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#I haven't drawn my old characters for a while!!

tzitzki · 10 months

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I love how a lot of people are pointing out how I captured Cillians likeness in that Barbenheimer sketch; but little do they know it's because he's been my OC's pseudo face claim since 2018.

#a lot of these are really really old; i haven't drawn these characters in a while #he also shares the same facial scars with me; most of my ocs with facial scars do!#oc #smoke depo #slava #anri #asya #isaac #vlas

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dontlookforme00 · 15 days

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Tridental regicide,

I won't hesitate to kill my Heart and Mind.

MY 300 FOLLOWER DTIYS IS FINALLY HERE!! Info and alt versions below the cut!!

Helloo!! I hit 300 followers a good while ago now but I'm only getting to the DTIYS now lmao. About half of those were ninjago followers, and the other half were chonny jash followers, so I was gonna do a sort of mix between the two fandoms, but just decided on plain old HMS, sorry!!

If anybody at all entered I'd be honoured :] because last time I did this I only got one (admittedly amazing) entry lol.

> also this took me thirteen hours jfc. I haven't spent this long on a drawing for monthssss.

Here's some notes if you plan to join!!:

You can use any iteration of any HMS designs, it doesn't have to be my ones.

But by all means, if you do wanna use mine/my colour schemes, there's some clearer images below.

The text in the background says "Tridential Regicide". It'd be nice if you included it!!

What the entry does have to have is Heart, Mind, and Soul, with Soul threatening the other two.

I once saw someone enter a dtiys by making a plushie lmao??? So just gonna put down that ur entry can be whatever

If you have any questions or wanna extend the deadline, send me an ask.

Feel free to change any details not mentioned, or the poses that they're in.

Tag me in any submission!

Use the tag #donniesDTIYS300

Prizes (??) and deadline:

The deadline will be (checks watch) two months from now, so, the 14th of July.

Again, if anyone needs more time for an entry they wanna do just send an ask.

Uhhh I have no idea how many people will actually enter, and I've never actually drawn DTIYS prizes.

So I suppose I'll go with the standard??

1st (chosen by me) fully rendered drawing of any character or OC.

2nd, just coloured in drawing of any character or OC.

3rd, doodle or lineart of any character or OC.

(Keep in mind the characters have gotta be sfw though!)

Here are some other versions of the image:

Thanks for reading!! :D

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yamujiburo · 8 months

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I'm so thankful for you sharing the importance of protecting minors from sexual content. My parents and I didn't have much knowledge back then and I was exposed to this kind of stuff too early. I developed bad habits. I somehow deceived my family into trusting me way too much and, when I saw I had lost control and I asked for help, I saw my family was also hurt and they spent a lot on therapy and my anxiety medication. I have forgiven them for not knowing back them. But I still haven't forgiven myself for getting them through all that stuff. It's important to understand how much we need to protect minors from sexual content. Family members and artists, please pay attention to the content young audience is exposed to.

Of course! I can relate a lot to this. My parents were really good at monitoring what I was doing online for a while but they started trusting me more and I unfortunately started seeing a lot of stuff I shouldn't have but would keep it secret. Gonna talk about my experience a lil bit under the cut just bc I've been reflecting on it a lot recently (tw for grooming)

I gained a following of around 25K on deviantart by the time I was around 15/16. It was in the worst fandom too (mlp). I'd have a lot of much older men talking to me, drawing/writing nsfw of my characters who were underaged (they'd draw nsfw of myself and my sonas as well). It was so normalized for me and I didn't see anything wrong with it at the time.

I'd shipped Spike and Rarity at the time (very much do not anymore) and adult men would use that ship as a basis for trying to talk to me or get in a relationship. "We're just like Sparity! You're young but you're very mature for your age, so it's fine." I remember one guy trying REALLY hard to try and get me to move in with him. I was pretty creeped out then, but like holy shit that's SUPER creepy and I'm fortunate that he didn't keep trying after I gave him a hard "no".

It bled into my real life a bit when I met a 22 y/o man who asked me out when I was just 16 just turning 17. Luckily the relationship was NOT long lasting (I think he realized that I'm a very boring person LMAO) but I think about how I thought that that was a perfectly normal. I'd date go on to date people who were probably too old for me.

Also around when I was 16/17, people started shipping me with another artist in the fandom who was several years older than I was (side note: nothing wrong with an age gap! but it's very not okay when there's "waiting" for someone to be of legal age involved). I did end up dating said artist after I turned 18 and it was fine, I wasn't hurt or anything but I did find weird that we were shipped when I was still a teenager looking back (there was also nsfw drawn of us together before/when we were dating)

I just had such a warped sense of reality for a long because of this shit. I'm glad there's more conversations about this stuff and it's more known that adults should have little to no personal interaction with kids on the internet and vice versa. There's way too many stories of kids getting taken advantage of in fandom spaces. I think I got off fairly lucky all things considered. But bottom line YES kids need to be protected online and their exposure to sexual content/adult spaces should be limited or monitored. It's also really tough though because not all kids have adults in their real life that they can trust or go to to ask questions about sex so they seek solace in adults online and it's just a constant cycle.

I'm honestly unsure of what to do about that and I don't have all the answers but I ultimately just don't want kids online to end up in similar positions I was in when I was younger. I just do my best

#tw grooming #long post

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whateveriwant · 1 year

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Heads or Tails

Summary: Ghost has undergone a lot of changes recently, many of which you find concerning. So you concoct a plan to try to bring the old Ghost back, the first and most crucial step: getting rid of that new mask.

Pairing: Simon "Ghost" Riley x Reader

Word Count: ~4.0k

Warnings: language, slight physical aggression, some uncool boundary crossing, my attempt to sound Bri'ish

A/N: Hello! So this is a new endeavor for me! I've never written for Ghost or CoD/MW before, but I've recently become obsessed with interested in the characters, and so wanted to give it a go. I was rushing a little to get this out, but I really hope you enjoy! :)

"Bet it's a fetish or somethin'."

Your neck nearly snaps as you swivel to the left, your eyes bugging at the Scot's words.

"Probably humiliation kink… Maybe breath play," Soap ponders aloud, eyes trained across the room pensively.

