ever any character designs made for other older SNES characters like Ellen for 64? Some magazines had Marie with blue hair, like the SNES character, so it made me wonder if she (SNES Maria) was meant to also be there at some point.

Igusa Matsuyama: I'm not in the position to make settings or scenarios where characters from other games appear, so I can't say, but I like the idea of older characters making an appearance!

Amina/k0iisu asks: Hello! I really love Hiro’s design specifically. Could you tell me a few facts about him/his design that might not be well known information? Thank you so much! I love your art :D

Igusa Matsuyama: Thank you very much! Hiro is a future doctor, so I tried to make them look as much like a doctor as I could. Also, to make him look friendlier, I designed him as your average everyday boy you'd see in the neighbourhood. He doesn't have a flashy face or hairstyle, but he's one of my favourite designs, too. I wrote this in the guidebook too, but what I like about him is the Asian flair I added to his clothes and the spot of colour around his feet.

Bunbun asks: I'm excited for the Nendoroid that was announced of Claire! I hope there will be ones of HM64 designs too. Since you have a lot of figures on your blog, how does it feel to be able to add one of your own characters to your collection? Are there any of your other characters you hope will get figures of?

Igusa Matsuyama: A nendoroid of Claire! I'm looking forward to it too, but when is it going to be released? If it's possible, I'd like one of Woofio.

Editor's note: Preorders are open for Nendoroid Claire now!

Chickee asks: A purple-haired princess character was rumored to have existed in Harvest Moon 64, but she didn't make it to the published game. Did you create a design for this character?

Igusa Matsuyama: That's probably Princess Thumbelina. Wasn't she Incredibly small? What I designed didn't end up being used. Speaking of HM64 characters, I pushed for them to include a pet turtle, but in the end it only appeared as an ornament. For A Wonderful Life, I asked for a turtle to be included again and designed a tortoise with a scarf, but it didn't make it as a pet and appeared only as a wild turtle that walks around the pond. I'm waiting for the day they finally include a pet turtle in the game.

emery flower147 asks: omg  I saw the pics where the AWL girls are in a team and Muffy has a shotgun and stuff? Do you think any other characters would work in a cool team like that?

Igusa Matsuyama: For the Friends of Mineral Town guide book, I had the five girls, Popuri, Marie, Ran, Elly and Karen work hard as Harvest Sprites. Also, for the guide books, I drew Pete (The old male protagonist), Sarah (The GB version female protagonist), and Claire doing whatever I wanted them to. I don't know if you can call it cool or not, but it was fun being in charge of that.

Ixur asks: A lot of the PoOT character designs for the regular villagers seem more popular than the marriage candidates in my region. Is that something that's been noticed by you/Marvelous in Japan? Lars, Clemens, Beth, and Misaki for example.

Igusa Matsuyama: Marvelous doesn't really talk about that sort of thing so I'm not sure if they're aware of it or not. I don't do social media so I'm also not sure which characters are popular. I'm happy as long as the characters are liked. The design on Lars’s shirt is modeled after my beloved dog, so I’d be especially happy if you like his shirt too.

Anonymous asks: What do you think about people cosplaying your designs?

Igusa Matsuyama: It makes me very happy! I'm no good at sewing, so I really admire people who can make their own clothes. It's an honour having the designs I made be made into real clothes, and I think it's great to have fun acting out the characters.

Afro Fae asks: When creating designs for characters, how do you settle on a specific color palette? Do you take color meanings into account with a character's personality or do you go purely off of feeling?

Igusa Matsuyama: I keep in mind the overall colours the client asked for while designing. Sometimes I propose a new colour when I think there's one that fits better. I'm also careful when choosing colours and everyone's traits to make sure it's easy to tell which character is which when seen from a distance. However, in the cases of families and such, I do the opposite and give them all a common colour to give them a sense of kinship.

———

From all of us at Ranch Story, we'd like to thank Matsuyama from the bottom of our hearts for answering our questions again! Whether a fan has only just discovered the series or has grown up alongside it, so many people have loved these characters and worlds that Igusa Matsuyama brings to life, so it feels truly special to be able to have this opportunity. We'll end this article with Matsuyama's own words, as well as a parting gift.

Igusa Matsuyama: I'm so glad I could answer your questions again. I'm the one that should be saying thank you. It means the world to me knowing that everyone enjoys my illustrations! I added an illustration as thanks. I'll keep up the hard work!

[the-obnoxious-sibling]

in which lunch is had, old stories are told, and a misunderstanding is cleared up.

part five of the post-marineford portion of the near miss fics! (1, 2, 3, 4) if you have no idea what i'm talking about but would like to read a shanks/buggy story about kissing in disguise and then having to deal with the emotional fallout of doing that, click on this link, that's the tag for the whole thing in chronological order. (plus some complaining about writing, one inspirational improvised musical number, and a snippet of shanks pov) if you do know what i'm talking about: my intense examination of the cover to chapter 581 and frustrated googling of phrases like “oden cart curtain name” has finally paid off! also, i’d apologize for where this part ends, but that would be an enormous lie, i’ve been planning on ending this part on that line from the very beginning. >:3c enjoy!

With heavier topics taken off the table, the flow of conversation became smooth and easy.  Shanks asked about Buggy’s crew, his recent travels, his plans for the future; Buggy asked about the best places Shanks had been, who he’d met.  At Buggy’s request, Shanks devoted a full twenty minutes to a detailed description of his meeting with Rayleigh; to Buggy’s delight, it turned out Rayleigh was in Sabaody because Shakuyaku, the former Amazon empress, lived there.  Buggy had always been impressed by her, if a little privately judgy of her taste in men, so hearing that the two of them had semi-retired together made him smile.

As did the revelation that Shanks had first seen a wanted poster for Buggy the Clown—his earliest one, actually, before he’d perfected the crossbones and had still been experimenting with lip tints—when Rayleigh pulled a copy out that day.  “He keeps an eye on all the newspapers, from the four big seas and the Grand Line alike,” Shanks explained, digging his toes into the sand. (Buggy had gotten tired of his push-pull relationship with the tides and insisted they move further up the beach.) “I think he’s found and kept a copy of every one of our bounties.”

Buggy tried not to be obvious about how much that meant, but he had never been good at holding back the waterworks when he got emotional.  Sniffing thickly, he said, “That stupid old man… your bounty’s gone up so many times over the years without the picture ever looking different!  What a waste of his space.”

One of Shanks’ eyebrows went up—probably, Buggy realized a moment later, at the implication that Buggy had also been keeping track of Shanks’ bounties.  Ah, well, in for a penny… “Seriously!  It’s bad design!” Buggy insisted.  “If the only changes someone like me ever noticed are that you grew that shitty little beard—”

“Shitty?”  Shanks pouted, running his thumb along his jawline.  “It’s not that bad, is it?”

“It’s worse without the mustache,” Buggy said bluntly.  Shanks played up his shock, gasping and grabbing at his heart like an elderly man.

Buggy rolled his eyes.  “As I was saying: if all I ever noticed was the beard and that your hat disappeared at some point, your average citizen’s not going to realize the Marines have released a new poster and the bounty went up!”  Jabbing a thumb brazenly at his own face, Buggy said, “At least I had something new going on each time.”

Shanks cocked his head at Buggy.  “About that… do you change your makeup style so often for fun, or are you still searching for the perfect look?”

Buggy scoffed.  “There’s no such thing as perfection when it comes to art, or fashion,” he said.  “There’s just advancing your craft.  Every time I change my look up, I’m incorporating newer and flashier techniques, and better supplies.  The makeup I had access to fifteen, even ten years ago would never have lasted a day in Impel Down, let alone weeks.”

“That’s true,” Shanks said thoughtfully, hand on his chin.  “The stuff you have these days is much—” He cut himself off, glancing over Buggy’s shoulder.  Buggy turned to see a cluster of men in ragged prison uniforms standing maybe forty feet away, staring at them and then glancing away awkwardly when they met Buggy’s eye.

“I told them not to bother me today,” Buggy grumbled, giving the group a half-hearted glare.  They visibly quaked, knees knocking, but neither moved nor explained themselves.

“I guess our presence is interfering with their shore leave,” Shanks said, slipping back into his sandals.

Looking past the men revealed the beach had gotten crowded while Buggy wasn’t paying attention—save for a fifty-foot ring of emptiness centered on him and Shanks.  These men had only approached them because there wasn’t anywhere else to be.  Sighing, Buggy stood up, brushing sand off the seat of his pants.

“Lead the way, then,” he said grimly.

With a polite smile and a wave to the former prisoners, Shanks walked back up the beach.  Buggy gave them a glare, and a threatening slice-your-throat gesture (made more emphatic by the way Buggy separated his neck as he sliced) to encourage their silence before following Shanks further inland.

The terrain got a bit jungle-like as they went on, but there were neatly trodden paths between the trees.  It was a civilized corner of nature, and Buggy found he didn’t mind walking through it with just Shanks and his questions for company, even when those questions started getting a bit specific for Buggy’s tastes. (What did Shanks need to know about his plans after he found Captain John’s treasure, anyway?  Was he trying to go after Buggy’s next prize while he was still busy with the current one?)

It was the middle of the lunch hour by the time their jungle path led them back into town, which was almost suspiciously convenient timing.  Buggy glanced at Shanks, trying to figure out if he’d planned this or was just aimlessly wandering.  Well, either way he’d better lead them somewhere soon—Buggy was hungry!  He wanted to eat the kind of food he couldn’t get back on the ship—nothing a typical chef in a typical kitchen could manage.  He wanted something that involved a deep fryer, or another equally specialized device.  Something that would be too much of a hassle to make on a ship.  Something…

“Hey!”  Shanks turned to grab Buggy’s attention, pointing at a yatai on the opposite street corner.  “What about that?”

Buggy spotted the word written in bold white letters on slate gray cloth and started to laugh. “What are we, on a themed vacation or something?”

“You’re the one who put the idea in my head!” Shanks said defensively, grinning.  “I know it’s out of season, but…”

“No, you’re right, we have to,” Buggy said, and led them to the oden-ya.  “I’m just going to look like I’m obsessed, is all.”

Ducking under the bamboo noren curtains, they found themselves in a cozy space, with three stools set up along a polished wooden table the same length as the cooktop.  A gorilla mink stood behind the partitioned oden pot, rotating skewers of fishcake in their niches within the steaming broth.  He glanced up at their entrance, a friendly customer service smile spreading across his face.

“Welcome!  Looking for oden this afternoon, or just something to drink?”  He gestured to one side, where beautiful little sake flasks and other bottles of alcohol were arranged on shelves that took up the whole side wall of the cart.  “I’d be happy to warm a flask of sake up for you on the stove if you’d like.”

“We’re looking for both, thanks,” Shanks said warmly, stepping up to the counter.  “I don’t suppose any of your sake is sourced from Wano?”

The mink wrinkled his nose thoughtfully.  “I may have some in storage, but that stuff tend to run a little pricier, given… well, if you’re asking for it, you must know.”

“Of course you have expensive tastes in booze and nothing else,” Buggy said with a smirk, bent down to inspect the sake that was actually meant for sale.  “Come on, look, they’ve got some West Blue stuff, you were always a sucker for your home ocean.”

“Oh?”  Shanks leaned over Buggy to get a better look at the stock, and a prickle of heat went up Buggy’s spine.  “Ooh, I do like that stuff.  But I really had my heart set on something from Wano…”  Turning back to the mink, he said, “Sorry to trouble you, but can you bring out what you have from Wano?  I promise the price isn’t an issue, and I won’t have any problem drinking a flask of each.”  The mink ducked around back without complaint.

“More like a couple flasks of each,” Buggy muttered, but he didn’t mean it cruelly.  Shanks liked a drink, he always had—and rumor said the last time he saw Whitebeard before all this he’d matched him cup for cup.  Whitebeard-sized cups, too, which meant he had to have a crazy tolerance these days.  Good for him.  Buggy wasn’t quite as capable, but he could hold his liquor.  He wouldn’t be any kind of ex-Roger Pirate if he couldn’t.

“Guilty,” Shanks said, sing-songy, reaching over Buggy’s shoulder to snatch one of the larger bottles of shochu.  “Can you grab a flask or two of the West Blue sake for me?”

Buggy rolled his eyes, grabbing two.  “One of them’s for me.”

“We can share,” Shanks said mildly.

Buggy snorted. “If by ‘share’ you mean I get one cup and by the time I’ve finished it the flask is empty, sure, we can share.”

Shanks laughed.  “Am I that bad?”

“You’re just too fast about it is all.  I like to linger over a drink, really savor it.”

“Oh, you like to take your time, do you?”  Shanks’ smile, already suggestively wide, spread wider still when this comment flustered Buggy.

“I didn’t mean it like that!” he snapped.

“No?”

Why do you sound disappointed, Buggy was tempted to ask—except no, no he wasn’t, he did not want to know why Shanks might be disappointed Buggy hadn’t intended to be suggestive.  He had already decided he wasn’t going there.  “I just mean you rush things a bit.”

“…do I?”

