Dan Kim

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>Getting mad about people being on your own team | Sempai, pls don't eat bait. That's for fish, okay?

=3= muu~

>there are people who think you have good taste | Kill me

>Getting mad about taste
Do you get mad about people liking chocolate over vanilla, anon? Do you take pride in being on team chocolate? It's just taste. It's not important.
Liked by: Evil Steve

How many hours a day do you devote to practicing drawing? If it currently isn't what you would like how many would be ideal?

Every spare moment I have!
Thanks to everyone that let me live the dream! I'm forever grateful! ;w;
Liked by: Evil Steve Ryan

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Of course you're not a big fan of camp. You're an edgemaster

I really don't like that LOL US NERDS AMIRITE :^) SO HIP THIS REFERENCE IS FOR U THE FANS WOW SO LE GEEK CULTURE WINK WINK style of camp. I liked 1960s Batman though.
But yeah, I'm an edgelord. I know what I am. ;w;
Of course youre not a big fan of camp Youre an edgemaster

>not liking Downey's Stark // And I thought your taste was good...

Eh~ there's no accounting for taste. It's not what I like.

Any advice on narrative or storytelling?

First, a book recommendation: "How Fiction Works" by James Wood.
Plain language, useful ideas.
As for my own prejudices when it comes to storytelling, they are:
1) Treat your readers with respect -- don't hold their hands, don't treat 'em like idiots, don't treat 'em like corrupted souls that need to be told what's right in life and what beliefs they ought to hold. Just put your vision on the page.
2) Remember that characters aren't real people. They are parts of the machine you're building. Make sure their parts are rooted in the rest of the machine, not external concerns.
3) Assume and internalize the background information of your world... but remember that reader doesn't have to know every little detail. Simply proceed as if your story is a baseball captured in mid-flight and allow to reader to do the work of inferring the baseball's wind up, release, the pitcher, and rest of the players and game. In fact, excessive hand-holding and explication can have the opposite of the intended effect: the imaginative work left to the reader is reduced and the world ends up feeling smaller, not bigger.

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Do you like super hero movies?

I liked Tim Burton and Nolan Batman movies and the 1978 and 1980 Superman movies. I didn't really like Iron Man, X-men, Spider-man, or Avengers -- too campy. Not a big fan of camp. : /

Any advice for "online appearance" as an artist, for example; "Don't talk about politics"?

Hmm, hard to say. Depends what you want.
If you're going to be a professional artist, it pays to run your affairs like a business: maintain a professional image, not a personal one (Only use twitter for business promotion (if at all), etc).
If part of your artistic project is presenting the unvarnished results of a life in motion, then maybe it makes more sense to entangle yourself wherever you like, for good or ill.
If your drawings/music/whatever are just a vessel for your political enthusiasms, then there's no avoiding talking about politics, of course...
Anyway, if you're just getting into the game and want to keep put up a barrier between your online art life and the rest of your life, there's a long tradition of artists working under pen names -- I'd suggest that. Keep separate email accounts, don't let groups of friends interact with each other, never make IRL personal tweets, scrub photos of metadata, use proxies, don't use related user names on multiple sites, etc.

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Liked by: Evil Steve

What is the status of your projects so far?

Himehorn's Daily Life is at about 40%.
Vampire Bride will get back on track after Himehorn's Daily Life is done.
I gotta do Hat's last commission...
I owe Fred a picture of Miho (many months overdue)
Himehorn plushie is on its way here, so that's good.
Snowhorn is waiting for Himehorn's Daily Life
Secret Side Project is simmering away -- gotta put more time in.

Update when? :P

I'm actually taking a little time to read some new books and I haven't drawn much the last couple days. I'll get back to it this weekend! ;w;
Liked by: Evil Steve

It would be nice to have a proofreader... where do you get those? ... Do I have to kidnap people to make them read my bullshit?

Hrrm. Ask friends?
I just rely on internet comments to find errors. ;w;

Is it a good idea to learn Japanese even if the Japanese economy is in the shitter?