"Nah, mate. I reckon it's a bad trim, or some bad ink," Gaz adds from your right, making you pivot in your seat. "What'd you think? Tribal or teardrops?" He gestures to his own face, attention also drawn straight ahead.

As the two go back and forth positing ideas, your own eyes are finally steered to the figure in question. This conversation, like seemingly all the ones as of late, is centered around one topic and one topic only.

That damn mask.

While Ghost's signature masks are nothing new to the members of the 141, this one in particular has had you all scratching your heads for weeks. Much like his other balaclavas, this one is dark with a contrasting white skull, only this mask has one minor addition that none of the others have ever included: A big, bouncy puffball right on the top of his head.

When you first saw it, you honestly thought it was a joke; you were on a mission in the tundra, after all. But as you started to laugh, the sharp, deathly glare the Lieutenant gave you had you immediately snapping your mouth shut, averting your eyes out of respect.

Where he got that mask, you hadn't a clue, but you figured it would be just a one time thing anyway. However, that assumption turned out to be entirely wrong as Ghost continued to wear it again and again, no matter the mission conditions. Not only that, but he's also been exclusively wearing it around the base too; that is, whenever you do see him around the base.

It's been weeks now and you haven't spotted him without that ridiculous mask once. If you didn't know any better, you'd say he wears it 24/7. But that can't actually be the case unless he likes waterboarding himself with every shower, which if he does, then good for him, you guess.

Though you have a lot of questions you'd like to ask the Lieutenant, the one eating at you the most is why. Why the switch up? Why the obsession with this specific mask? Why all these little changes you've noticed about him over the past several weeks?

Because that's the thing. Beyond the pom pom, there's something about Ghost that's been… different. Better, even, in some regards, but there's also been a massive decline in others.

Out in the field, he's shown significant improvement. His aim has been sharper, his knife skills cleaner, hell, even his walk has been more sure-footed. While Lieutenant Riley has always been the cream of the military crop, for the last several weeks, he's been on another level.

Off the field, however, is a different story entirely. Instead of the man you thought you knew, it's like you hardly recognize Ghost anymore. He's been much more curt, closed off, and dare you say, a downright cunt to you all, and that doesn't even begin to scratch the surface of all the other discrepancies you've noticed with his character.

Like why has he been avoiding the team much more than he ever used to, or why does he immediately shut down any attempts at getting close with him? He's never been an incredibly open or approachable man per se, but it's like he's gone full blown antisocial recluse now.

The sudden switch in his behavior just didn't make sense to you, so you tried casually bringing it up to Price one day, hoping maybe he had an explanation that would help piece things together. In response, however, your Captain simply shrugged his shoulders, dubbing the mask Ghost's "good luck charm" that must've just gone to his head.

While you didn't necessarily have a better answer yourself, Price's conclusion wasn't good enough for you to accept as the truth. Maybe a lucky rabbit's foot or good luck coin or whatever could explain away Ghost's overnight tactical improvements, but it didn't answer the why of everything else.

Why has Ghost changed so much?

As you reflect, the sound of Gaz and Soap's continued discussion slowly brings you back to the present, making you blink out of your stupor.

"...been acting all off. Like he's… paranoid or something," you hear Gaz say regarding Ghost. "Like, the other day for instance, when we got dropped off back at base, I swear, as soon as his boots hit the ground, he was booking it like he was about to get shot."

Well, that's certainly a relief. Not that Ghost is acting strange, but that at least you're not the only one to notice.

"I thought maybe he was just sensitive to the floodlights – those things were ruddy blinding that night – but when I tried to catch up and ask him, you'd think I was chasing him from how fast he ran," Gaz adds.

Though that's a bit unexpected on Ghost's part, you suppose it's not all that uncharacteristic anymore. He's been increasingly aloof nowadays, and while you're not totally sold on Gaz's paranoia claims, you definitely see the cause for concern.

"Y'know, I think you're on to somethin'," Soap agrees with Gaz's conclusions. "Just the other night, 'round two in the mornin', I caught him rummagin' around the kitchens like he was afraid to get caught."

"Hold on," Gaz interjects, craning his head to face the other Sergeant. "What were you doing in the kitchens at two a.m.?"

"Mind yer business, that's what," Soap huffs, waving his hand dismissively. "But anyway, even then he was still hidin' beneath that bloody mask. I cannae even remember that last time I saw him without it," he says, almost dejectedly.

You can't remember the last time you did either, though you're not as beat up about it as Soap is. The man seems to have a certain fascination with staring at his Lieutenant's bare face that you can't say you totally relate to.

As Soap continues thinking to himself of when last he saw Ghost without his mask, he suddenly snorts, smiling as he tells you, "Y'know, I once tried to break in his room and steal that thing while he slept, but the lad has some unpickable locks on his door, I tell ya," he chuckles.

"Oi, you mental or something?" Gaz's voice pitches up. "Trying to steal his mask? You'd be lucky if he didn't string you up by your bollocks just for thinking it."

Soap scoffs, peeking over from the corner of his eye. "Oh, come on. Like you've never?"

"I'd like to keep my boys securely attached, thank you." Gaz shifts his weight at the uneasy thought, grimacing slightly.

That has Soap turning fully in his seat, making to confront Gaz head on. "So you're tellin' me you like the new mask? That you don't want to see the fucker gone?"

Gaz shakes his head, mirroring Soap as he similarly turns to face him. "I didn't say that. I'm just as tired of looking at it as you are."

At that, Soap throws his hands up, letting out an exasperated breath. "So let's do somethin' about it!" he exclaims, calling back to his attempted theft.

"Like what?" Gaz huffs. "You want me to ask nicely? 'Ghost, would you please lose the mask? There's only room for one ugly hat around here, and Price has already filled that niche. So sorry.'"

As the two Sergeants continue to bicker over the top of your head, you keep your eyes on Ghost who's still in the room. Thankfully, he appears to be completely oblivious to the animated discussion happening around you. You don't think he'd enjoy hearing how his teammates want to throw his mask in an on-fire garbage bin.

Gradually, your attention starts to drift away from the conversation at hand until you're right back at your earlier conundrum: trying to figure out Ghost's deal.

Why has he been acting so different as of late? What could have brought on such a drastic change in his behavior? As you think, Soap and Gaz's words lightly filter through your mind, and suddenly, the answer becomes blatantly obvious.