Once again feeling like Shanks was reading things into what he was saying, but this time not at all sure what deeper meaning Shanks was taking from his words, Buggy averted his eyes, setting the pair of sake flasks down in front of the stove top.  “Yeah, I know you like getting drunk, but there’s such a thing as pacing yourself, you know?”

Before Shanks could respond to this—with who knows what kind of misinterpretation of Buggy’s words this time—the mink returned, a crate of sake in flasks and jugs of various sizes in hand.

“Here we are!”  With a soft grunt of effort, the mink set the crate down in front of Shanks.  “Let me know if anything catches your eye.”  He spotted the flasks of West Blue sake Buggy had set down and quickly made room in a pot of steaming water for them to sit and warm up.  “Now, were any items looking especially appealing today?”

Buggy glanced sideways; Shanks was occupied with intently inspecting the sake.  Well, if he wanted something specific he could ask for it later.  “Two bowlfuls of whatever the chef recommends, for now.”

The gorilla nodded.  “Coming right up!”  And he was as good as his word, quickly throwing together a wide, shallow bowl of savory golden-brown broth with a skewer of fishcakes, an egg, and a few slices of daikon for each of them. It looked wonderful, warm and familiar, and it smelled even better.

Before Buggy could take a sip, Shanks had flung his arm across Buggy’s chest, blocking the spoonful of broth from reaching his mouth.

“Hang on,” Shanks said, weirdly serious.  “You have to have this first.”  He held out a small flask of Wano sake, tilted just far enough to encourage Buggy to grab a cup and accept the pour.

“Not warmed up?”  Shanks expression didn’t so much as twitch.  Buggy huffed.  “Fine, fine... you and your expensive tastes.”  He accepted the cup, swirled it for a moment to breathe in the aroma—they really did make it different in Wano; was it something in the water, or the rice?—and took a sip.  Then blinked, goggled at the half-drunk cup, and slung back the rest with a warm floaty feeling in his chest.

Setting the cup down, he breathed, “Is that...?”

Shanks grinned.  “Special pure rice brew.”  He spun the flask around to reveal the maker’s mark.  “From the Kuri region of Wano.”

Buggy snatched the flask away.  Looking it over, he said, “Seriously?! From the same brewery?”

“And you wondered why I was so insistent.”

Buggy shook his head, laughing a little in disbelief, and poured Shanks a cup of the stuff.  He glanced up at their host, politely not bothering them even though he had to be confused, and said, “This exact same sake was the first drink the two of us had, back when we were—what, eleven? Twelve?”

“Something like that,” Shanks said, watching Buggy with a pleased smile.  “Stolen out of Oden’s rooms on a dare—”

“—you’re the one who dared me!” Buggy snapped.  Thinking back, he added, “And he must have let us take it, we weren’t sneaky enough at twelve to get past Oden—”

“—oh, definitely,” Shanks agreed.  “Bet he thought of it as a rite of passage, stealing your first drink from under the nose of your honored elders.”

Buggy snorted.  “Definitely,” he echoed.  Giving Shanks a look, he passed this flask along to the mink as well.  “This stuff isn’t so fancy heating it will ruin the taste, right?  Might as well try it the way it was meant to be had.”

“Of course,” the mink said with a gracious smile, adding the flask to the steaming pot on his stove.  He watched the two of them dig into their bowls—delicious, of course—without comment, but as he carefully retrieved the first of the West Blue flasks from its bath he said, “Now, I haven’t thought about this in a long time, so I’m afraid I can’t quite recall… which of you is Shanks and which is Buggy?”

Buggy blinked dumbly up at the gorilla, his mouth full of radish.  Next to him, Shanks was pulling a similar face.

Hastily swallowing his mouthful, Buggy cleared his throat and said, “You know… both of us by name? But not well enough to know which is which on sight?”

The gorilla smiled sheepishly.  “I wasn’t sure until you brought up Oden.  That’s Kozuki Oden, isn’t it?  Which means the two of you must be Shanks and Buggy, they were the only other young people on the boat in all the stories I heard.”

“What stories?”

“‘The only other young people’…” Shanks lit up.  “Do you know Dogstorm and Cat Viper?”

Buggy nearly smacked Shanks.  “Seriously?!  Not every mink knows each other, Shanks!”

“Heh, actually...”  Buggy stared up at the gorilla mink in disbelief as he shrugged, making an embarrassed expression.  “The truth is, I only learned how to prepare oden at Duke Dogstorm’s request.”

“Duke Dogstorm?”  Shanks whistled.  “Somebody’s moved up in the world.”

Buggy jabbed him in the side with a free-floating elbow.  “I don’t want to hear that from you, Emperor Shanks!”

Shanks winced—an exaggerated gesture for the benefit of their audience—and leaned away from Buggy.  “Oh, come on,” he whined, “it’s not like I meant to become an emperor or anything.”

“Oh, of course not,” Buggy said, rolling his eyes and shoving a piece of tsukune in his mouth.  Eyes shut, he declared, “I’ll bet I can tell you exactly how it happened, too.  You had a meal with some mediocre pirate crew and made friends. Then some shitty Marines started beating the hell out of them; they could’ve just arrested the crew, but they decided to torture them for their own amusement.  Well, you could hardly let this abuse go unchallenged, could you?  So naturally you had to step in, and sent the Marines running with their tails between their legs.  And it was only natural that the pirate crew was thankful to you, but you never dreamed they’d all vow to follow you forever, forswearing their own flag in favor of yours.  Not daring to call themselves true Red-Haired Pirates, of course, but Red-Haired Pirates adjacent.”  Rolling his wrist, Buggy concluded, “And then that happened another twenty or thirty times, because you never learn.”

Opening one eye a crack, he glanced at Shanks.  “How’d I do?”

Shanks, red-faced, his fist pressed to his mouth to hold back laughter, nodded weakly.  “Well, uh... you’re not wrong,” he wheezed out.  Taking a drink to clear his throat and calm down, he sighed.  “Though you make it sound like far more of a foregone conclusion than it felt like when it was first happening.”

“That’s the benefit of an outside perspective,” Buggy said snippily.  “And also hindsight.”  Waving a hand in Shanks’ face, he said, “But enough about you!”  Jabbing the pointer finger of that same hand at their host, Buggy said, “What’s this about you learning to make oden for Dogstorm?”

The gorilla mink smiled, his eyes wide, and Buggy suddenly remembered hearing once that gorillas didn’t actually smile, but instead bared their teeth as a threat against potential enemies.  He pulled back his hand as casually as he could manage it.

“Do you really want to hear the story?  I’m told I can be a bit long-winded,” the mink said, fishing one of the Wano flasks out of its water bath and offering it up.

“Yeah, let’s hear it!” Buggy said, pouring a cup for Shanks, then handing over the flask so Shanks could do the same for him.  “I don’t know about Shanks but I haven’t heard anything from Zou in years, I’m dying to hear what those two have gotten up to.”

Closing his eyes, Buggy took a sip of the warmed Wano sake, not knowing Shanks was doing the same thing at the same time.  They set down their cups and sighed in unpracticed unison.  Suddenly aware of their double act, Buggy scowled at Shanks, who ignored him and made an encouraging gesture to their chef.  “Please, go ahead. I’d love to hear news of Dogstorm and Cat Viper.”

A sad expression washed over the gorilla’s face.  “I’m afraid I can only give you news of Duke Dogstorm.”  At the looks on his guests’ faces, the gorilla threw out a hand and said, “Not to say—please don’t misunderstand! Lord Cat Viper still lives! It’s just that I have not met with him since he and Duke Dogstorm first returned to Zou.  They... keep separate courts, and hours, and my service has always been to the day.”

A wrinkle appeared in Shanks’ brow.  “They don’t talk anymore?”

“It always turns into a fight.  Often one with devastating consequences for their surroundings.”

Buggy frowned.  That didn’t sound right.  Well, not the destruction—that sounded like those two—but fighting so badly they couldn’t even share waking hours... “What happened?”

The gorilla sighed.  “As I understand it?  Kozuki Oden died, and neither could forgive the other for failing to save him.”  A moment later, he gave Buggy a concerned look.  “Oh, are you hurt?”

Buggy blinked.  Staring down at his hands, he realized he’d snapped his chopsticks in half.  “I... no, I’m okay.”  The gorilla carefully plucked the broken shards of wood out of Buggy’s grasp, along with a splinter or two that had tried to wedge their way into his palms.  Thankfully the Chop-Chop fruit could handle any kind of stabbing, from needles up to legendary meito, so Buggy really was fine.

While the gorilla disposed of the pieces of wood, Buggy clenched his jaw, feeling Shanks’ eyes on him.  “I can hear you thinking.”

“…it makes sense,” he said quietly.  “What else could come between those two but the loss of someone who was as important to them as Oden?”

Buggy shot Shanks a narrow look out of the corner of his eye.  “Pretty sure I told you this morning that I was done talking about sad shit,” he warned, and Shanks raised his hand in a placating gesture.  The gorilla confirmed that Buggy wasn’t hurt, pointed out the extra chopsticks sitting in a cup to his left, and at their insistence told his story while they returned to their meal.

Dogstorm’s court sounded like a sight worth seeing.  Minks of countless animal forms, musketeers and attendants! To think Oden’s retainer had retainers of his own now!  And to think that he acted like a guy with such noble dignity, after the way he used to behave.

As the gorilla reached the end of his story—having made the closest thing to oden as could be produced with ingredients native to Zou, with Dogstorm pleased by the effort but quietly unsatisfied by the taste, the gorilla had left the court making a vow to learn the secrets of the oden-preparing arts, promising not to return until he was confident he would be able to put a true smile on the duke’s face—Buggy nudged Shanks in the side.  He glanced at Buggy, a half-eaten skewer of fishcakes sticking out of the corner of his mouth.

“Can you believe,” Buggy said with a shit-eating grin, “that the noble, wounded Dogstorm this guy is talking about is the same one who tarred and feathered Mr. Rayleigh?”

Shanks nearly choked before starting to laugh.  “How did I forget about that?!”

“I’m sorry, Duke Dogstorm did what?” the gorilla said incredulously, staring between the two of them.

“Wait, wait,” Shanks said, before Buggy could start to tell the story.  “If we’re sharing stories of mutual friends, you have to share a drink with us too.”  He grabbed a clean cup from a stack to one side and handed it over to the mink.  Shanks gave Buggy a pleading look, and with a magnanimous smirk Buggy chop-chopped a hand to swipe another sake flask from the water bath and pour for both of them.  “So—”

“Don’t you tell it!” Buggy snapped.  With a grin and a wave of his hand, Shanks metaphorically turned over the reins to Buggy, and took the opportunity to return to his sake and his meal.  “So,” Buggy said to the mink, “the first thing you need to understand about Dogstorm and Cat Viper is that they acted like respectful little attendants when Oden was around, but when it was just the four of us?”  Glancing at Shanks, who was grinning around the skewer in his mouth, Buggy cackled.  “They were just as bad as we were.”

Buggy went on to describe the prank in loving detail, alternating bites of fishcake with the reactions of the crew (mostly hysteria, especially from Roger) and the multiple attempts to blame the prank on someone else (Dogstorm nearly succeeded in pinning it all on Buggy, but forgot himself and corrected Rayleigh on where the tar had come from).  Shanks followed this up with a reminder of another time the four of them had been absolute nightmares to the crew of the Oro Jackson, and the story Buggy told about that day brought their host to literal tears of laughter.

They went around like this for over an hour, topping off their bowls and drinks all the while, recalling old times with the golden burnish of nostalgia softening the edges, easing the hurts and offenses of youth.  Gradually, the last of the fear Buggy had been clinging to all day faded.  It was hard to think that your childhood dread mattered much when looked at from so far off, in so fond a way. It was easy to smile at someone who so readily smiled back.

Eventually the broth pooling at the bottom of their bowls grew cold, and the flasks of sake they’d bought ran dry.  Not a soul had tried to enter the yatai while they were present, and Buggy felt a fleeting burst of pity for the gorilla’s business… until he saw how well Shanks tipped. With a light heart, Buggy waved a slightly drunken farewell to the mink—he’d paced himself pretty well, but a half-dozen bottles of sake split between two men were still going to have an effect—and ducked back out into the wider world.

The air outside was not exactly cold, but it lacked the cozy warmth of the oden-ya’s atmosphere.  It set something within Buggy out of alignment—or maybe back into place?  He stood just outside the noren with a hand pressed to his chest, trying to place the feeling, when Shanks made his own exit and nearly ran into him.

The proximity of Shanks at his back, with the last traces of that soup-warmed air drifting in his wake, sent a burst of longing down Buggy’s spine so intense his knees went weak.

Shanks’ hand went to his shoulder.  “Careful,” Shanks said, hoisting Buggy fully upright, the flat of his arm firm along the breadth of his back.  “You alright, Buggy?”

Fuck.  Even though it was the wrong arm, something about Shanks putting an arm over Buggy’s shoulder made his stomach flip and his heart kick into high gear.  Stupid, loyal organs didn’t have the sense Buggy’s brain had been given, to recognize that feeling feelings for Shanks was a very bad idea.