No idea!
Sorry, I really don't know anything about things like that. ;w;

Most of the time like more the other girls than the main heroine/s... Did it ever happened to you? Why do you think that happens?

Sure, all the time.
Main Girl is like Call of Duty -- bland, wide appeal, and appealing enough to get folks to stay on board. Side girls are like niche Japanese games -- they appeal to a narrower audience but arouse intense interest and keep folks hooked. Or you can think of it like a fast food menu: you have a main, reliable dish that's inoffensive to capture the middle of the bell curve (Big Mac, Quarter Pounder, etc.), then some special dishes to to capture as much of the long tail as you can (Chicken salad and apple slices for the health-conscious mom, a breakfast menu for workers, etc.)
It's a formula that has to be used because serialized comics have to appeal to a mass market.

Any advice on how to avoid the Mary Sue syndrome?

A few thoughts:
1) MEANINGFUL choices must be TRADE-OFFS (known and unknown) with CONSEQUENCES (intended and unintended)
An empty choice isn't a choice worth talking about and detaches your characters from the world. Your character must be formed such that their activities in the world are filled with meaningful choices. That's not just about "power levels" -- it's about rooting your character in the world so that they have many vested interests, desires, loyalties, aspirations, etc. which cannot all be satisfied at once.
Consequences must constrain (and often narrow) future choices. That's what binds a character ever more tightly into the world and advances both the plot and character development.
2) Do not protect characters from severe consequences. No hand-holding, no safety nets, no plot armour.
Nothing robs a choice of meaning and a character of definition faster than the author poking a finger into the world and tampering with the machine.
3) Root the character in the world and let the contours of the character grow naturally from those associations -- do not attempt to trim loose ends or polish rough surfaces for external motives: not for plot, message, themes, ideology, beliefs you want the reader to acquire, etc. All attempts to do so muddy the interface between character and world and so empty trade-offs and consequences of meaning. You will end up with a symbol or mere representation of an external idea/interest rather than the shifting network of internal relations that make up a "real" character -- a character native to the world of the story.

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Would you make Cupcake and Darkcake wear Nanoha's and Feito's barrier jackets?

Fate's barrier jacket might look okay on Darkcake.
Nanoha's barrier jacket wouldn't really fit Cupcake, though.

Do you like Gundam?

I don't really like robot shows.
Well, except for Nanoha.
Just replace all robots with cute magical girls and I'll watch 'em.

Hey, Dan. Why do you think people often like more the minor characters than the main characters?

The MC sets the baseline. The MC's personality, habits, attitudes, etc. set the background against which all other features of the world must present themselves. The background is less interesting than deviations from the background -- that's just what it means to be a background. Doesn't mean that the MC can't be interesting relative to the reader (MC might be a space pirate, robot pilot, magical girl, whatever) but the MC can't outshine everyone they meet and everything that happens to them -- if they do, then nothing is really happening to them... they influence, but are never influenced. They're not really part of the world at that point and the basic structure of the story breaks down. (Mary sue syndrome and the boredom that accompanies power level creep are special cases of this sort of thing).
So part of it is by design, but it's also built into the structure of stories. Well, "normal" stories anyway -- ones where you expect character development, plot, continuity, etc.
Well, that's what I think, anyway.

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What's your sleep schedule like? Are you nocturnal like the rest of us sub-human nightcrawlers?

I'm back on a "early to bed, early to rise" schedule. I woke up at 6am this morning. ;w;
Normally I do that thing where you stay up one or two hours longer each night and slowly shift your sleep schedule until it wraps around again.

Is Bloodborne worth the money and time, sempai? I've heard some pretty dodgy things about weapon selection and some dungeons or some-such. And loading times. I don't even remember what loading screens longer than two seconds are like.

I'd wait until prince drop + more games on the PS4.
Don't get me wrong, it's a very good game, but the lack of replayability mean you'll play through it once, do a little PVP, then leave your PS4 alone to collect dust. It's a painful feeling.


Language: English