What's the common denominator in all of this? What seems to be the root cause of all this discourse? It all comes down to one thing and one thing alone.

That fucking puffball mask of his.

Ever since he got that new mask, there's been a never ending stream of changes with Ghost, most of which you'd argue are for the worse. You know it's silly to cast blame on such a normally inconsequential scrap of fabric, but at this moment, there's nothing else that makes sense in your mind.

Maybe the change is because his brain is being squeezed too tight or maybe he's been having a constant bout of heat stroke these last few weeks. Whatever the reason, you can see how wearing that mask has negatively affected him, and you're eager to see that rectified.

"I've got it!" you pipe up for the first time, interrupting the Sergeants who are still verbally going at it. You look between them both before once more bringing your gaze back to Ghost. "I know what to do," you say confidently.

Though the old Ghost you knew has been M.I.A. recently, you don't think he's truly gone, not permanently anyway. He's just been squirreled away for the time being, trapped in a cage of woven black thread. You just hope that, with a little luck and a lot of planning, soon…

You'll be able to set him free again.

~~~~~

You peek impatiently around the corner, seeing Gaz standing at the end of the hall. When he notices you, he shakes his head, turning back to keep watch like directed.

Annoyed, you check your phone again. Soap said they were on their way five minutes ago. You know it's a maze of passageways between here and there, but still, they should've shown up by now.

At its core, your plan is simple, but so many pieces have to come together for you to pull it off successfully. One screw up and it all comes toppling down, and you doubt you'll ever get a chance at a redo.

Another 30 seconds pass before you're checking on Gaz again, the man keeping a silent sentinel against the wall. The trap's been set, all you have to do is sit back and wait. But you're not sure how much longer you can handle until you go mad.

Just as you're about to text Soap for confirmation again, Gaz perks up, turning and nodding over at you. Before he can be spotted by anyone else, he slips into the room at his back, quickly closing the door shut.

Finally! It's time. Operation Unmask is a go.

You stoop to pick up one of the items at your feet, counting down from 20 as you hear a pair of heavy boots slowly approach your position. When you finally reach zero, you suck in your breath. It's now or never, baby.

Right before the figure can descend on your hiding spot, you pop out around the corner, colliding directly with the man you'd expected to find. Ghost grunts in surprise at the blunt contact, that damn pom pom on his head bouncing as he stumbles slightly.

"Oh, sorry!" you call out innocently. "Didn't see you there." It's not exactly a lie. You struggle to peer around the tower of boxes in your arms, stacked high enough that you can hardly see a thing ahead.

Ghost grunts again as he takes in the scene you've laid out, thankfully seeming to accept it at face value. "Careful," is all he says, moving to continue in the direction he was headed.

"Oh, uh, actually—?" you stop him before he can escape. "Sorry, but… Do you think you could…?" You shift the boxes deliberately in your hold, hinting at the favor you mean to ask. "If you don't mind. They're really heavy."

This plan all hinges on whether or not Ghost will take the bait. Though he's been less than charitable recently, in the past, he used to be quite helpful to you in particular. That's why you're the one who had to ask for his help. You knew that anyone else, he'd decline immediately.

But you can tell Ghost is hesitant to agree to assist you now, not only because of his recent change in character, but because he was currently preoccupied.

"Price is waitin' for m—" he starts to give the excuse Soap had fabricated to lure him out of his room.

"Please," you cut him short, pretending your situation is dire. "It'll be quick. I just need to get these to my office." That's where you pulled them from initially, filling them with whatever junk you could find to weigh them down. Soap and Gaz weren't thrilled to have to lug them all the way over here, but you had to make them heavy to be convincing, you'd told them.

As if on cue, out of the corner of your eye, you see Soap finally make his appearance at the end of the hall. He turns the corner Ghost had come from earlier, having successfully tailed the Lieutenant all the way from his room undetected. Gaz's timing is also stellar as not a second later, he carefully opens and exits the door Soap passes by.

Luckily, Ghost doesn't seem to notice the two Sergeants quietly lurking behind him – a blessing since, sometimes, you swear he has a pair of eyes in the back of his head.

He considers you for a moment, staring at the stack in your hands, glancing at the others still by your feet. Though you can sense he's warring with himself, another light 'please' from your lips has him caving with a sigh.

As Ghost bends to grab one of the box towers, that's when Soap really makes his move. The Scot creeps forward until he's within arm's length of Ghost, hand outstretching as he reaches towards the Lieutenant's head. Just before he can close his fingers around the mask – intending to snatch and run, the fastest of you three – Ghost does something that surprises you all.

Without even looking, Ghost suddenly jerks away from Soap's grasp, ducking at an almost unnatural speed and angle. At first, it's like he doesn't even realize what's happened himself, but then he turns and sees Soap standing there, hand caught right in the cookie jar.

"What the fuck d'you think you're doing, MacTavish?" Ghost asks roughly.

Soap blinks dumbly, shocked by Ghost’s quick reaction. "S-Sir," he stutters, his brain trying to catch up with his mouth. "Just… thought… I… saw a piece of lint," he makes up the fib on the spot, then boldly reaches towards the mask again.

Once more, Ghost evades his reach, leaning far back like he's in The Matrix. He growls and slaps Soap's arm down. "You wanna keep that hand, Sergeant?" he rumbles.

In response, all Soap can do is nod his head, baffled into a state of silence.

"Then fuck off," Ghost warns him not to try again. He then nods towards the pile at your feet. "Or better yet, make yourself useful and pick up a box."

Still in a trance, Soap immediately complies with the Lieutenant's order. The two grab a respective stack, Ghost directing Soap to walk ahead as he no longer trusts him where he can't see him.

Fuck! This is not at all what you envisioned. This train is rapidly going off the tracks, heading straight over a cliff.

But thankfully, you have a potential backup in place, and Gaz quickly makes his way over as he sees things running amok.

"Ghost?" he captures the attention of the growingly irritated man, who stops and turns at the sound of his voice. "Uh… your shoe's untied," Gaz mumbles once he's under the intimidating gaze of Ghost, and your eyes fall shut at the lame excuse.

Christ, this is all going to shit. There's no way you're going to pull this off.

Somehow, though, Ghost chooses to check Gaz's statement, and he cranes his head down to inspect his boots. "No," is all he says, seeing his laces clearly intact. But before he can stand back up, head still down turned, Gaz takes his opportunity before it can slip away.

Gaz tries to grab for the bloated puffball wobbling in his face, but just like before, Ghost seems to have a sixth sense for it. Again, he bends out of the way, spectacularly agile, and shoots a glare at the Sergeant's gall.

"You out of your fuckin' mind? What's gotten into you lot?" Ghost accuses the three of you, turning to look at you all, becoming increasingly suspicious of what you're doing.

Shit fuck ass balls. You need to act fast. He's starting to catch on.

Panicked, you do the first thing that pops into your head, dropping the boxes to the floor with a thunderous thump. Ghost's head snaps in your direction, eyes wide in confusion, and they only widen more as you purposefully knock the boxes out of his hands too.

