Writer for Voltage's Lovestruck [Love & Legends, Havenfall is for Lovers.]
Dangerous Crowns: Buy my novel on Amazon!
For writing inquiries:
akfedeau@gmail.com
Please do not post, refer, or link to my art on Reddit. Thank you for your consideration.
// So, I was bored the other days and when I logged into my roleplay Tumblr account I noticed that Nihilnovisubsole finished her BioShock project. I was just SO amazed of her project I just had to make a video out of it.
Unfortunately I had to use Windows Movie Maker considering I don’t have Sony Vegas. Still, I tried to make it awesome as possible.
I hope you still like it!
I CLAIM NOTHING AS MY OWN!
All the art belongs www.nihilnovisubsole.tumblr.com
The song is called ‘Deliver Us’ and can be found here //
I’M LITERALLY SHAKING.
Bioshock: The Promised Land, Part 6 [Final]
Well, folks, this is it. The prayer of the Little Sisters and the rise of Atlas - and the watery re-entry of the real star of the show.
It’s been a long road since I started this back in June 2012, but it’s been a hell of a ride. And to think this started out as an excuse to practice color schemes and get an idea out of my head. The internet is a strange and beautiful place.
Now queue them all up in order, press Play, and scroll as you go. It’s a hundred times cooler with the music. I swear.
Nah, unfortunately not. As good as people seem to think I am at static art, I ain’t got shit level 1 in animation. I tried once - it’s deep in the bowels of the blog somewhere.
The Promised Land is a storyboard project based on something that happens a lot in my head. I have a movie-minded creative sense in that I find it really hard not to imagine visual montages to music, and that’s exactly what’s going on here.
So back in June I went and re-listened to The Prince of Egypt’s soundtrack, and because I’d been playing a lot of Bioshock at the time, the association was immediate and hard to ignore. The slaves at the beginning of “Deliver Us” became the workers in Hephaestus and the metaphor kept going from there, getting more and more symbolic and more and more eerily accurate.
There are plenty of incongruities, too, but for the most part it fits. You have an oppressed people. You have an empire built on their backs. You have an indifferent pharaoh and a hedonistic ruling class. And, in this case, you have two prophets fated to return and challenge them - a false one in Atlas, and the real one in Jack, given up as a child in a proverbial basket.
I could go back after the whole thing is done and label the visual symbolism that I’ve put into a lot of the cels, but let’s face it, that would be some serious navelgazing. Besides, sometimes it’s better for me to pipe down and just let people enjoy the pretty colors.
Bioshock: The Promised Land, Part 5
You knew it had to go to hell sometime.
Also this has probably been the most difficult and time-consuming cel of The Promised Land so far, so here, have a progress photoset.
PANIC IN THE STREETS.
Bioshock: The Promised Land, Part 4
Well, here we are, kids: The iconic lullaby.
Most of this was actually completed a while ago, but between moving my mother’s stuff 400 miles, having my uni apartment fall through and trying to re-situate at the old one, yeah, that shit just wasn’t happening.
I’m happy to report two things, though: First, I have a normal schedule again, so I can get back to this project full-time. Second is that I have the rest of the project planned. I’m no longer going to encounter the dilemma of not knowing, well, what to do with a cel. I can also tell you that it will be six parts, so we’re more than halfway done!
Stick with it, followers. Stick with it, rebloggers. I’m making it for you.
Bioshock: The Promised Land, Part 3
It’s uncanny how much Ofra Haza’s singing sounds like Brigid Tenenbaum’s speaking voice. Between this, plausible knowledge of Hebrew, and the fact that it would have just been weird with Jasmine Jolene…
So I’m playing with canon a little re: the baby. We have no evidence of Jack as a child other than that photo, and Yi Suchong’s description of “58 pounds” and “gross musculature of a fit 19-year-old” is a strange and vaguely unappealing image. It served both the art and the music better to make him an older baby/toddler - after all, we know Lot 111 made him mature faster, but we don't really know beyond that.
Work with me, dude.
Hahaha the suffocating fish and the ones in the net are symbolic of how Rapture’s citizens are trapped and being harvested for Ryan’s regime and I’ll shut up now.
Bioshock: The Promised Land, Part 2
And then the color scheme went Sylvain Chomet on me. Even at the bottom of the ocean, real is brown.
And yellow.
And pathos.
One of the things I love most about Rapture’s atmosphere is its use of light. The city’s so deep underwater that it’s all artificial, and you can use the tints of different bulbs to convey anything from inviting warmth to stifling heat to creepy sterility. A prime example of game designers who knew what the hell they were doing.
Bioshock: The Promised Land, Part 1
God dammit, if Gore Verbinski won’t make one, I’ll storyboard one myself.
What started out as an exercise in color and drawing backgrounds turned out to have a really warm reception, so I kept going! And, well… didn’t stop. This cinematic has been tossing around in my head for at least a month, and anyone creative can tell you that when something tosses around in your head, either you get it out or it kills you. Well, it doesn't kill you. You just get really antsy and eat too much.
Times on the frames are as exact as I could get them to this Youtube upload of the song. I do intend to storyboard as much of the seven-minute number as my hands can take, but right now, well… they need a break.