“Fine,” Buggy croaked out, taking a few careful steps away from Shanks to confirm he was steady enough to make that lie truth.  He shook himself off.

“Your tolerance not what it used to be?” Shanks teased.

“My tolerance is normal,” Buggy insisted, not looking back at Shanks.  “Yours, on the other hand...”

“Yeah, unlike you I’m actually fine,” Shanks said, picking up his pace to match Buggy’s stride.  Glancing around, his back straightened involuntarily with recognition.  Nudging Buggy’s shoulder with his own, he said, “Here, there’s a park nearby where we won’t be bothered.  We can sit down, let you sober up a little before heading back to the ship.”

Buggy drifted in Shanks’ wake on some old instinct.  It was only mid-afternoon.  “There wasn’t anything else you wanted to do?”

Shanks glanced at Buggy over his shoulder.  “What?”

“I dunno, some... sight you thought I should see, or a shop you like or something?”

Shanks blinked.  “Buggy, I’ve never been to this island before. I asked the locals for recommendations yesterday so I could have a good time with you.”

Buggy’s face went hot.  “You—stop saying shit like that!  Don’t you know how that sounds?”

“How it sounds?” Shanks echoed. He led Buggy through a tall, metal gate, into a walled-off plot of land with very little to it, just rock-paved paths, plaques underneath oddly colored trees, and the occasional bench.  Closing the gate behind them, he spun on Buggy.  “How does it sound?”

Buggy scowled and stormed past him.  Like Shanks didn’t know.

“If it sounds like I’ve missed you—well, sorry, Buggy, but I have.  I thought I’d been pretty obvious about that.”  When Buggy turned an incredulous look on Shanks, the corner of his mouth turned up, amused.  “Obvious to everyone but you, I guess.”

“You—you didn’t miss me,” Buggy said, insistent.  “You missed—” he gestured vaguely between the two of them. “—someone knowing you, without you having to say anything.  You missed having a history with someone.”

Shanks shook his head.  “I would love to see many people from back then again, but I’ve never missed any of them like I did you.”

“Oh, come on!” Buggy spat, “what was there to miss?  A greedy little brat who couldn’t decide if he hated you more than he was jealous of you?  A coward who ran and hid from every fight?”  The memory of Shanks leaning in close, a hand on his face, shot through Buggy.  Resisting another stab of longing, he blurted out, “Some stranger’s pretty face?”

“I missed my best—” Shanks’ face screwed up in confusion.  “A pretty face?”

Buggy hadn’t meant to say that.  He grimaced.  “You know.”  Swiping a hand across his face, he chop-chopped his nose off for a moment, hiding the gap behind his free hand.  “This one, that you liked so much that time.”

Understanding lit up Shanks’ face.  “Oh, the gorgeous stranger with stunning eyes.”  A sheepish expression coming over him, Shanks looked away, askance.  “Can I tell you something embarrassing?”

Buggy blinked.  Not the response he’d expected.  “Uh, sure?”

“I only thought those eyes were so stunning because they reminded me of yours.”

Buggy’s jaw dropped.  “The hell they did!”

“They did!”  Shoving his hand over his eyes, Shanks smiled self-consciously.  “Oh, I felt so ridiculous later.  That poor guy, I thought, was deserving of more than my secondhand affections.”  Dropping his hand to look at Buggy, he said, “Though that’s nothing compared to how ridiculous I felt the other day.”

Buggy swallowed, mouth dry.

“I’m sorry, Buggy,” Shanks said after a long, silent moment.  “If I’d known it was you, I wouldn’t have kissed you like that.”

Buggy blinked.

Well.  Of course he wouldn’t have.  That went without saying.

He stepped back.  “I know that.”

“You do?”  Shanks frowned.  “I… good.”  Shoulders hunched, he turned to peer down at a plaque mounted beneath a pink-leafed bush.  “That’s good.  I don’t want there to be any more misunderstandings between us.”

“What’s there to misunderstand?”  Buggy spotted a bench and sat down.  He immediately felt clearer-headed.  Maybe Shanks was right about his tolerance.  “I get it.  You kiss strangers, not old friends.”

Shanks paused mid-step.  “Are you…” He spun to frown at Buggy.  “Are you deliberately misunderstanding me?”

“Hm?”  Buggy had just gotten comfortable, hiking one knee over the bench’s arm.  What was Shanks talking about now?

“Buggy.”

Buggy craned his head back to look up at Shanks.  He looked tall from this angle, and taller still when he leaned over Buggy, resting his hand on the back of the bench.  Shanks’ expression was unreadable, but intense.  Buggy’s mouth felt dry again.  Oh, this was bad.

“I was not apologizing for kissing you.  I was apologizing for kissing you wrong.”

“Kissing me wrong?” Buggy echoed bewilderedly.

“If I’d known that stranger was you, I still would have kissed you, if you’d let me,” Shanks said bluntly.  “I’d kiss you now, if you’d let me.  But it wouldn’t be like that kiss, it would be different.”

Buggy blinked, dumbfounded.

Shanks… wanted to kiss him.

Not the stranger he’d taken him for back then, but Buggy himself.

Had wanted to kiss Buggy then.

Still wanted to kiss Buggy now.

Would kiss him in a different way from a stranger.

“Different how?” Buggy croaked out.

For a long, agonizing moment, Shanks stared blankly at Buggy.  A furious heat rushed into Buggy’s face—there was no way to take a sentence like that back.  He couldn’t pretend it was simple curiosity.  He couldn’t pretend he wasn’t eager to be kissed.

Slowly, Shanks grinned, infuriatingly smug.  “Would you like me to show you?”

[kaihuntrr]

FLOWER HUSBANDS FIC: Coral Reefs and Cigarettes (working title) Prologue designs!

ALRIGHT! Hello everyone, in this post I’ll be sharing (and talking!) about the development of my multi-chapter fanfiction flower husbands au, based on @vyeoh ‘s punk x prep au! I’ll be starting off with the characters we meet in the prologue; the divorce quartet!

We open the prologue at the tail-end of last life, aka one of their school years. I wanted to focus on this, as while the fanfic is on the re-budding relationship between Scott and Jimmy, the side plot focuses on friendships, and of course, the friendship in mind are on the Divorce Quartet.

Without further ado, let’s take a look at these designs!

(I used a more simpler style so I can get these concepts across!)

The designs of the Quartet as a whole are supposed to mimic their soulbounds/ besties and with each other! I wanted each of them to have a distinct style but also keep them connected. It’s a tough challenge (considering I always do fantastical designs) but I think I did pretty well!

Moving unto them individually, I can talk about their character and designs! Starting with

Scott S. Major.

The richest and smartest kid in school

Has a reputation (family) in the area

Studies marine biology + gardening

He’s usually sweet, but approaching him is a nightmare. Imagine a Regina George-type character but a lot more sassy and open with his remarks

He loves to spoil his friends

DESIGN

Cold colors with a red and gold contrast

Keepsakes of his “alliances” (important relationships) as accessories (Jimmy’s poppy, Pearl’s moon necklace/belt chain), has yet to receive something he could use from Cleo and Martyn

Feminine outfits + heels are a go-to for him (is still a bit short)

The preppiest looking one out of the four

His body type is petite! (He’s still the dominant one in the relationship tho)

Pearl Moon.

The “newest” of the four (a nod to her being introduced in Last Life)

Has been friends with Scott before high school online

Art student

Loves studying the stars/ constellations

Lanky and tall

DESIGN

Muted red tones with a dark blue and green contrast

Heterochromia eyes

Lesbian + graphic design is my passion pins (from Cleo) on her polo shirt (mimicking Scott’s blazer(?) )+ moon hairpin (from Martyn)

Hoodie has a wolf skull on it ;)

moon/star-inspired makeup (done by Scott!)

Cleo Zombie

The one who hypes up the chaos/ also the most grounded

Could kill you, doesn’t hurt a fly

Not entirely sure what they’re studying

Sportsy! Probably basketball

Interested in zombie-type fiction

DESIGN

Green (mimics Martyn) with blue and orange contrast

Nonbinary choker and pendant + dog tags from a relative

The most “jock” out of all of them, the black shirt has a ribcage design

Blue orchid from Scott, jacket from Martyn, piercings from Pearl (well, scheduling them to get it)

Large/ bulky

Martyn I. Woods

The friendliest and most sociable

Theatre kid (obviously), loves the dramatic

Jokester/ class clown

Loyal to a fault

Has information on every student due to his social skills

DESIGN

Green with white and black contrast

Dogwarts (his theater group, now disbanded) bandana ;)

Studded white belt and chains from Scott, white boots from Pearl, and hasn’t received anything from Cleo yet

Mimics Cleo with the vest

Average, some muscle

STOKED to introduce you all to the beginning of this story, who else is excited? >:D!

(ps, if y’all have ideas for the title of this work I’d love to hear some!! I need it lol)

[joeyquinndrabz]

Inked- Joseph Quinn x Reader

TW: none im trying to give you guys a break from the angst I have in my drafts 😭

Being a tattoo artist was a dream you’d had since you were a kid. Your friends would laugh and tell you to ‘get real’ but you knew it’s what you wanted to do and so you did. Your grandfather was a tattoo artist in London and became highly respected by the whole city, everyone wanted a tattoo from your grandfather and so did you. When you were 18, he gave you your first tattoo after years of pestering. His talent was impeccable and his art was your inspiration. You soon began an apprenticeship at his shop and , it must be in the genes, because you’re very good at it too. Of course you were aware of the privilege you had due to your grandads high status, but it didn’t mean you didn’t have to work hard. It took years of practice to get to the level you’re at now, but being 28 and working alongside your 68 year old grandad was the gift that kept on giving. His guidance was still so important to you and your relationship was unbreakable. He wasn’t your stereotypical elder male tattoo artist, his style was still the same as it had been in the 70s. Checkered button ups, flares, docs and a very impressive moustache. He was ridiculously cool, your grandma was the same. A stylish woman with a blue rinse on her grey hair and she was always sporting a pair of new glasses. She worked on the front desk, greeting each client with a smile and being the first point of contact to ease that anxiety many of them had. It was a family run business and a great one at that.

It’d been a busy day, it was a Saturday and you’d tattooed a lot of people and a lot of different things. You were getting ready to pack up when your Grandfather could be heard chuckling out in the corridor. There were two different male voices that followed and curiosity killed the cat, you wanted to find out more.

“Ahh this is my wonderful granddaughter I’ve been talking about. She’ll enjoy this one lads.” He chuckled at the two mystery men as he pulled you in for a side hug. “Enjoy what?” You questioned, smiling at the two strangers. “It’s slightly embarrassing but we got very drunk and stick and picked out initials onto each others feet but they’re not looking the best.” One of them told you, you noticed the curtains he was sporting and the slight permanent smirk that was stuck on his face. “Yeah not our brightest idea.” The other man laughed, you noticed something different with this one. He was looking directly at you, admiring your tattoos with each passing of his eyes. It was cute. He was cute.

“Let’s get you lads sorted, I’ll do yours Wesley and Y/N can do Joe’s. I won’t make you do them both kiddo you’ve been here since 6.” Your grandad aimed the last bit at you, you smiled and nodded before taking Joe into your part of the studio.

“I’m really sorry about this, I didn’t know you’d been here that long. I’m more than happy to get it fixed another day.” The man who you now knew as Joe was rambling and you couldn’t help but chuckle. “Honestly it’s fine, if you were coming in for a back piece then I would’ve said otherwise but I’m sure we can fix this in no time.” You smiled at him as you handed him the consent forms. “Do people genuinely come in last minute for things like that?” He asked whilst signing all the needed paperwork. “You’d be surprised, we don’t actually do walk ins but my grandads had a rule that if he likes your ‘vibe’ then he’ll allow it in some cases.” This caught Joes attention, looking up at you from the clipboard to give you a massive smile that you could only assume was because he’d realised he met your grandads criteria. “He’s a cool man.” Joe continued to smile as he handed you the papers back. “He’s my favourite discussion point, the man’s a walking, talking 70s masterpiece.” You laughed and soon heard him joining in with you. “I’d kill to have him as my grandad, you’re very lucky.” Joe was admiring the art on the walls, walking closer to his favourites then standing back with a tilted head to take it all in. “I’m forever grateful for him, he’s the reason I do what I do.” You smiled to yourself, getting ready to fix the drunken scribble on his foot. “Looks like you’re pretty bloody good at it too, love.” He turned to face you, admiration on his face. “Thank you, I really appreciate it.” You shyly smiled back before asking him all the boring questions required.

Joe was now sat on the tattoo bed, showing you the tattoo in all its glory. “I mean.” You tried to find the words but struggled with a chuckle.

“Yeah I know I think Wes was shaking a little bit.” Joe grimaced before laughing with you. “It’s an easy fix don’t worry, are you okay for me to start?” You asked, in a weird way hoping he’d say no so you had more time to talk to him and hear more about his life. But he was ready, he told you he was more than ready and watched you as you got to work.

“You ok?” Looking up from the W and to Joe, you’d expected him to flinch or say something about the pain but he didn’t. Instead his face was plastered with a picture perfect smile. “Peachy keen darlin’.”