"Whoops!" you exclaim and swiftly crouch down, starting to pick up all the bits and bobs that spilled out.

Gaz realizes your intent and quickly follows suit, stooping down to help you clean up the mess. It's a few seconds before Soap catches on as well, and then all three of you are on your hands and knees, crawling around like a pack of vermin.

"The fuck's the matter with you bunch?" Ghost exhales, unable to make sense of the unfolding chaos. Nevertheless, though, he begrudgingly lowers himself down, electing to assist despite his growing skepticism.

As you go about cleaning up the mess you made, you try to covertly catch the eyes of your accomplices. Without words, you ask them which one is going to make a move, who'll grab for the mask next, but both seem a little reluctant at trying their hand again.

Ugh, whatever. You'll just do it yourself then. Really, how hard can it be?

Slyly, you creep around until you have a good vantage on Ghost, his back partially turned to you. You edge closer and closer until you're nearly bumping into him, pretending to still pick up the items scattered around. Then slowly, so incredibly slowly, you raise your hand up, reaching towards the back of Ghost's mask. Just as your fingers graze the fabric, pulling it up a mere centimeter, Ghost jolts, springing to his feet with a start.

"What the fuck is wrong with you?!" he yells.

"What's wrong with you?!" you fire back, your frustrations boiling over. You pop up to mimic his stance, throwing all stealth to the wayside as you figure the jig is up anyway. "We're just trying to help you."

"Help me?" he sneers. "Like hell. You're out to fuckin' get me."

There he goes again with the paranoia Gaz proposed. Though maybe, in this instance, he's not entirely wrong.

"You think we haven't noticed the differences with you? How much you've changed recently?" you continue. "We can see what that thing's doing to you. You'd be better off without it."

Ghost shakes his head in wild perplexity. "The hell are you on about?"

"The mask, L.T.," Soap rises to his feet. "Take it off," he implores.

"Who the fuck d'you think you are giving me orders, Sergeant?"

"It's just a mask, sir, and we've all seen you without one before," Gaz joins the showdown. "What have you got to lose?"

Ghost looks between each of you angrily, pointing an accusatory finger at you all in turn. "You're all way out of line! Get the hell back," he urges as you three start to close in.

"Why d'ya always hide from us now? I thought we were friends, L.T." Soap reaches forward, his hand immediately swatted away.

"Ghost, really, the thing's a bloody eyesore. Just get rid of it." Gaz tries his luck, only to be met with the same result.

Again and again, you all try dislodging the mask, descending on Ghost like a pack of rabid animals. With each swipe and stretch, he expertly dodges your attacks, bending and batting you away like pests.

"Quit fuckin'—!"

"Just let me—!"

"Oh, for cryin' out loud!"

The scene is total, unbridled chaos – voices raised, arms entangled, rubbish littered all over the ground. You three push forward on Ghost until he's backed into the wall, trapped with no way out. He fights and fights, the pom pom jostling around perilously, until finally, bitterly, he's overcome.

Soap gets his fingers hooked under an edge of the mask, and he yanks, pulling it all the way off. For the first time in weeks, Ghost's face is revealed to you all, and you'd be ecstatic if not for one detail that has you freezing.

Is that a…?

No, it can't be. You must be imagining things.

Actually, that looks kind of real. Holy shit, that's definitely real!

Oh my God! Is that a—?

"WHAT THE BLOODY HELL IS THAT?!"

You, Gaz, and Soap all jump back in horror at the sight before you: a plump, little, white rat nestled atop Ghost's head. The rodent seems just as shocked to see you as you are it, and it lets out a small squeak as you lock with its beady eyes, tiny fingers clinging to Ghost's hair.

"Aaaahhh!" Soap unleashes a girlish shriek, dropping the mask as he rears back.

"What the fuck, Ghost? No really, what the fuck?!" Gaz asks dumbfounded, hand coming up to cover his mouth.

Before anyone has a chance to fully process what they're seeing, the rat tugs on Ghost's hair, moving him to scoop up his mask from the floor. He's guided to shove the fabric back on his head, perhaps a little more roughly than intended, because you hear a pathetic squeak ring out as he does.

He points his index finger at you in a threatening manner, the holes over his eyes slightly askew. "Not a word," he grumbles, spinning on his heel. "Not one fuckin' word!"

And just like that, he takes off down the hall, a fat, pink tail sticking out from under the back of his mask. It takes a moment before you even realize your mouth is still wide open, and you close your jaw with an audible thud.

Vaguely, you hear Soap muttering behind you, near tears as he cowers against the wall. "Steamin' Jesus, I think I touched it! Did— Did it bite me? Am I bleedin'? I think I'm bleedin'!" he blubbers hysterically.

"Nah, you're alright, mate! You're alright!" Gaz tries to comfort him, unsuccessful as he’s also rattled.

As the two huddle together in the corner, you're left staring after Ghost's rapidly fleeing figure, trying to pick up the pieces of your newly fractured reality.

That… was…

Honestly, you're not sure what the hell that was.

A rat? That rides on Ghost's head? Controlling his every move and muscle? You guess that explains a few things about his behavior recently, but mostly, it just leaves you with more questions than answers.

Where the hell did he get that thing? How the fuck does it work? Why did he even think to test it out in the first place?

Actually, on second thought, no, you don't want to know. You've seen enough for one day, or really, one lifetime.

At the start of this, you thought you had such a great plan to unveil – one that would simply reveal the "true" Ghost again. You didn't realize that in the process of trying to set him free, you would release a whole other beast, literally. And while at your core you still believe your intentions to help were good, you realize now that, perhaps…

Some things are better off hidden.

__________

A/N: Squeak squeaker squeaky squeak! [Translation: Happy April Fools!]

It figures that my first venture in this fandom is a crack fic. I expected nothing less lmao. But anyway, I'd love to know what you thought! Thank you for reading, and I hope you enjoyed!

#simon riley #simon ghost riley #simon riley x reader #simon ghost riley x reader #ghost x reader #simon riley x you #simon ghost riley x you #simon riley fanfiction #simon riley fanfic #ghost mw2 #cod mw2

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yuri-is-online · 2 months

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i’ve got this picture of Yutu being kind of artsy from your description. besides, being an outcast probably means a lot of solo hobbies from no friends. maybe a bonding method for Yutus with a father that is more artistic 👉👈

You have such a good point about being an outcast driving people towards solo hobbies σ(￣、￣=) certain Yutus are more outgoing than others but that does only get you so far. Of the ones I have written about, Floyd! and Cater! Yutu both had friend circles before coming to Twisted Wonderland, while Ace!, Azul!, and Riddle! Yutu were certifiably friendless. Bonding between Yutu and a more artistic dad hmmmmm let's see...

notes: they/them used for Yuu, this is part of my fyuuture kid au, you can find an explanation of it here and here, or look at my masterlist for all of the posts.

Vil! Yutu

... really likes to paint and draw, when I first wrote about him his unique magic involved temporarily bringing his paintings to life. My brother used to dig through old fashion mags when he was teaching himself to draw and I can see Yutu doing the same. So when he finally gets to see a not tortured version of his father and finds out he is a model on top of being an actor? He's so eager to learn about all of it, and Vil has got to be thrilled to share. You know between him and his own dad Vil has got to have a nice collection of vintage designer items he's willing to let Yutu have a look at. Yutu has drawn his dad a lot, receiving a drawing someone has made for you is already beyond flattering, but when it's from a family member? Forget the fridge, Vil is getting this framed. I can also see him maybe commissioning Yutu because he wants to make sure he never under sells his work. He is a member of the Schoenheit family, he is allowed, nay required to have a great deal of pride in himself.

