Castle Diablo - Proof Of Concept Progress

Hello there

It's been slow and steady this week, as I've been trying to muddle through on Tales From Castle Diablo progress.

I was getting a touch on the overwhelmed side, as I've several different things going on at once which are requiring attention, but I've also been counting my blessings to not be sitting here desperately trying to think of a project to do.  All very double-edge isn't it? 

This week though, I've done a load of art prep (for a non-patron thing), continued the baby steps with the Rocky Robot business development, been sorting through a new - as yet unannounced - podcast collaboration with all the stuff that needs doing pre-launch (logos, music, social media, that sort of stuff), recorded next week's Reboot, and today I've been sitting with the Tales From Castle Diablo work.  

It's only Tuesday (well, Wednesday for you). 

The writing for the latest story isn't finished yet.  Every time I think I'm about to, I have another idea for it, and then set about with more fiddling.  I think that's the right way to go about it though.  Rather than writing towards an arbitrary Patreon deadline.  Safe to say, with every new bit I write/create on the Castle Diablo project, I get more enthused and excited about it.  This is one of those ones where I can guarantee you it coming to fruition.

Anyway, point is, with no completed writing for you today (I swear it is SO imminent), I thought I would show you some of the proof of concept design.  If you heard the podcast with Special Make Up expert Stuart Bray last week, you'll have heard us discussing the ongoing proof of concept work on the narrative figure from the book.

This is the character who holds the collection together with a wraparound story (a narrative that runs through the book between the individual stories). I know I've told you very little about this character, and you know this is because I don't really know myself yet. I can tell you that the wraparound is -presently - a ghost tour of the actual castle.

It's a standard trope in these sort of collections to have a figurehead.  Things like the Creep from Creepshow, or the keeper of the crypt (and other incarnations) in Tales From The Crypt. Presently, in my tales, this character is a tour guide/ghost hunt guide for Castle Diablo itself.  The interactions with the tour group have been developing quite rapidly over the last couple of weeks, after a while of it feeling a bit stagnant.  It's very much starting to take shape now.

However, one of the quandaries I've been having, is with regards to the use of humour.  These lead characters tend to be humorous characters.  Usually with over-the-top joke references about people "having no guts" or "losing their head", that sort of carry on, followed by a long cackle. 

It's a really neat device to lighten up the mood etc, before readers/viewers are plunged back into the macabre, but I've been leaning away from it. I think the mood in this collection, whilst very inspired by all those old style portmanteau collections, is a touch more serious.  By serious, I do mean in the same way the 1966 Batman was serious in it's portrayal and production. It doesn't mean it's joyless, there's a satisfying bifurcation in mood yet with a consistent tone across both. So, at the moment, this isn't a wise-cracking character, more of a mysterious and creepy detached character. There's time, of course, for me to u-turn on that.

Which is why there's nothing cartoony about these designs so far.  As I'd scrabbled to think of references, when I described it to Stuart (who did these designs), I settled upon a cross between Richard O'Brien as Riff Riff, and Peter Cushing.  Which isn't really a natural mash-up, but it was something to get us moving.

These are essentially make ups in digital form. Just trying to get some sort of striking image to fit the character around, and whilst these aren't finished at all (and some are dramatically different), it is - again - a great starting point.

Lots of things going on in these, and very different looks really. There's a slight wariness of this looking like Snoke from Star Wars, which I'll keep an eye on, but as a kind of uncanny human character you'll get the mood from him. The spacing of the eyes is unnerving I think.

That's it with more real-world tones to it.

These are basically a start to finding a proof of concept image for illustrating the creepy mood of the book itself.  It's rather fun to just have a casual background quest of collating extra material together. That's also been what's been going on with the podcast I've still not fully explained to you, putting building blocks in place so when it's time to afford it proper time, there's loads of toys already in the playroom. Having as many things in place like that is certainly my preferred structure of work and creating.  I think when you just do everything on the hoof, it becomes very difficult to feel any sense of commitment to projects.  My approach is always one of prep.  I don't think of things "not working" in the future or whatever, or that I can knock stuff on the head, for that very same reason. It's nice feeling to feel committed to seeing something through, and - let's be honest - a commitment to a potential audience.  It's why Scarecrow Club isn't axed, it's just on hiatus.  Can't ask much emotional investment from your audience if you're giving off that you might just stop doing something. 

But, I digress, just wanted to show you the concept stuff, and let you know a little bit about how the unseen aspect of this book was progressing.  Very much enjoying it, and will be seeing it through to completion.  That's my solemn and sincere commitment.

I'm also feeling like I've got a select group of folk around me just now who are really nurturing my creativity (notwithstanding you being here right now, doing just that with your support).  Stuart Bray, who did these designs, has gone way beyond the call of duty with that in the last few weeks.  Not just working on these designs, but also behind the scenes in encouraging/mentoring me with my sculpting ambitions.  I got a package from him last week, which contained a load of materials for mould-making, and was truly touched by it.  I get way embarrassed by generosity, and have a long standing unease at the idea that it ever seem like one is manipulating generosity.  Like folk who hint at it or whatever, all "innocent".  Getting that care package was still appreciated so much.  I remember Rob talking about the guy turning up with the digger when he was burying his dog, and what a difference it made to have that engaged kindness at that point.  I've had similar things to this with a nice regularity of late.  It helps a million, and keeps the nihilism at bay.

Oh and he was at peak kindness after we'd spoken about the Thriller book on the podcast we did together too...

Aren't there just great people knocking about? Ridiculous generosity, and so appreciated. I mean, he's getting original art in return, and I think he knew I would do that, so this has probably all been one long manipulation.  I bet he stole all this stuff.  People are such dicks.

Hey - I must also point out that I've not forgotten about adding descriptions to the pictures on here.  I'm sure it might be obvious that for things like this, and drawing progress pictures, it's really difficult.  Am happy to take pointers on it though.  Like, today, what would I say even?  "a Digital portrait of a face...and another one..."?  Would that be ridiculous and unhelpful?

Hope your week over there is going brilliantly and that the weather makes its mind up at some point so we can all not be on our guard constantly. Think writing this has made me feel a bit soppy so I'm gonna go and try some 'paying it forward' today.

Sending you much love

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