You were aware of the blush spreading on your face so got back to fixing the W and soon you had finished, wiping it down and wrapping it up.

“There we are, all finished.” You beamed and watched as Joe admired it in the mirror. “It’s perfect, thank you so much.” He mirrored your expression, happy there was now some symmetry to his drunken decision. “You’re more than welcome, grandad will sort out the payment and everything when Wesley’s finished.” You explained as you began cleaning up your station.

Soon the pair were at the front desk, paying for their tattoos and laughing with your grandad. You were still cleaning up so hadn’t realised they’d left due to your fixation on making the studio ready for you tomorrow morning.

“Knock,knock.” Your grandad announced his presence and walked in with a massive grin on his face. “What’s got you smiling so wide?” You laughed at his animated demeanour as he slowly approached you with his hands behind his back. He sat on the bench and smirked, before pulling his hands from his back to reveal a piece of paper and five £20 notes. “You got a big tip and a new admirer.” He laughed before handing you the money and the note. “But it was a tiny tattoo?” You were in shock, complete and utter shock.

“Read the note.” Your grandad pressed, leaning forward in anticipation. “Grandad!” You exclaimed,laughing at his eagerness. “Oh Cmon kiddo I’m dying over here.” He laughed back.

You opened the note and scanned the page with your eyes, a smile growing after each letter.

I’m sorry if this is totally inappropriate and i completely understand if you rip this up but just wanted to say I really enjoyed getting tattooed by you today and I’d love to get to know you more. Here’s my number, again I’m sorry if this isn’t appropriate I just think you’re pretty incredible and I’d love to get to know you more.

The tip is because you’re a brilliant artist and I hope you treat yourself with it and get something to help ease the stress of today.

All the best,

Joe

XXX

You grabbed your phone and copied the number into your phone immediately, passing your grandad the note before going outside to ring Joe.

“Hello?” He answered, anxiety evident in his voice.

“I’m leaving here in 10 minutes, fancy sharing a couple glasses of wine with that tip?” You had no idea where this confidence had emerged from but nether the less you were extremely thankful for it.

“Darlin’ that’d be a dream.”

[annwhiskers]

Art school Portfolio project 1

Please, Go Home

Art school didn't end up happening for me (I'm going to do something completely different and more secure, and keep art and writing for myself for fun), so I thought I’d share my portfolio projects here.

Buckle up, this'll be long as fuck.

This is a story I’d been working on for years, since 2018. I’d rewritten it several times, until in 2023, I got the chance to come up with my own project at design school. Immediately, I knew this was what I wanted. I wanted to make this story into a real book. And I wanted to make it all by hand, cause bookbinding seemed cool to try.

I had to come up with 2 ideas to do.

Translation:

Subject 1

Book. Specifically a novel (written by me). I want to make illustrations of the characters, design the inside (text and design thingies and everything), design the cover. Print and bind it myself. Illustrations of the characters are in it, I’ll try to finish as many as possible, but I probably won’t be able to finish all of them. Then I’ll leave blank pages in and stick the remaining illustration in later. (I did finish them all, so I didn’t need to do this.)

Why? I love books. I read them a lot and I’ve been writing for years. Now I want to make a professional looking book myself. And of course I love to draw, I want to incorporate that too. I’d like to have completely handmade versions of the books I’ve written. I’d like to learn bookbinding.

Subject 2

Graphic novel. I want to learn to tell a story visually. And I want to experiment with color more.

Why? I like to read graphic novels. I want to tell and draw stories, and get better with color.

A mood board of what I wanted, I chose the book.

Translation:

Inside book

Physical book

Character illustrations

Little drawings

Dust jacket

Translation:

Little drawings

Inspiration

Finished product

Why? The main character writes and doodles in a journal. When he’s anxious or his head is full, he doodles a certain type of pattern to calm down. More of the design of the book is based on this. He also sometimes draws little things that he likes.

Translation:

Inside

Fonts

Novels always have a serif font as the standard. Standard book font: Adobe Garamond Pro.

Other than that, I want to use quite a lot of different fonts that resemble handwriting for the chapter titles. The titles are quotes from a character in the chapter, each has their own font as their voice or handwriting. Sometimes, the characters write too, that’s also in their own font.

[A list of fonts.]

Preparations

I made parent-pages for each type of spread that I needed. One with only text, one with an illustration and the start of a chapter, and 2 with only the start of a chapter on either side of the spread. And I made a bunch of paragraph-styles for all the types of text that I needed. I have 2 sections, 1 for the front matter, 1 for the rest.

Translation:

Final product

Here are a few spreads, I won’t show all of them, because that’s 308 of them.

Here I have a spread with an illustration, a basic page with a little drawing in it, and a regular chapter opening where I use one of the other fonts for the title. The titles are quotes, and the font shows who said it.

Translation:

Cover

Research

Adult Fantasy Romance. What’s already out there? (Put a bunch of YA there, but whatever)

I want illustrated, probably with characters. Detailed or silhouette.

Sketches

Colour

Translation:

Final product

Color choice. In the end, this is the illustration I went for. I showed the two bigger color choices from the last page to a friend, she said with the purple one, that the characters nicely sprung out of the image because of the orange. But the green one was more relaxed. I thought the green one fit better with the vibes of the book, but I really like the purple one too. I ended up switching the colours of the text and the characters, so the characters sprung out like the purple one.

Subject. The twigs are around it, because one of the main characters (the right one) often draws them in his journal. They’re also there in the rest of the book, in his journal entries. He’s writing in it on the cover. Left, he’s reading a book, because he does that often, and others in his family do so too. The two shadows are their grandfathers, who also knew each other, which the main two don’t know. Those two have quite a bit of history.

Title. The story is about them meeting each other, and they’ve both been away from home for various reasons. They push each other to go back to their families, that’s why it’s called ‘Please, go home’.

Font. It’s one of the characters fonts, orange left. I wanted to use one of the main characters’ fonts, and I liked this one better.

Translation:

Dust jacket

I put a description on the back, quotes on the front flap, and normally there’s an ‘about the author’ on the back flap, but I didn’t feel like doing that, so I put a short text there to give more context to the book itself.

Sorry about the shitty quality of the next few.

Translation:

Character illustrations

Inspiration

Sketches

I sketched some poses I could use. Other than that, I’m not planning to sketch a lot, I’ve drawn all these characters before and I already have a good idea of what I want them to look like.

Style experiment

I tried something painty first, didn’t like it. After that, I experimented with the background. I didn’t want the colour to go all the way to the edge, because I didn’t want to have to deal with bleed and trimming. In the end, I didn’t give the background any colour, except black and white lines, as you can see in the final result. I liked the effect of only the character having colour.

Translation:

Rune

Earlier drawings

Sketches

Final product

In the book, it’ll be greyscale.

(All the next few have the same text except the characters names, so I won’t translate again. Except if I did add some text somewhere.)

Translation:

And with this, all the illustrations are done. I'm not super happy with all of them, but I did my best to make them all unique and recognizable. And within 4 weeks. I'm happy with it.

Translation:

Physical book

Research

Binding. At first, I thought about doing a standard case-binding, a standard hardcover book. But after watching some tutorials, I realised that's quite complicated and requires supplies that I couldn't easily get. I continued searching and found crisscross-binding or secret Belgian binding. It resembles a standard hardcover book, but you barely have to glue, you need less supplies, and it's easier for beginners. It looks cool, it's sturdy, but also flexible.

Paper and size. A5 size, then I don't have to trim and printing is easy. A4 folded. A4 cream novel paper, I want it to look as professional as I can. It's not the best paper for illustrations, but it does work, I've seen it in other books.

Material. I bought everything I need at an art store in the city, except the paper. I ordered that online.

Practice. As a try-out, I made a small book of printer paper and used watercolour paper. It went well, except that i didn't sew the pages to the spine properly.

Translation:

Final product

Printing

I put my printer at home in my room. First, I tried on standard printer paper if the printer did what I wanted it to do. Which it didn't. It couldn't print double-sided. But with Acrobat, I printed booklets. First only the front, then the back. So I managed to do it.

After successfully printing one booklet on the standard paper(left), I started printing the whole book on the cream paper. Within 1,5 hours, I printed the whole book, 19 booklets. Together with the testing, it took me about 2 hours.

I pressed the pages underneath my cutting mat with two bricks. I left it there for about a day.

Translation:

Cover

I cut the front and back cover out of cardboard, then covered it with linen paper. I drew a twig on it with ink and a brush. Then I poked holes in it for the sewing.

Here, I made the spine 2cm wide, which I thought would be enough. It was not. I'll get back to that. I covered the spine in linen paper, too.

I sewed the cover together, I followed a tutorial on YouTube. Then i glued the end papers on.

Translation:

Binding & Dust jacket

I poked holes (in the booklets) for the sewing, then I started sewing the paper to the cover.

When I'd sewn 6 out of the 19 booklets onto the cover, I was already halfway along the spine and I realised this wasn't going to fit. I undid all the sewing and remade the spine. This time 3cm.

The new spine was still a bit too small, even though I thought I'd exaggerated it a bit. The book doesn't close properly. But I refused to redo everything again, so I just accepted it. It was better after pressing it for a day. I didn't trim the edges, that was very difficult with the pages already bound into the book. I quite like the untrimmed edges.

I folded the dust jacket around it and pressed it, so it'd keep it's shape. And now the book is done. The paper of it smudges very easily. A little bit of dust on it and it won't come off. That's a bit disappointing. (Now a year later, it also isn't lightfast whatsoever. It stood in a dark corner of my bookshelf nowhere near the sun and the spine turned yellow. I guess I now know why covers have protective coatings on them. Which I didn't have the option for.)

Translation:

FINAL final product

Reflection

This project was the most fun thing I did at this school. I've always wanted to do this and it's awesome I can now hold my own book in my hands. The binding was fun to learn, but also a challenge. Not everything went perfectly, like i said earlier. But now I've can learn from those mistakes. I'm quite impressed with myself that I managed to do this in this time. I wasn't sure I could do it. But i did dedicate every moment of free time I had to this.

(I did all of this in 5 weeks. All the teachers doubted me, that it was too much work, and just told me good luck. And I said "Watch me." Autistic hyperfocus activated.)

(The second paragraph isn't important, just a short description of the last discussion I'd had with my teacher about this.)

Awful picture, sorry.

This is the final presentation I had at school for this, and this is where it stops for the school projects side of this. But it continues.

After this, I didn't touch it for a few months. Then I let a friend read it (digitally) and processed her feedback into the book afterwards. Then I published it on Amazon.

This won't be the last time I do this. The whole process is really fun and fulfilling. And owning a real, published book that I wrote, illustrated and designed is awesome.

In case you're interested, click here to buy it.

[foxes-that-run]

Walking in the wind

Harry Styles has a gift for answering a question and not answering it at all at once. In the Made in the A.M track by track he said WITW was inspired by Paul Simon’s song Graceland.

I love how Harry's solo work draws modern inspiration from his diverse music tastes and he encourages his fans to broaden their tastes. Hindsight being 20/20 you can see where he went with his debut in that short video and this song.

When Simon wrote Graceland he and Carrie Fisher were divorcing and his relationship with Art Garfunkel was bitter. Simon said Graceland was a metaphor for the journey to mend a broken heart. Much like 2015 Harry who had broken up with Taylor and was on tour as One Direction ended. Simon also went to Africa to make this album, much like Harry went to South America for debut.

Timeline

Made on the AM was written in Japan in February 2015. Harry talked being able to just write 'good songs' because it wouldn’t be toured which made space for a song like this. WITW was probably written between February and May 2015. Harry and Taylor had been close at the end of 2014, it was over on or by his 21st birthday 2 February 2015. His smile when he saw her at the start (0:29) of BBMAs showed no animosity, but it’s unlikely WITW was written after the BBMAs in May (Woman). He also started looking even sadder live then.

To rolling stone Julian Bunetta said:

“That title was born in Japan. Just the title of it and the idea of it. Everyone’s different experiences of what they’re going through, whether it’s this or that, I’d like to think that these songs can apply to more than just [one instance].”

Lyrics

[Verse 1: Harry] A week ago, you said to me "Do you believe I'll never be too far?" If you're lost, just look for me You'll find me in the region of the summer stars The fact that we can sit right here and say goodbye Means we've already won A necessity for apologies between you and me Baby, there is none

The relaxed and happy tone depicts their romantic friendship that continues. I think they genuinely cared for each other, are nice people who both prioritised their careers. To me, “the fact we can say goodbye means we’ve already won” shows that mutual respect for each other.

To me “Do you believe I’ll never be too far” is agreeing to be apart while they focus on being massively famous and together in the future.

In the context of their later work about being end game, the 1, sushi is about having only a piece of your persons life, in as it was and golden he sings about it being time or feel her taking over.

Harry does not have anyone that would never be too far in a literal sense, and although at that time he was always with 1D they have spoken in interviews that year of that not being good.

[Pre-Chorus: Niall] Ah-ooh, we had some good times, didn't we? Ah-ooh, we had some good tricks up our sleeve Ah-ooh, goodbyes are bittersweet But it's not the end, I'll see your face again

Taylor has a similar lyric in The 1 “But we were something, don't you think so? / Roaring 20s, / tossing pennies in the pool / And if my wishes came true / It would've been you” this is about appreciating the relationship.