Cater! Yutu

... likes playing guitar and he loves playing with his dad. He's not really interested in playing with the other pop music club members, Yutu is a bit shy around his dad's friends. When he's stressed he likes to play a few songs and sing, something I could see working for Cater too. While I'm talking about Cater, I don't think he'd make a bunch of magicam posts about his family, just in general. He uses magicam as a way of maintaining his false happy facade, his want to date Vil comes at least partially from his presence on magicam, some of his real self is on display there sure but a lot of it is exaggerated and fake. When he has something real he wants to keep it away from the rest of the world, so while his followers absolutely are told he's #taken #blessed they don't know about the details of his relationship. At least not if it's a healthy one.

Jade! Yutu

... is someone I haven't written about before but he is also very into music, just not jazz music. Not that he hates jazz, he's just stuck in that teenage phase of refusing to admit the things his dad likes are cool, something Jade reasonably “sniffles” about but that's not to say music isn't a bonding point for them. He also plays bass, just an electric not an upright one, and Jade enjoys listening to Yutu play. He's very supportive and surprisingly soft in his praise for someone who just got done listening to his kid scream out a punk rock song. As long as Yutu is willing to do some hiking with him (which he is) then he has no real problem with what his kid likes, if anything I can see Jade enjoying their differences. Life is boring if everyone is the same.

Rook! Yutu

I've been thinking about Rook, just as a character recently and one of those things that's been stuck in my mind is that he was very shy as a child. To keep this from becoming just general information about Rook! Yutu, unlike his father Yutu never got over his shyness, so a lot of their bonding revolves around Rook encouraging Yutu to see the beauty in himself. He books tickets to shows, symphonies, and ballets in advance so he can make sure Yutu knows when they are going out and can prepare himself to be seen in public. They plan their outfits together in advance, look up information about the company and what they are going to see so they can appreciate the art just that much more. On the day of Rook makes sure to kiss Yuu goodbye, and promises to come home safe. But not to worry, he always has Yutu help him pick out a bouquet of flowers to bring back for you. (Unless you're allergic to pollen in which case he'll bring home something else.)

#<3 asks #twisted wonderland x reader #twst x reader #future kid au #vil schoenheit x reader #cater diamond x reader #jade leech x reader #rook hunt x reader #👉👈 annon #i think anyway

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nejis-desk · 3 months

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

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

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

~ ~ ~

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

Interviewer: Yui Kashima

How did Ishida Sui end up making an otome game?

—How did the production of Jack Jeanne begin?

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

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

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

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

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

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

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

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

—You created your own proposal, Ishida-san?

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

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

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

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

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

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

—What kind of things would you submit?

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

~ ~ ~

How Ishida Sui and Towada Shin know each other

—Do you chat with Towada-san often?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—How often would you contact each other?

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

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

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

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

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

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

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

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

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

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

—Why is that?

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

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

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

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

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

~ ~ ~

The rejected character routes

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

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

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

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

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

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

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

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

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

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

—Which character was it?

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

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

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

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

—How did the other characters come to be?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Towada: Like Shintokumaru, right?

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

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

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

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

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

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

~ ~ ~

The story behind ‘Lyrics: Ishida Sui’

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

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

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

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

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

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

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

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

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

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

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

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

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

~ ~ ~

Recruiting via DM, gathering specifically selected creators

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

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

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

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

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

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

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

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

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

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

—What about him caught your eye?

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

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