[Chorus: All] And you will find me Yeah, you will find me In places that we've never been For reasons we don't understand Walking in the wind Walking in the wind

Where their earlier work on Red and other 1D albums sung about always wanting to be together and coping in their career by Made in the AM and Reputation onwards they started singing about being connected but apart, on faith they’d come back together.

[Verse 2: Louis] Yesterday, I went out To celebrate the birthday of a friend But as we raised our glasses up to make a toast I realised you were missing

This may be referring to Lily Aldridge’s birthday where they both were. Harry’s 21st birthday was 2 weeks later but Lily and Taylor were in Nashville. In Hunger he sang about making her cry on his birthday, if it was for Debut the 1 year to 2 timeframe line up for that. (Hunger also sings of “your stuff” as in music, doesn’t taste the same, as in Two Ghosts)

Later on 27 February he posted the overgrown winding wheel and she started dating CH.

[Bridge: Harry] And I know we'll be alright, child Just close your eyes and see I'll be by your side Any time you're needing me Oh, yeah

The bridge is similar to Fine Line, which also ends on “we’ll be alright” in Fine line he’s reflecting on being friends with someone he’s in love with. Here he is asking his muse to have faith that although they are not together he’s there for her. Also Sign of the Times "Just stop your crying / It'll be alright"

I just wanna love you leak

In September 2023 a leaked song, I just wanna love you referenced WITW with “A week ago you said to me: "We've started running out of time" / Crying over memories that we lost and cannot be found / Why don't we stop talking now? / (I just wanna love you)” which to me, in the sound and this lyric is the sequel to WITW, he’s saying it’s time. It also refers to Late night talking, and The 1 and Question…? Where they explore friendship with someone they love, in WITW they seem to agree to leave a live unresolved, on Harry’s House and Midnights they are contemplating that unresolved love.

[j4m3s-b4k3r]

BACK TO THE FUTURE: the animated series

I was working at Disney France when John Hays contacted me, looking for an overseas supervisor for a Saturday Morning cartoon that he'd be directing for Colossal Pictures. I’d done such things before. What interested me about this particular gig was that John wanted the supervisor to firstly work as part of the pre-production team at Colossal. I absolutely loved that idea. So headed to San Francisco to work on the BACK TO THE FUTURE cartoon.

I’d been introduced to John by mutual pal Tony Stacchi while backpacking in the USA a few years earlier. When Colossal diversified from special effects & TV commercials into longer form animation, John remembered me. Thinking my experience in Saturday Morning animation would fit with this new project, that both he & Phil Robinson would direct.. 

The crew had not fully assembled when I arrived in San Francisco. In fact, it was so early in production that even the look of the show had not yet been locked down. Many freelance artists, including Steve Purcell & Dave Fiess, plus Colossal staffers had a crack at design proposals, and I had a go too. 

Colossal had acquired a new building for long form production, but it was still being refit. So, a few of us worked in a cold drafty room at Colossal’s 3rd street building. As the crew expanded, we were housed in a cramped annex in their Custer Street sound stage. Until we finally moved into the facility on 15th street. (That building would eventually host the entire Colossal animation department).

When some designs of mine were selected for the main characters, the plan for me to supervise production in Taiwan was modified. Instead, I became one of two art director/character designers on the series. The mighty John Stevenson being the other. 

There was such a back & forth between Colossal & Universal over the main characters (even the actors got involved) that it was hard to do anything truly unique (although I was happy with how Doc Brown turned out). But we definitely had fun on the secondary character designs. 

Private Stevenson & Private Baker..

John & I both worked on designs for the first episode together, then took it in turns thereafter. I designed characters on even-numbered episodes, and John designed for odd-numbered episodes. We both sat side by side, cracking each other up with sillier & sillier designs. Joyfully competing as the series progressed. (In my opinion, John utterly killed it with his designs for his ROMAN episode..)

Directors John Hays & Phil Robinson really assembled a mighty crew for this series. Dave Gordon & Richard Moore did the BG styling, with Dave doing a lot of great VisDev too. Robin Steele, and future Pixar heavyweights Bud Luckey, & Joe Ranft did the storyboards. Two more future Pixar legends, Bob Pauley & Bill Cone, led much of the layout & location design. Future LucasFilm directors Bosco Ng, & Steward Lee were stalwarts of the art department. Colour styling was by future CNN design director Dewey Reid, and John Pomeroy animated the title sequence! 

After years of living & working in countries where I struggled to learn the language, it was great to finally be in a city where I could actually socialise. I was very lucky to be working with utterly inspiring artists. We often worked late, as we were all excited to be working together.

The pre-pro team was enthusiastic and worked hard, with high hopes for the show. However, by this point in my career I had a pretty good idea of how the Saturday Morning sausage was made. Having worked in the bowels of the sausage factory myself for 10 years by that point. I was hopeful, but also knew that it was anybody’s guess if the show would get the same care at the other end..

A show about a kooky scientist, his young buddy and a time machine had the potential to be absolutely great. The best of Doctor Who and a (family friendly) Rick & Morty. But stories that went to a new time zone each week needed a lot of design. I kept hoping that the scripts would contain less characters & locations. So that we could really refine the model packets. But every script contained tons of NEW characters & locations. Plus new outfits/gear for the main characters too. SIGH..

We'd been promised the 'top floor' animators at Taiwan's Cuckoo's Nest studio, but "Uh oh.." early footage made it clear that we'd gotten the basement crew instead.. "DOH!" Back when I'd supervised outsourcing myself, I learned that if the good artists are already assigned to another project there wasn’t much you could do. So, despite an absolutely stellar design & storyboard team, and early optimism, the show itself came out merely 'OK'. It ran for two seasons on CBS.

It has been one of the counter intuitive aspects of my career that sometimes the fave projects are NOT the best projects.. Despite being merely a footnote in animation history, this was absolutely a linchpin project in my own career, and I have fond memories of it to this day. Many great opportunities that came later were thanks to this show. I met many wonderful artists, who became lifelong friends, who I still work with and/or socialise with, decades later. On this project, I fell in love with San Francisco. And, after living out of a backpack for years, made this kooky town my home. I’d later go on staff at Colossal Pictures, which became my favourite studio I ever worked at. Where I finally escaped from Saturday Morning cartoons, into TV commercials and other more challenging projects.

[bejeweledblondie]

The Lakes

Johnny “Soap” MacTavish x F! Reader

Summary: While on leave for a vacation road trip, Y/N & Johnny come across the Windermere Peaks & talk about their future together. Based on “The Lakes” off of Folklore by Taylor Swift

A/N: Miss Swift is a big inspiration for my work she has a huge discography so yeah, legit this is all I want too. If I could resort to living a small cabin in the woods by a beautiful lake I’d be seventh heaven

Warnings: none

“I don’t belong, & my beloved neither do you”

It had been a few years since you & Johnny took a vacation all to yourselves. He had been working overtime consistently for the past few months & finally he was given some time off. You put in for vacation time & the both of you decided on a road trip. There were still parts of the new country you called home you hadn’t seen before & you wanted to see them in a fun way. Johnny & you had been driving all over the UK for the past two weeks. You planned on ending your trip in Edinburgh so he could show you around his favorite locals spots.

Johnny pulled the rental car you two had chosen into the parking lot of the bed & breakfast the two of you were staying at. It was a old Tudor style cottage in the northwest English countryside. You studied literature at university & wanted to see where William Wordsworth spent the final years of his career as a writer. He parked the car & the two of you started to unpack the car. The air was crisp & refreshing compared to the smog that sat over London. You looked up at the cottage, admiring it’s wisteria & ivy that grew along the side of the building.

“Come on love let’s get settled, then we can go for a nice lunch.” Johnny said grabbed your suitcase from your hand. He never let you carry your own luggage. The both of you walked in & were amazed by the decor. Victorian furniture & carved oak woodwork decorated the interior. A small older woman greeted the two of you from the top of the stairs.

“Oh you must be the MacTavish’s!” She said & started down the stairs.

“Yes ma’am, we are.” Johnny replied smiling at her.

“Oh well I am Mrs. Harkness,” She greeted them. “But please call me Rebekah. Come follow me upstairs I’ll show you around & to your rooms.” The more you looked around the home the more you realized this was your ideal home. The cozinesses & tranquility brought a sense of comfort to you. The room Johnny had rented could’ve made you melt into the floor. A marble fireplace with a Edwardian clock faced the art deco style bed with green velvet bedding. “I’ll leave you two, enjoy your stay. Breakfast is from nine to eleven am tomorrow.”

“Oh John,” You sighed looking around the room. “This room is beautiful.”

“I knew you’d love it.” He said smirking to himself as he put your suitcases on the small loveseat that was in the corner of the room. “You want to get some lunch?” He asked. You nodded following him out of the room. After getting a recommendation from Rebekah you guys decided on a small sandwich shop. The both of you decided on a outdoor picnic the autumn air was perfect for it. The two of you picked a willow tree that sat upon a hill over looking the lakes.

“This is perfect John.” You said turning to look at him. He brushed some of the hair that had flown into your face over your ear.

“I know darling.” He replied. You leaned into his touch & he leaned in for a kiss. He placed one hand on your waist deepening the kiss. Once the two of you were coming up for the air you rested your foreheads together.

“This is what I want for us John.” You softly said. “Imagine it, us maybe a sheep dog & two little ones running around. A cottage that overlooks the lakes.” You smiled just at the thought of it. “I want for our little ones to grow up with grass, trees, for them to be adventurous.”

“Just like their mother,” John started & kissed you again.

“More like you Mr. MacTavish.” You replied & booped his nose. You took his hand pressing it to your little now growing baby bump. His large hands started to rub small circles on your stomach. You brought a hand up to his face your finger tips danced along his stubble. Just you wanted to basking this intimate moment for as long as you could.

“God I love you so much.” John whispered.

“I love you most.” You replied kissing him again. “We should get going baby MacTavish has decided they want something sweet.” You giggled.

[scottishaccentsareawesome]

Master Post of My Stuff That I’m Proud of :) (I update this ALL the time!)

My Hangaroo/Hangster Relationship Playlist (Youtube)

My Icemav Relationship Playlist

My Ineffable Husbands Playlist (Aziraphale x Crowley from Good Omens) 

My BUDDIE Playlist

My Kate/Tyler (Twisters) Playlist!!!!!!!

(^ I am constantly adding on to these on YouTube, just FYI ^)

Fairytale AU’s

“Two Princesses Fell in Love...” (Rapunzel x Sleeping Beauty AU)

Cinderella Fake Dating AU potential

Top Gun

If Maverick isn’t flying that day, he comes home early... (IceMav ficlet)

Slider Gets an Inheritance from Iceman

“All-American Boy” (Goose x Carole and Hangaroo/Hangster ficlet based on ”All-American Girl” by Carrie Underwood)

What If Wolfman wanted to “adopt” Hangman (original post)

Hangaroo/Hangster Time Travel back to 1986 (very open ending in that I didn’t really end it, so if you want to take it and finish it just let me know so I can read it :) )

Parallel between the Top Gun awards ceremony and another event a few years later (IceMav)

Mav adopts little Bradley after Carole dies and Iceman becomes “Uncle Iceman”...