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

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

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

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

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

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

~ ~ ~

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

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

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

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

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

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

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

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

—How did you go about creating the confession scenes?

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

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

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

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

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

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

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

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

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

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

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

Ishida: Yes, I wrote it all myself.

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

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

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

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

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

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

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

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

~ ~ ~

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—What brought about this change in thinking?

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

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

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

—Why is that?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

~ ~ ~

#jack jeanne #sui ishida #towada shin #translation #jack jeanne translation #jack jeanne interview #sui ishida translation #otome game #jack jeanne art book

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rexlroze · 4 months

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Character: Hobart Larry Brown🙄 (Hobie Brown.

Pirate AU - Time: 9hrs 46mins

@the-kr8tor Ayy, this is my peace offering for maybe a... good ending? 😖

But anyways, ya better like it kay-kay! :D Had a lotta fun(and rage) while makin' this, I wanted to add more but I didn't know where so I just was like "Good enough." Anyways G'day lovie.

Also Here's some more Pirate!Hobie without a shirt just because I can! ^^

I haven't drawn anything in a while so this came out pretty solid compared to the last piece I made but anyways💀

Here's some old WIP;

"I believe in Bald Hobie Supremacy."

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sanhatipal · 11 months

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"Noble d'Apchier"

A little watercolor painting of Chloe,with the Zorn palette! I found out about this palette a while ago and I really wanted to try it out! (More on that below )

Chloe's hair is something I adore, it's gotta be one of my absolute favourite character designs ever,I love how swirly and fluffy it is,very fun to draw. I've drawn her normally before,I wanted to do one with her vampire eyes and fangs too. I decided to try to draw a white fuzzy rim around the foreground against the plain background,for a change,like in some of the VnC panels.

The Zorn palette,or Apelles Palette was a colour scheme used by Anders Zorn in the late Victorian/Early Edwardian era. It ,or something similar,might have been used by artists of old civilizations too, because it avoids the use of blue and green entirely: which would eliminate the need for rare pigments . It's essentially a colour mixing challenge,to draw the entire paintings with 4 pigments,2 basic colours: Ochre yellow, Vermillion,and Black and white,which can be mixed into different shades. It can be an excellent exercise and means for portrait painting

Modern artists use red instead of vermillion,but the essence is the same. So that's what I did too. I considered using vermillion,but I realised that it would introduce a lot of yellow tint, making the picture very warm. Which is usually something I prefer honestly,but not what I was going for here. Also,I need to consider the fact that I'm a watercolour artist,which is very different from the original intended palette. Zorn used oil paints,but other artists use it fine for gouache and acrylic too, however,that too is different from watercolor, because instead of mixing with white, I'll be diluting with water,which changes the composition of the palette considerably. So I went with these supplies: ochre yellow and red watercolor pencils (for me, basically watercolor pigments,I don't use them to draw,I grind and dissolve them in water),white and black watercolor tubes,and white ink. In addition: lineart with sepia,grey and black brush pens,which are well within the bounds of the palette

To be honest,I ended up not using the white paint tube at all,water makes more sense to me. I didn't use anything else though,and stuck with the original materials.And the results:

Does it work? Hell yeah. It's not perfect,but I'm happy with how she turned out

Was it restricting? That's kind of the point,to paint with some limitations

Was it hard? Honestly? No. Not at all. It's definitely very different from what I'm used to,I use a lot of colours both as is and mixed,but this was surprisingly easy. Perhaps because of my subject,which didn't have much colour to begin with

Do I recommend it? If you want a small challenge,or to experiment or practice colour mixing,definitely

Will I do it again ? Absolutely. I feel like I haven't utilised much of the potential of this palette. I ended up using mainly red and black, hardly any yellow at all. So I'd like to do something more colourful with this palette, perhaps a sunny painting of a gingerhead girl with flowers,and for this I'll probably use vermillion,not red

Anyways, that's all! If you read all this,thank you for your time!!

#chloe d'apchier #the case study of vanitas #vanitas no carte #VnC #my art #traditional art #zorn palette #vnc fanart #vanitas no shuki #jun mochizuki #case study of vanitas

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ghostyolive · 5 months

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I will always be so mad that FMA:B gave Greed a different dialogue with Bradley after the Devil's Nest massacre than in the manga because it feels like it just changes his characterization to be so much plainer and more cartoonishly assholish. Like they really wanted to rope you into thinking he was a bad guy so that his twist of caring about people would feel stronger, but it just makes me sad. In the VIZ Media Fullmetal Edition translation, the exchange goes:

Greed: "Whoa there Bradley. How could you do this to them? They were my people."

Bradley: "Feeling pity for your pawns? How pathetic."

Greed: "Pity?! Do you forget who the hell you're dealing with?! I am greed incarnate!! Money, women, henchmen, everything-- they're my possessions! They're all mine! I won't let you take away what belongs to me!!"

...And the exchange in the English dub of FMA:B goes:

Greed: "Whoa, that was a little excessive. Killing me is one thing, but they're not coming back."

Bradley: "Pitying the lost lives of your pawns? Pathetic."

Greed: "Excuse me, are you senile? Did you forget who I am, old man? I'm the living incarnation of greed! Those weren't my friends, Bradley. They were my possessions! Money, women, henchmen-- They're all possessions!"