(^ this one was like the first story-post I did about IceMav and I cannot believe I didn’t have it on here already)

IceMav Holiday Headcanons (Thanksgiving & Christmas)

The REAL IceMav Ending of Top Gun: Maverick

“Top Gun” + “Top Gun Maverick” = “The Notebook” (IceMav)

TGM HEADCANON: The Daggers Take Care of Mav After Ice’s Funeral

Rooster and Hangman Talk after Iceman’s Funeral (Hangaroo/IceMav)

Poker Night Between the Daggers and the 86′ers

Ice Gives Advice to Rooster about Hangman (Hangaroo/Hangster)

Rooster Thinks Hangman is Like the Tin Man and Hangman Thinks...(Hangaroo/Hangster)

Rooster Finally Understands 80′s Love Songs (Hangster/Hangaroo)

“Even Though I’m Leaving” by Luke Combs in the POV of Bradley with Goose, Maverick, and Iceman 

“Hungry Eyes” Hangaroo/Hangster Edit

Hangaroo & Bobnix 27 Dresses AU (27 Tuxes)

IceMav Sweet Home Alabama AU

Hangaroo/Hangster How to Lose a Guy in 10 Days AU

IceMav & Hangaroo/Hangster Letters to Juliet AU

IceMav Ocean’s Eleven AU

IceMav The Wedding Planner AU

IceMav Sleepless in Seattle AU

Top Gun “Psych” AU

TOP GUN/MAVERICK ft. TAYLOR SWIFT

IceMav + “Long Live”

Hangaroo/Hangster + “Style”

Hangaroo/Hangster + “Blank Space”

Hangaroo/Hangster + “I’d Lie”

MCU

MCU Characters x Wizard of Oz Parallels

Tony/Pepper/Peter (Parker) Part 1

Tony/Pepper/Peter(Parker) Part 2

Peter Wants to be a Superhero like his Dad Iron Man (but Mom Pepper Finds Out)

Mamma Mia Spideriron Family AU

IronDad & Spider-son - “I’ve Been Waiting or You” (From “Mamma Mia 2″)

IronDad & Spider-son - “My Love My Life” (from Mamma Mia 2″)

Tony’s Promise to Peter and Morgan post-Endgame (lyrics from “Mamma Mia 2″)

MCU Characters as Star Wars Characters

Peter Grows Up Knowing Tony (because he’s friends with Ben)

After Tony gets to heaven (IronDad-Spider-son post)

Tony Walks In On His Young Son Peter Drawing Pictures of a Guy Named Star-Lord (IronQuill)

Stranger Things

Billy Being Raised By His Grandma AU (ft. Harringrove)

Billy Being Raised by His Grandma AU Part 2 (ft. Harringrove)

Billy and Steve go to See “Top Gun” and need a second (or third) opinion

Finding Billy in the Upside Down (with s2 callback)

Harringrove S4 AU + Princess Bride Quote

S4 AU - Steve Chooses Between Eddie and Billy after Finding Billy in the Upside Down

Steve Keeps Billy’s Leather Jacket

Our Flag Means Death

OFMD x “Grease” Parallels

Ed and Stede are the Parents of Another Famous Pirate

Blackbonnet (Stede x Ed) Corpse Bride AU

(S2 FINALE SPOILERS) There is an Inn near the RoP...(Blackbonnet)

****911****

Buck’s s7 Bi Journey set to “Defying Gravity” lyrics (fan art/fan-edit)

Chimney Creates a Bachelor-inspired Office Pool (Bucktommy, Buddie)

Chimney, Hen and Ravi argue about altering the original office pool (Buddie)

What if Eddie kisses Buck while he’s with Tommy...? (Buddie, Bucktommy)

Three Earth-Shattering Events in One Week (7x04)

What if Tommy is in a Helicopter Crash...? (Bucktommy, Buddie)

“911″ -> “8 Simple Rules”-style (Bi Buck, Dad!Bobby, Buddie)

Athena Going Mama Bear on Tommy (Mom!Athena, Bucktommy)

Cruise Ship Doc Asks Buck if Bathena are His Parents (Dad!Bobby, Mom!Athena)

 “He Didn’t Have to Be” by Brad Paisley (Buck & Christopher, Buck & Bobby)

Bobby is the Parent Buck Has Always Needed (Buck & Bobby, Dad!Bobby)

The Theme of Parents and Children in 6x10 (Buck & Bobby, Dad!Bobby)

6x11 “Which one?” (Buckley-Diaz family)

Bobby Watching Buck Sleep in the Hospital after 6x11 (Dad!Bobby, Buck & Bobby)

Buck and Eddie Have Trouble Getting Engaged... (Buddie, Firefam)

When Buck and Eddie Become a Couple, They Have to Work Separately (Buddie)

“Hamilton”-inspired Buddie (Buddie, Dad!Bobby)

Multifandom Posts

This Blog Loves Found Father-Son Relationships

Gibbs & Tony - Bobby & Buck Parallel

Mary Poppins was the Doctor’s Nanny (Doctor Who x Disney)

Iceman and Raymond Holt would be great friends - causing great friendships between Ice, Maverick and the 99th precinct in NYC (Top Gun/Maverick x Brooklyn Nine Nine)

[savebylou]

hi cc, what is the idea of you and what are people hating on it?

Hi anon. I will put my answer below because is too long and I'm unable to explain it short.

The idea of you is a book that now is having a screen adaptation on prime, here is the trailer. Acording to the author Robinne Lee she was inspired by a guy in a boyband, here is her quote:

A few years ago, my husband was away on business and I was up late surfing music videos on YouTube when I came across the face of a boy I’d never seen in a band I’d never paid attention to, and it was so aesthetically perfect it took me by surprise. It was like…art. I spent a good hour or so Googling and trying to figure out who this kid was and in doing so I discovered that he often dated older women, and so the seed was planted. When my husband returned a couple of days later, I joked with him that I’d found the perfect guy and I was leaving him and our two kids, “oh, and by the way, he’s half my age.”

So basically initially she was inspired by Harry Styles, here are some tweets of her talking about the character. Then in other interview mentions that is a combination of different guys:

I made him into my dream guy,” she told me, “like Prince Harry, meets Harry [Styles],” plus a couple of ex-boyfriends, a little of her husband, and a dash of Eddie Redmayne.

I think the movie is being controversial because first is inspired by Harry dating older women since he was younger, according to the author the character is 20, but the womaniser image that Harry had and that likes and dates older women and this image started when he was 17, a minor.

This idea of Harry liking older women, just reduce him as an artist just to that image that has been know for the general public is just frustrating. And also in the articles and social media talking about the movie they had been making the comparison between photos of Nicholas and Harry.

Nicholas said this quote about if the character is inspired by Harry Styles:

“We tried to create a character that felt, you know, a kin to Harry in a sense that he’s a younger man dating older women. It was important to create someone who felt new and original and not a shoddy impersonation of this person.”

Anything that mentions Harry Styles will always bring attention and clicks so the promo of the movie know what they are doing, and this is nothing against Nicholas, the book is just inspired by Harry and the movie is promoted with that idea.

Now the second problem is that the songwriter and producer of the album of the movie of this fictional boyband is Savan Kotecha. If you are not aware he is a producer and songwriter and was involved with One Direction since The X Factor and work for the first two albums of the band. Savan is a person not liked in the fandom, because he basically never wanted the boys to be part of the songwriting, he saw the band as this machine, never saw the boys as artists and said awful things about Louis. He is one of the persons responsable that Louis didn't get that much solos, read this transcript for more info.

Savan also in that interview explains that couldn't see the boys as this grown young adults that wanted to write songs, because he knew them since they started and didn't think they would have the ability to do so (he was wrong as we know). So Savan left after the second album, now his association with this movie that is related to Harry and 1D is his way of trying to stay relevant again in the fandom.

This is my perspective, but anyone can have a different POV of what the movie is hated and probably they would explain better than me. Sorry for the long response as you can't see I can't write short answers.

[euphorial-docx]

a breakdown of opev reg’s style evolution because i felt like talking about it :)

PART 1: OGNI PARTE E VIVA🍊

in opev, regulus didn’t truly develop a sense of style yet. he was still trying to figure himself out, and figure out a way to express that in ways he was comfortable.

regulus mostly dressed for comfort in opev.

in the warm seasons, he’d wear a lot of loose button ups and t-shirts, shorts or swim trunks. he most of the time wore a pair of converse, and sometimes sunglasses. in the colder seasons, he wore standard cold weather things like sweaters, jeans, gloves, hats, etc etc. he also rewears outfits often.

there were times where he would show some of his personality in his outfits. the things he truly did style were: his hair, his jewelry (namely the star of david necklace), and the occasional band t-shirt. his clothes usually are cool tones, such as blues and cool greens, as well as neutrals like white and black. outside of those things, he dressed pretty generically.

i feel his style reflects the music he listened to at the time. opev regulus was on the new wave train from the start, being a fan of the talking heads and joy division early in their careers. while joy divison was dark in tone, talking heads was relatively upbeat and a more familiar band to regulus as they’d been around longer than joy division.

my inspirations for his outfits was, very unsurprisingly, elio from call me by your name. although i did stray away from the polo shirts, because i didn’t think opev regulus would really wear those. i wanted to keep a sense of put togetherness despite his lack of personal style by having him wear loose button ups a lot and take care of his hair.

there is only one instance in opev where regulus has a chance to dress up a little bit, and that’s when he and james go to an art gallery. regulus wears a button up shirt, jeans, and a jean jacket.

good elio references i looked at a lot for opev:

PART 2: TEMPS SANS FIN🌃

i know we haven’t dived too much into the sequel yet, but oh boy do i have plans for his fashion there.

between opev and tsf, regulus has developed a true sense of self and a sense of fashion of his own. part of that was from his experiences in university, where he dated a musician named chiara who got him more into the new wave/goth music scene. another part was simply him getting older and living independently.

in the 70s regulus dressed for necessity and with a vague new wave influence, and in the 80s he expanded on that a bit.

i’d describe his 80s style as predominately new wave with a bit of goth and new romantics thrown in there.

he has kept with his loose button ups, but has traded his converse for boots and began to experiment a little more with accessories. necklaces, rings, and yes even earrings and nail polish have made their way into his outfits. he’s also began to use makeup, albeit just a little, when it comes to his eyes, reminiscent of the goth and new romantics influences he’s gathered.

his hair has changed over the years, and he’s started doing a variation of the wavy pompadour/elephant trunk hairstyle popular among the new wave scene as well as more mainstream scenes. i imagine the hairstyle to be a bit like duckie’s from pretty in pink, but mostly like elio’s hair in the epilogue of cmbyn.

as i said for part 1, music greatly inspires opev regulus’s style. in the 80s, his edge of goth and new romantics comes from the music he started listening to. he leaned more into goth in the 80s with his love for bands such as the cure (at least early the cure), depeche mode, bauhaus, echo & the bunnymen, and the smiths— he also kept up his love for joy division, while his passion for talking heads faded a bit as they wandered more into pop territory.

inspirations i have for regulus include: john taylor, steve jansen, a little bit of john koviak and robert smith, but heavy with the john taylor

photo inspo (most of which are john taylor. i’m sorry. his outfits are just almost exactly what i picture reg wearing in the 80s.)

[roipecheur]

I'd love your thoughts on Frank chaining Matt to a rooftop and trying to get him to kill 👀

This actually inspired me to read the 2000 Punisher run where Frank does this because I wanted to compare it to the NMCU scene. I’d put off reading this run before because I don’t like Garth Ennis, and I also really don’t like the art style. But it turns out it’s only 11 issues long, so I went ahead and got through it in one sitting. 

Garth Ennis, from the little of his stuff I’ve been able to get through, writes Frank like an angrier version of the Terminator, and treats the existence of superheroes and the rest of the wider Marvel universe like a bug he’s trying to push away with a very long stick. NMCU Frank is a more complex and interesting character in terms of actually having a background and motivations that make sense. The current Punisher run, which I have many issues with, does a better job at this than Garth fucking Ennis, so it ain’t saying much.

Also, the 2000 Punisher run is of course a Frank POV story, and the Netflix Daredevil show is of course a Matt POV story. So, to start with 616 Frank in the 2000 Punisher run...

(Cut for comic panels)

This is Vietnam vet Frank circa the year 2000--he explicitly mentions Vietnam in this run. Even if he was 25 when the Vietnam war ended in 1975, he’d be 50 here. Yeah, yeah, comics time doesn’t work the same way as real life time, but he’s drawn with some lines and wrinkles on his face. He’s meant to be older and he’s been doing the vigilante thing for awhile.

This panel is also interesting to me because calling Daredevil “the guardian angel that follows him (Matt) everywhere” implies that he doesn’t know who Daredevil is--I’ll come back to this later.

In contrast to NMCU Frank, 616 Frank has a long history with Daredevil. He knows Daredevil is going to attack him and plans accordingly.

"Fap" lol what was with this sound effect circa 2000.

Frank tells Matt to hit him baby one more time and lets Matt win the first round. This isn't difficult, Frank reflects, implying that Matt is the better fighter and he's a challenge (or impossible) for Frank to defeat hand-to-hand.

But Frank doesn't need to--he's rigged speakers to play an ultrasonic dog whistle, which wreaks havoc on Matt’s ears. Frank uses this opportunity to knock Matt out.

So... we’re going to assume here that Frank doesn’t know who Daredevil is, but he knows enough about what Daredevil can do to incapacitate him.

Then, of course, Matt wakes up chained to the roof and--ok. Just look at the difference between Netflix DD and whatever the fuck 616 Frank was doing

Chains around Daredevil's chest and arms to hold him in place. Unhinged behavior, but sound restraining technique, versus

Frank. My man. Where did you learn this. Why are you forcing him to kneel. Why are the chains 1) around his neck, 2) wrapped lovingly across his chest, 3) not only between his legs but 4) framing his crotch. "What is this" indeed.

The rituals...they are intricate...

So, now that Frank has forced Daredevil to participate in his bondage fantasy, he decides to 'teach him a lesson' by giving him a choice. Daredevil is "not the enemy" and "doesn't deserve to be destroyed", but Frank's getting sick of him interfering. The gun he's taped to Daredevil's hand has one bullet in the chamber, and Frank's wearing Kevlar. Either Daredevil shoots him in the head, or Frank is going to shoot and kill someone else.

(Frank heard the term “predicament bondage” once and completely misunderstood the assignment.)

Again, 616 Frank has been a vigilante for years, if not decades, and has tangled with Daredevil plenty of times before--enough to know his speeches by heart. Frank’s internal monologue also says he can’t beat Daredevil hand-to-hand. As far as Frank’s concerned, every time Daredevil failed to kill him was a time that Daredevil was choosing Frank’s life over whoever Frank was going to shoot next--and they both know Frank will inevitably kill someone else. Frank, on the other hand, shoots Dino and thereby chooses to save whoever that guy might have killed or hurt next. By taping the gun to Matt’s hand, he’s just making the choice more obvious--showing Matt that his decision not to kill people is a choice with consequences, just like Frank’s decision to kill people is.

616 Frank planned and carried this out for Daredevil specifically. We don’t get internal monologue bubbles for NMCU Frank, but I don’t think he could have possibly planned this in the same way. He did have a rooftop and chains ready, but I don’t think they were for Matt. One, this is early days Frank who’d just lost his family, was still trying to kill everyone directly involved in their deaths, and doesn’t even have a skull on his chest yet. Two, this was only his second meeting with Daredevil, the first being when he’d shot Daredevil in the head the night before--he couldn’t have predicted that Daredevil would be there. Three, Frank was there for Grotto and was willing to take on a small battalion of cops all on his lonesome to get to his target. I think Daredevil must have surprised him. So, they fight, and the residual effects of the headshot cause some ringing in Matt’s ears. Frank can’t know what’s going on, but he takes advantage and knocks Matt out. After that, I can only imagine he’s staring down at this guy dressed in a fucking devil suit with the cops closing in and thinking, “Babygirl you might be even more deranged than me. I must study you.” Scooping him up and saving him from the cops must have been an impulse decision. Leaving Daredevil to get arrested certainly would have been easier and stopped him from interfering with Frank’s one-man war.

In both 616 and NMCU, Frank at least ostensibly doesn’t know who Daredevil is, and he doesn’t take off Daredevil’s mask while he’s unconscious to find out. Also in both versions, Frank is trying to kill someone Matt’s been defending. In 616, this is a faceless mobster named Dino--you never even see him, just Frank pulling the trigger. In NMCU, it’s Grotto, someone we’ve seen Matt and co. try very hard to keep safe from the trigger-happy maniac who clearly wants his head on a pike. 

And, in both versions, Frank chains Daredevil up, tapes a gun to his hand, and makes him choose between killing Frank and letting Frank kill someone else. Here’s where the differences get interesting. 616 Matt actually pulls the trigger, but there’s no firing pin. 616 Frank never intended to possibly die--he just wanted to drive the message home. We don’t have 616 Matt’s internal monologue, so we can’t know for sure what he was thinking here. If my quick Googling gave me the correct answer, killing someone to stop them from killing you or someone else is permissible in Catholicism, which otherwise lists murder as a cardinal sin. Given such a clear-cut decision, Matt could have used that reasoning to justify pulling the trigger. Or given his general aversion to killing, he might have been trying to shoot Frank in a way that would hurt him but would not actually end his life--despite Frank telling him earlier that killing him was the only option. Either way, this is a decision Matt makes while Frank takes someone out with a rifle at a distance. It’s a pretty removed act of violence, as far as these things go.

Meanwhile, NMCU Matt has Grotto right in his face, begging him to shoot Frank before Frank kills him. In this version, Matt’s gun fires when he pulls the trigger, but he doesn’t point it at Frank--he uses it to free himself from the chains Frank has him tied up in. Matt gambles with Grotto’s life and loses. Compared to 616 Matt, it’s possible he didn’t try to shoot Frank because he hadn’t been dealing with him for as long--he doesn’t have years’ worth of failing to save people from Frank weighing on his conscience. Or, Matt himself just hasn’t been a vigilante for long enough to know his own limitations and thought he could save Grotto without shooting Frank. Or, he just couldn’t bring himself to kill--which tbh I think is more in line with Matt’s character in general in most universes where he isn’t evil. And NMCU Frank, unlike 616 Frank, gave Daredevil a perfectly functional gun. This is a Frank whose family has just died and is doing all kinds of reckless, crazy shit to avenge them. I think his MO in Daredevil season 2 is that he’s going to kill everyone who had a hand in his family’s deaths or die trying, and this falls under “die trying”.

One last thing 616 Frank and NMCU Frank have in common: they’re both so goddamn weird about Daredevil. NMCU Frank was probably not planning on surviving his one-man war against the gangs of New York and was definitely suicidal, but he still had things to do and people to kill when he gave Daredevil the chance to shoot him. Like, he had possibly decided this guy was worthy of killing him in some fucked-up way--he put everything on hold to give Daredevil a free shot. 616 Frank, after Daredevil tries to shoot him and can’t because of the missing firing pin, says, “Leave the killing to me.” He’s basically saying that he respects Daredevil’s choice not to kill and even in this fucked-up scenario, Frank isn’t actually going to put him in that position. Coming from 616 Frank, especially the way Garth fucking Ennis writes Frank, it’s almost sweet.

Thanks for this ask--I had fun with it! As a bonus, here’s some choice pages showing the NYC skyline as drawn in the year 2000 💀💀💀

NMCU Frank: Yeah I’m a veteran of the War in Afghanistan and the Iraq War that all happened because of 9/11

616 Frank: What’s 9/11?

[agentnico]

Teenage Mutant Ninja Turtles: Mutant Mayhem (2023) Review

Why would they release this only a month after Across the Spider-Verse?? It’s as if they WANT to live in the shadows!

Plot: After years of being sheltered from the human world, the Turtle brothers set out to win the hearts of New Yorkers and be accepted as normal teenagers. Their new friend, April O'Neil, helps them take on a mysterious crime syndicate, but they soon get in over their heads when an army of mutants is unleashed upon them.

Teenage Mutant Ninja Turtles of course are close to the hearts of many people’s childhoods, however I do not share that element of nostalgia. I am aware of the turtles and their pizza obsession, and I have unfortunately seen both of the Michael Bay produced ones, but nonetheless I walked into Mutant Mayhem with a very open mind. I am a fan of Seth Rogen and have also been enjoying this new style of animation that spawned from 2018′s Into the Spider-Verse, that steps away from the Disney/Pixar dominated oversaturated 3D computer animation and instead incorporates 2D and various interesting art styles from watercolours to comic-book sketches. Again, Spider-Verse started this and is still probably the most well executed one, however I personally also believe Klaus and Puss in Boots: The Last Wish have managed to take this new artwork animation style and make it their own. Mutant Mayhem again looks very good visually, and even though this one doesn’t really add much more to this animation style that Spider-Verse already did, there were still some creative choices made, like in many shots parts of the character drawings and the background sketches looking unfinished, as if a kid drew them, which I found to be a nice touch, especially with the movie’s youthful nature. But yes, the artwork is very close to Spider-Verse, and that is not the only comparison. Strangely enough the energetic music score by Trent Reznor and Atticus Ross hits near all the same notes and drum beats of Daniel Pemberton’s excellent Across the Spider-Verse soundtrack. Both are very similar, and again reiterated that TMNT: Mutant Mayhem gladly embraces that it exists solely due to the trend that Spider-Verse started.

What really works for Teenage Mutant Ninja Turtles: Mutant Mayhem is that it actually accepts the fact that its titular turtles are teenagers. Voiced entirely by a youthful cast, the four central turtles have amazing banter and share that coming-of-age feel, making their friendship believable and entertaining to watch. At times it feels like you’re just hanging out with a bunch of friends who are being goofs. The supporting cast all do their part and are evidently having fun themselves. Ice Cube makes for a formidable villain who at first comes off really cool and charming, but then turns into an intimidating presence that manages to proudly proclaim rap lyrics. Jackie Chan is an inspired casting choice, as he brings an endearing warmth as the overprotective father-figure to the turtles, and his vocal performance felt genuine. There’s many famous actors that provide vocal additions to the shedload of characters in this movie, but I’d say Paul Rudd stood out the most as a crazy skater-bro who was foolishly funny.

Jeff Rowe (known for The Mitchells vs. The Machines) balances the themes of coming-of-age and acceptance really well with the fast-paced action-packed energy of Seth Rogen’s and Evan Goldberg’s script, and there’s plenty of laughs and colourful set pieces to keep kids entertained at the cinema this month. This is definitely a more younger audience aimed affair, but I enjoyed it nonetheless and at the very least is the best version of TMNT I have seen so far. Naturally my main comparisons are those Michael Bay movies and, well, that’s not a very high bar. But don’t worry, Mutant Mayhem provides plenty of entertainment value, popping imagery and mountains of ninja skills. And pizza, of course.

Overall score: 7/10

[dapperinsanity]

Last Saturday, I had the wonderful opportunity to see The Nightmare Before Christmas Live in Concert for the movies 30th Anniversary!

It featured Danny Elfman himself and it was amazing to see him perform on stage. He is an inspiration to me and is the reason why I wanted to learn piano. Ken Page was also there and it was amazing to see him as well. The conductor and the orchestra brought the movie to life on stage. It was so cool to witness them playing the entire film’s score. Unfortunately, I was only able to get tickets for Saturday and Catherine O’Hara was not performing that day. But! The woman who filled in for Sally’s role was very talented and she deserved the spotlight. I have some photos below!

Now onto a gush about “The Nightnare Before Christmas” below.

It was surreal to experience this as Nightmare has been my special interest for my entire life. It sounds cheesy but this movie means a lot to me. As a kid, the movie expressed feelings and emotions that I could not put into words. I went most of my life being undiagnosed and neurodivergent. I was the lonely outcasted weird kid who tried his best to fit in and learn how to act like my neurotypical peers. I was a walking character trope. The Nightmare Before Christmas has gotten me through tough and lonely times growing up and ironically enough, I went through a similar identity crisis that the movie touches on. The loneliness and depression Jack experiences in the movie just struck a chord with me. The story, the character, and the music helped me to process many things as a child. It’s a comfort and is also a place I can escape to in my daydreams.

This movie and Burton’s work also played a part in my artwork. The unique style had opened up new and creative pathways for me and helped me to embrace my own weirdness. Although, I don’t give him much credit when it comes to Nightmare, I admit his art style has played a part in my art. I give full credit to the people who worked on the movie as Henry Selick and his team as they deserve it.

Henry Selick is another artist that also inspired me as stopmotion in general, is a part of my special interest. When I was introduced to Rankin Bass movies, that’s where my fascination began. What really honed in my love for stopmotion was The Nightmare Before Christmas. The amount of work that was put in this movie was phenomenal. They were passionate about their work despite the long process and hard work. Since discovering Selick’s work, I’ve been a long time fan. Of course, I’d love to work on my own stopmotion project but that will need to wait for now until I find a stable career lol.

Overall this movie has always been meaningful and important to me in many different ways. Again, it’s cheesy but true. I’m glad to have celebrated its anniversary along with Halloween itself this year.

[eljackinton]

A freewheeling pitch for a System Shock style successor to Alien Isolation.

Alien Isolation is a game that's been stuck in my head for a very long time. I bought the game at launch in 2014 but never finished it because it was too scary. It's only going back a few weeks ago to finally do it that I managed to banish the old ghost. Nonetheless the pitch perfect visual designs harkening back to the 1979 original as well as the perfect adaption of that film's tension to it's core mechanics have cemented the game with a legendary status that it rightfully deserves.

This has left many over the years questioning the lack of a sequel, and yet when actually pondering this question it's answer is immediately apparent. Escalation. How do you escalate a game whose tension was already wound as perfectly tight as it needed to be? Empower the player too much and you ruin the tension, empower the alien too much and you make the game frustrating.

Far better to leave the game untouched. It's own solitary island in the Alien franchise history.

Anyway here's how I'd do a successor.

Note that I said 'successor.' This is not a pitch for a sequel, semi-sequel or even a spiritual successor. This is a pitch for a game that takes the same relative premise as Isolation but zigs where the previous game zagged. While my pitch takes a hearty dose of inspiration from Isolation, it also harkens to one of it's older predecessors, System Shock, and by extensions Shock's own 2016 successor Prey.

This is just going to be a bit of a freewheeling ramble to explain an idea in my head. A sort of pitch as to how the experience would unfold, but to be clear from the start, here's what ideas and concepts that we will be carrying over from Isolation:

- The plot takes place on single, isolated space station, it's downfall being told through audio logs.

- The hunting Alien that triggers an instant kill if it reaches you.

- The complete dedication to a retro-future aesthetic. While it won't be 1:1 the style of Isolation, it will share a great deal of similarity in it's low-tech future depiction.

- The Working Joes.

Other than that, the differences will become apparent as you continue to read this pitch. So what I'd like you to do is sit back, imagine you've just booted this game up on your console or PC, the distorted 20th Century Studios fanfare plays, and you begin the game.

Intro

Our opening cinematic begins our storyline. Our point of view, player character and protagonist is the daughter of a wealthy CEO of a pharmaceutical company. She has been diagnosed with an incurable future disease. Doing all he can do, The Father puts The Daughter into cryo, in order to have her transferred to his brand new, state of the art medical space facility out in the heart of the colonies. With a promise that one day he will see her again, The Father puts us to sleep, and the game begins.

Tutorial Prologue

The Daughter awakens from her pod to the sound of emergency sirens and flashing hazard lights. All around her is devastation and chaos. We are confused, with no explanation to the scene in front of us. Quickly, we hear a voice from a nearby speaker. Making our way over to a medical desk, we pick up a headset and are greeted by our first friendly voice. We'll call them Mission Control.