And that difference is absolutely insane! His manga version is in some ways more obvious and in some ways more ambiguous about his care for his friends. On the one hand, he staunchly refuses to pity them. (I would say that this is because he respects their right to self-determination and what they signed on for when they followed him, but that's almost pure speculation.) But on the other, he specifically refers to them as "[his] people." This really effectively toes the line between multiple meanings-- "[his] people" colloquially would refer to friends, but it also emphasizes ownership. It sets up his arc of acknowledging friendship while also not detracting from his care for the Devil's Nest gang.

The anime just makes him... indifferent and snarky? On a surface level, it makes his character arc far more clear as somebody learning to love and care about others, but it also really devalues his experiences with his gang. I guess I can almost understand why people just forget about them aside from the bit with Bido when they only watch FMA:B considering that it absolutely glosses over just about every part of the manga that makes you care about them. Why should people consider those random guys in the beginning when he makes it clear that he never cared about them? /s

And it's more than just the writing that I have a problem with. Even the animation is so distinctly different from what's shown in the manga that the tone ends up absolutely flipped on his head.

(Note: this online scan doesn't use the official translation) Greed's expression here can best be described as one of pure rage. I think you could maybe loosely interpret the first panel as a grin, but the second panel clears up how he's feeling pretty well. It's especially poignant since the three panels preceding these two entirely obscure his expression. Any calm and collectedness has been shed in the face of his gang's massacre and his eyes are bulging and furious in a way that they haven't been drawn before. And how does the anime handle this absolute gut punch?

Um. Not good, frankly. It's definitely got the wildness of his original expression, but it conveys none of the anger. It throws off what's essentially his greatest display of hypocrisy-- That he only gets angry when his gang is hurt, just like how Ed only gets angry when Al is hurt. Absolutely nothing about his reaction properly conveys rage or frustration, and that honestly just sucks. While episode 13 served as a pretty decent and streamlined recap of chapters 25-28, episode 14 really screwed with some of the moments that made Greed's arc feel so powerful and bittersweet.

Tl;dr Please oh please go read the manga version of og Greed's arc <3

#long post #fma #fmab #fullmetal alchemist brotherhood #fullmetal alchemist #greed fma #greed the avaricious #fma greed #devils nest gang

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factual-fantasy · 3 months

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28 asks! :DD Thank you as always!! 💖💖

@astaherussy

My FNAF AU has been sorted out. In the sense that the timeline has been re-written enough that I can go back to drawing it..

Now the next comic in the AU is a re-write/re-draw of my old FNAF comic, Moon Malfunction. A few months ago though there were several time sensitive projects that came up and I needed to shelf Moon Malfunction 2.0 until they were done. Well now they're all done.. but Moon Malfunction is gonna take me some time to get around to..

For the past few months I've been in a really bad spot mentally and physically. And taking on my FNAF Recap/Repair project is just not something I feel I have the mental energy to do at the moment.. All it feels like is a one big pile of work. And all I wanna do I just draw what ever comes easily to me and focus on recovering..

Soooo for the time being,, my main FNAF AU might not see any updates for a bit.. Though I haven't forgotten about it and I do want to get back to it at some point soon. But for now I want to cut any work out of my relaxing/drawing time and just draw what ever I want. Which atm is pirate cookies-- <XDD

They're also great for grabbing something across the room while I stay in bed 😎😎

Why haven't I drawn anything like that yet- what--

I might just have to at some point! :00

@ardent-38

AWWW THANK YOU SO MUCH!! THATS SO SWEET!! BUT ALSO LSKNAKJ XDDD

I never thought of it like that! Anyone who gets into the game through my characters is like a lactose intolerant person recommending an ice-cream joint- and they're very persuasive! XDD

But fr, thank you! And hey, even if my characters aren't in the game, they'll always be here on Tumblr waiting for you XDD

Actually, I wasn't! :00 I haven't seen that episode of the Cuphead show. But I'm assuming its about Cala Maria and Captain Brineybeard, yes? If so I can easily see the relation XD

(Post in question)

AAAA THANK YOU!! The comic was different than what I'm used to. But it was a nice change of pace. I'm glad you liked it! :}}}

@badlyblurry (Post in question)

FRRRRRR THO He's been holding that glow back for a while. Trying not to send the wrong messages to Blue and potentially damage their friendship 💔💔

XDDD ITS OK!! THANK YOU SO MUCH!! :DDD 💖💖✨

@mod-bubamon

I have! In this post you can see 3 of them floating behind Melvin! (The anthro donkey)

And in this post, you can see Melvin holding one while it passes away... :((((( Sad day for sure.

Well? What did she taste like? XDD

Oh wait you're dead my bad-

Unfortunately I cant think of any songs that would match each crew members theme.. Rn all my brain can think about is this 👇

youtube

@nunyabusiness459 (Comic in question)

🥰🥰THANK YOU!! :DDD

What is primordial dough? :0

@2006-stupid-thatsme

Thank you! :DD Though unfortunately my fwernnd, I am known for being very bad at explaining how I do art things. :(

If I tried to explain my thought/design process it would just be a lot of word spaghetti that boils down to "uhhh... I just drew it.,. aandd if it dont look good.. draw it differently.. until it looks good-"

My advice would be to look on YouTube for character design tutorials or ask some other artists that have artwork similar to mine and see if they can help. :( Again, so sorry! I wish I could articulate my thoughts better 💔💔

@beryl-shade

This actually makes me think- Google says that if you add too much sugar to a cookie they become brittle.

Huh,, makes me think. If one of the cookies was baked with too much sugar.. they'd break real easy.. hmm.. 👀👀

@whereismycupofcoffee

@artistiemi

Thank you so much!! :DD I wish the same for you!! ✨💖✨

@sunnys-bloog

I've thought about drawing them! :0 And I thiiink I drew Franny one time..? The Blue one. Although I don't think I'll be able to find the sketch unfortunately-

NOT THE GUMDROP BUTTONS!!

tbh though I think they'd see him as just a normal guy! :0 Right..?

@beryl-shade

I'm not sure.. considering what I know about the games.. I thiiink they'd be horrified?? <XDD If they understand that they're made of dough, it'd be the equivalent of a human walking into a giant meat factory where they chop up meat and make weird false humans..

Okay yeah, they'd be horrified for sure XDDD

@wdillustration

:DD THANK YOU SO MUCH!! :}}}

@neo-metalscottic (Cookie run post in question)

AAAAA thank you so much!! I'm glad you liked it!! :DD As for the power, I think you're right about it being a rare occasion. And the idea of her gaining better control over it over time? While her love grows as well?? Perfection. But man I'm also tempted to make it so she can change when ever she wants. :( I really like drawing her and Seafoam together like that.. 🥺

As for the Colossal squid episode,, I'd have to go back and re-watch it to decide if I'll keep it for my AU or not..

But thinking about all the stuff you described about a violent altercation and nightmares?? 👀👀 Its giving me ideas! XDD

Now if the crew did face a violent altercation like that, I imagine their #1 goal would to protect the Octopod. That's their home man! They would probably do what ever they could to get the octopod away from the situation. Like the Captain manually piloting it and some of the crew being sent out in gups to distract the squid. Stuff like that :0

@luna-purple454

AAA IT WAS ON THE 10TH BUT THANK YOU!! XDD :DD

@khoiazo

It was on the 10th actually- and hey thanks! Seam could probably use the calories <XD

@unpopularartist14 (referencing this ask post)

<XD oh boy, what a stark contrast between the sides--

@shaziztrazh

I didn't have them in mind while designing them,, though maybe I took some subconscious inspiration? I see the similarities! :0

#my response #fnaf security breach #octonauts #cookie run #cookie run kingdom #cookie run ocs #my ocs #welcome home #Youtube

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lilyinthevalley-art · 10 months

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Happy Anniversary to Three Houses!! 😁

...I haven't drawn Three Houses stuff in a while, so this is all old art 😅 But I love this game so much and all of the characters have a special place in my heart! 😁

#especially dimitri and felix XD #i think about those two frequently and often 😂#dimitri alexandre blaiddyd #felix hugo fraldarius #yuri leclerc #linhardt von hevring #annette fantine dominic #netteflix #fire emblem #fire emblem three houses #fire emblem three hopes #fe16

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follows-the-bees · 5 months

Text

I haven't done any cinematography/camerawork meta analysis threads recently and it's making my brain itch. So here's a small analysis of how negative space is used in the show to express characters' emotions. This is the first in a series.

The use of greenery in negative space in episode 1x7: This Is Happening

First, Jim stands alone in a field with Olu small in the distance, reflecting Jim's mindset of being on their own, isolated. We know from Olu that Jim doesn't talk much about their personal past, and this shot is right after Jim confronts their past, which turns negative.

They isolate and go to their old land, seeking comfort in the openness and of the past: where everything changed.

Olu follows them, not leaving Jim alone in this vast negativity: literally and figuratively.

Next, Olu and Jim face each other, with space in between them, a stone wall behind Jim, and open space behind Olu. This once again reflects their mindset.

Jim opened up to Olu, telling him the truth about their past, introducing him to the person that raised them. Shooting them in profile, completely facing each other shows how open they are now after that previous shot: they are on equal footing, no longer Jim with their back turned to Olu in the distance.

While they are drawn to one another — they almost kiss — what is behind them foreshadows the end of the episode.

Jim still has a wall behind them — they have decided to continue on their journey of revenge — and therefore must leave. Olu on the other hand, has open space behind him because he is open to Jim and whatever is happening between them.

Now moving into the A storyline of Lucius, Ed, and Stede. This overhead shot consists of mostly neutral colors, the only pops are the fire, the purple of Ed, and the green leaves. Ed and Stede sit right next to each other, but their bodies are turned inward, knees almost touching. (This exact same position happens multiple times throughout the show including in 2x4 on the couch in Mary and Anne's home.)

The green is attached to the humans, especially to Ed and Stede, and it being the main pop (along with a kindling, warm fire) in this scene reveals what is important in the scene: the people.

When we move to the two shot, Lucius still dirties the shot in the foreground, but the focus is on Ed and Stede. Just like with Olu and Jim, there is a small space between them and larger space on each side, particularly the green is more on Stede's side, but Ed's purple shirt — which shows his growing feelings for Stede — is out and proud.

That kindling, warm fire is now shown between Ed and Stede, bringing that metaphor up front in this angle.

This whole episode is Stede subconsciously trying to get Ed to stay. His space on his side is open and green, just like his feelings for Ed.

A large palm tree sits behind Ed in his space because his feelings are shown through his purple shirt. Just like Stede, he has growing love for him but isn't as open at this point. (Lucius talks to him about not being a dick and Stede has feelings for him.)

I also love this shot when both the A and B plotlines merge together.

Stede is in the same position as when he looks at the ruined, burned map, but this time he's excited, he found the treasure. Ed and Lucius are on one side and Jim and Olu on the other, Stede bridging the storylines and characters.

Greenery, the stone wall, and particularly the sun are the bright spots in this shot of mainly neutral colors. The sun shining down on all these characters shows how their relationship has changed since the previous shots/beginning of the episode. Olu and Jim are about to split up so they stand in more darkness, while Ed and Stede are right under the sun, the light that is used throughout the show to represent their love (especially Stede's — but that a whole other post I'm working on) is bright and center.

And I'll end with this shot, which unfortunately is cropped, but in the full shot there is open space on either side of the couple. But luckily I want to focus on the space between Ed and Stede. The space here is bridged by their hands touching and holding the petrified orange. (Later on, Stede talks to this orange, calling it Edward in symbolism of his new versus old life).

Stede and Ed parallel Olu and Jim's earlier shot of facing each other but they complete the gap and touch. Their relationship has changed by this point, they are closer: emotionally and physically.

The negative space used in these shots show us the emotional state of the characters, from the green space around them showing their isolation, to by the end the greenery space shows how they have become closer.

#ofmd #our flag means death #cinematography #meta analysis #ofmd meta #jim jimenez #ofmd stede #ofmd stede bonnet #stede bonnet #oluwande boodhari #ofmd oluwande #lucius spriggs #ed teach #ofmd 1x7 #this is happening #ofmd edward teach #edward x stede

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breadvidence · 5 months

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I have a distinct memory of finishing Les Misérables for the first time: aisle seat of a long flight from the South to the West Coast, a hardcover copy of the Denny translation, my deeply alarmed neighbor shooting glances at this weird little man crying in public. I didn't keep it together entirely for V.IX.V, but V.IX.VI—wet eyes became a full-face affair, tissues were retrieved to stop up nasal involvement, no I did not want a ginger ale, thanks. I should've been mortified but I only recall being deep in thought. I don't cry, much, and certainly not over the death of fictional people. You can always bring them back to life by opening the book to the first page.

What made this character's grave so emotional? The death is expected, as a reader by the long march towards the tomb that begins in earnest with V.IX.I, and from familiarity with the story as a lifelong fan of the musical. In any case, I cried for his dying in V.IX.V, surely I didn't need to ramp up a chapter later because he's in the dirt.

Part of it is catharsis after 1200 pages of struggle, the experience of turning the last page (or—it's the Denny; there's digressions secreted in the back; but I'd read those in proper order). The rest—a little gladness, that this poor bastard has found peace, in a corner of a city that has some of nature to it, and little of people; in that gladness, bitterness that there was no happier ending, that peace, obscurity, weeds and lizards and birdshit, are the best his world has to offer this character. Those, and a poem, from someone who knew him through the eyes of Cosette, whether that was Cosette herself or Marius; it's very bittersweet, that simplement—we know there was nothing simple about the process of his dying, that it was drawn-out and wretched in the manner of all his life, but only he and his portress saw that, and he would not have wanted his children to.

All of which is to say, while I haven't followed Les Mis Letters closely, I opened today's email, and re-read it twice, and sat and thought a while about this sad old man of a character, my encounters with him over the years, and if I didn't quite cry this time, I might well do so the next read-through.

#les misérables #5.9.6 #jean valjean #the brick #les mis letters

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