Mission Control tells us that he has no time to explain, but numerous hostile beings will be approaching shortly and if we want to live we'd better damn well follow his instructions. Swiftly we run to hide as a Working Joe, dressed in medical scrubs and covered with blood comes to inspect the scene. He expresses confusion that the 'priority patient' is unaccounted for.

Following Mission Control's instructions we sneak our way out. He tells us that the cryo wing is currently under lockdown and he won't be granted the authority to let us out until the 'hostile contaminant' is dealt with. He guides us through the corridors, avoiding Joes and catching glimpses of something sneaking its way around the vents. Once we start to assemble our inventory, a hacking tool, wrench, blowtorch, the creature then reveals itself.

Our first Xeno encounter will be of a Runner Xenomorph, of Alien 3 fame. Fast, but weaker than their larger brethren, we use our guile and cunning to evade it's grasp (though no doubt screw up and die a few times) building noise-makers and whatnot to draw them away. Mission Control confirms that it can be killed, but it'll need to be weakened first. Following his instructions, we find components to build a pipe bomb and obtain a slug shooting heavy pistol.

Eventually we head out to the cryo wing's reception area. Following more of Mission Control's instructions, we set a trap, putting down the pipe bomb and throwing a noise-maker. If done correctly, the explosion stuns and weakens The Runner, giving us a window to bring it down with the pistol. However, it still takes some putting down, with nearly all of the ammo we have collected so far required to kill the thing. After it's death, Mission Control requests that we obtain a nearby 'sample extractor' device, to preserve some of the creature's biomatter, which will become useful later.

At that, he lifts the lockdown, and allows us to enter the greater part of the station.

Act One

The game opens up proper as we enter out into the station's foyer. It's a big, grand entryway that reveals how prestigious the station was in it's prime. Huge glass windows look out over the planet the station orbits, very much invoking the opening of Prey. Our respite is brief, however, as a patrol of Weyland-Yutani combat synths start paroling the floor. We've seen these guys before, in Aliens Fireteam Elite. They're armed, and one or two shots will kill us outright, so Mission Control tells us to sneak past  them, since we're also low on resources after having taken on the Runner.

We make out way to a great glass elevator which Mission Control has sent down. We ride it up to the station's secure command centre. It's a huge spherical vault accessible only from a single walkway. Part panic room, part security office, part personal lab, part emergency habitation, the command centre is the one place in the station totally secure from both the aliens and the synths.

We meet Mission Control in person. He's a maimed young man in a wheelchair, acid burns revealing that he likely lost those limbs taking on one of the Xenos. He greets The Daughter, who impatiently demands an explanation as to what is going on. He fills us in on what has transpired since The Daughter went into cryo.

The Father began his search for the cure with great optimism, funded on the back of his state of the art medical station bringing healthcare to the colonies. However, after an attempt at an operation performed by an expert doctor failed, his behaviour became more and more erratic, leading to a bad series of business decisions that began the downfall of the station, like replacing a lot of the orderlies and staff with budget Seegson androids.

Getting ever more desperate, The Father was offered a deal by Weyland-Yutani, who needed specialised lab space for the research of 'exotic biomaterials,' some of which might help result in a cure. The Father sold off part of the station to them, but over time their demands would start to get higher and higher. Eager for a solution, he let them take over more of the station, as well as help themselves to 'test subjects' from the patients.

Eventually The Father figured that there was no cure forthcoming, and that W-Y had been stringing him along. When he confronted them, however, it was far too late, as whatever they had been doing resulted in an outbreak of deadly life forms. W-Y locked down their own labs, overrode the Working Joes, and sent their Synths to protect their assets, and most of the station was wiped out by the aliens or the synths.

Mission Control, a menial worker and union rep, managed to round up a few survivors and flee to the command centre, where he intended to lift the lockdown and broadcast a distress call. The Father didn't trust MU-TH-UR computer cores, so instead the command centre was designed to be a human operating system for the station. However, it was also locked to his own bio-signature, with only minimal functions to everyone else.

Mission Control figured the only way off the station would be for him to unfreeze The Daughter and guide her to the command centre, using her bio-signature to unlock greater functionality. He apologies that she doesn't have long to live, but that she is their only chance to get off the station.

Naturally The Daughter begrudgingly agrees to help, and with a drop of blood unlocks the command centre's functions. W-Y however, have sabotaged the distress beacon, and so our first order of business is to go about the station, building up our arsenal and going through a series of convoluted quest-lines to lift the lockdown on the W-Y labs and reactivate the beacon.

To go about this, the command centre introduces two critical gameplay mechanics:

1) Station control. While she is unable to activate the beacon, The Daughter can control pretty much every other aspect of the station. However, there is not enough power to have everything running at once, so she can delegate 'power points' to various wings to aid her in her quest and mitigate threats. This involves things like activating security defences that can kill synths and repel xenos. Power up health stations. Deactivate the Joes or turn them to her side. Unlock all doors to bypass hacking. She can also turn off the lights, which makes her harder to detect by synths but makes being hunted by xenos more dangerous.

From the station control map she can also see which wings currently have a roaming Xeno. To begin with there are only a limited number of Xenos on the ship and once they're eliminated they stay dead. However they can roam from one wing to another, so The Daughter can spend power points to 'lock down' certain wings, keeping the xenos from roaming. The reactor is also permanently locked down to start, as we suspect that it contains a hive that could spawn more Xenos across the ship.

2) Research Lab. I always loved the research aspect of System Shock 2 and felt that it's semi-revival in Bioshock and Prey was too watered down. Upon killing a Xeno we can harvest biomaterials from it, and use that to research better weapons and equipment. This takes time, however, so once a research has started we'll have to go off and do some side-quests for a bit. This serves as a sort of tech-tree, allowing us to increase  the damage of our weapons, resist harm and improve stealth, however, there are only a limited number of Xenos, meaning we won't have bio-material for every upgrade, players will have to chose which ones suit their style best.

Hopefully by now this should be giving you an indicator of how the core gameplay will go. We'll have multiple objectives across the station that players can complete in any order, and freedom to roam most of the wings. Threats are deadly, but beatable, but resources scarce. Players will be using the environment as much as their arsenal, leading combat synths into electrocuted floors, or luring Xenos into industrial crushers, for example.

Taking on the alien will be a challenge not to be taken lightly, and one that players will need to embark upon with great care. Doing so is optional, but required if you want those precious upgrades. Think of them like the big daddy fights in Bioshock, but rarer and much more difficult. I also envision a few different xeno variants roaming the halls. A spitter that can attack at range if it's not close enough for a charge, a chameleon alien that can blend into the scenery, and of course a health dose of the deadly drones.

Act 2

After doing a bunch of busywork and helping survivors around the station, as well as finding out about more of the backstory in detail from terminals and audio logs, we'll finally get the chance to access the W-Y labs. Surprising nobody we'll find out that they've been breeding Xenos, but what we also find there in a large hanger is an intact Engineer ship (cue Prometheus soundtrack sting.)

It turn out that W-Y had obtained an Engineer ship fully stocked with Xeno eggs and needed a secure location to study it. We also learn that the ship had two occupants in stasis, one of which was infected with a chest-burster.

By this point in the game we will have gotten quite proficient at taking on the aliens, so act 2 goes on to introduce two new threats. Firstly, roaming the W-Y labs and later the station as a whole is an imposing Engineer. He's not immediately hostile, instead staring at us menacingly from a distance. However, if we get too close, attack him, or interfere with his unknown goal he will immediately charge us and break our neck. He cannot be killed, but he can, however, kill other Xenos, and luring one to him to get pummelled is one of the possible solutions to taking them out.

However, we now also get the other new addition. A massive Engineer Xenomorph (based on the Ultramoprh concept from Alien: Engineers). This creature serves much the same role as The Nightmare did in Prey. It can't be killed, acting more like the alien from Isolation, and it can come from anywhere, but it will only roam for a limited time, so best you can do is hide or try and evade it.

As we explore the W-Y labs, The Daughter will begin to wonder why her health isn't deteriorating, and, in fact, is only getting stronger. Up until this point we'll maybe drop in some red herrings that W-Y might have implanted alien DNA in her, sort of like Clone Ripley from Resurrection, but that was dumb then and it'd be dumb here. In actuality we will discover that The Father's initial operation was actually successful, but, wanting access to the station and needing to keep The Father in dire straits, W-Y secretly killed the lead surgeon and replaced him with a synthetic duplicate, lying to him that The Daughter was still terminally ill when in fact she had been cured the whole time.

While The Daughter has now accessed the labs, reverting W-Y's sabotage of the distress beacon, she now has a new goal to undertake while they await rescue, tracking down the details of her operation and finding the cure, knowing that if she can bring the details to light many other lives might be saved.

Act 3

With a distress call sent it's time to start wrapping up our affairs, filling out our arsenal and finishing off any remaining roaming aliens. While the Xenos will still be a big threat, they'll be much more manageable at this stage of the game with better gear and skills researched. The Engineer and Ultramorph will still be roaming the station though, so we'll need to evade them if we can.

After travelling around the station looking for clues and the eventual location of data regarding The Daughter's operation (could be randomised, or always the last potential location you look,) we eventually have to go to the office of the former security chief to acknowledge a response to our distress signal. One unique alien spawns to pursue you to the office (maybe for security reasons The Daughter won't be allowed to enter the security wing with weapons, like the Apollo Core in Isolation).

With the xeno in hot pursuit, we make it to the office, to discover a lockbox containing a pulse rifle with a single magazine of ammo. We use this to execute the Xeno with ease. However, most of the ammo will have been used to take it down. There'll only be enough left for a very brief further use.

Mission Control confirms that a unit of Colonial Marines has responded to their signal, but there's a problem with the hanger that they're trying to board. Making our way to the hanger, we find that it has become a battleground between the Engineer and The Ultramorph, and the chaos they are causing is preventing the hanger from functioning.

With some sneaking around required to not get killed in the ensuing melee, we repair the airlock and door functions and, ending two threats in one go, eject both the aliens in to space. Shortly afterwards the Marines arrive, revealed to be the same unit that appear in Fireteam Elite as a nice little cameo. They start evacuating the survivors, but tell us that their scans reveal that an alien hive has been constructed at the base of the station beneath the reactor core.

Since it is the Marines duty to never leave a threat unresolved, so they prep to head to the core with a bomb to destroy the station and make sure no Xenos escape. While we might want to just leave, the unique status of the station means that The Daughter will have to go with the Marines to the core, as the stations system will only accept her request to lift it's permanent lockdown.

Finale

Seeing as she clearly now knows how to look after herself, the Marines kit The Daughter out with weapons and armour. With this new upgrade, all our previous weapons pale in comparison. Our pistol and shotgun are replaced with a fully stocked pulse rifle. Home made pipe bombs and EMPs are replaced with grenades and shock lances. Our acid resistance increases tenfold, and if a Xeno engages us in melee we will have now a short window to hit a few keys to push the thing back.

The game has, for it's brief few moments, now become a power fantasy after hours of hiding and stalking. The Daughter lifts the reactor's lockdown, and with the Marines we descend into the hive. We now do battle with hundreds of Xenos, but with better weapons and squamates at our side, we can hold back the tide.

For the final challenge in the game, you and the squad must defend the bomb being prepared at the base of the reactor, first fighting off waves of Xenos, before eventually drawing the ire of the Queen. The Queen can't be killed, but she can be stunned, so it's up to you to keep her distracted and lead her on a chase while the Marines finish their prep.

With the bomb set, The Daughter and the Marines charge desperately back through the halls of the station, Xenos and Queen in pursuit, as they run back to the dropship. They make it at the final moments, and then launch, left to watch the station erupt in an atomic explosion. In the final cutscene, Mission Control contacts The Daughter on the radio, asking her what she's going to do with her new life, pulling out the data package from her pocket, she notes that only one threat has been ended, but there are still many more lives that need to be saved.

Roll credits

So there you have it. Obviously the game would be compared unfavourably to Isolation, given that it cribs it's core premise from it, and I think a lot of people will find contention in the inclusion of more action orientated elements, especially the ending, but ultimately I think doing a game where the player escalates from a helpless victim to a gun toting badass would be an interesting take on the genre. A sort of truncated version of Ripley's evolution from the start of Alien to taking on the Queen at the end of Aliens, but explored through game mechanics.

There's a few other ideas that I spitballed that I liked the sound of but couldn't really fit into the pitch. I toyed with the idea of being able to send other survivors on their own mini-missions with some instances putting you in a Mass Effect 1 situation where we are forced to chose who to sacrifice, but it'd probably overcomplicate a game that's going for the lone survivor System Shock vibes.

Likewise, I liked the idea that the Union of Progressive Peoples and a squad of W-Y Mercs would board the station, each looking to get their hands on Xeno samples, with you being given the option to help or hinder them, resulting in multiple endings, but I thought this would be overcomplicating a story that would be best kept as lean as possible.

So what do you think? Do you think drawing too much on Isolation would invite unfair comparison? Do you think more action elements like the finale with the Marines needs to be dialled back. Should the elements taken from Prometheus just be left well alone? Let me know if you have thoughts, I'm always happy to chat.