#dj&d

Gotta say, Feyli's outfit was definitely the most tricky out of the set so far. Nichole gave quite a specific description of the details in Feyli's dress (a blood-red gown with black roses around the top, black rose-vines trailing down the body and a dark lace cape) so a lot of it was figuring out how to translate those elements in a way that felt nice and balanced, then adding some complementary embellishments for fun. Each Flower Crown has been pushing me to learn more program tricks and Feyli certainly gave me some fun new challenges to figure out.

For the dress itself, I ended up going with an off-the-shoulder mermaid-skirt gown in attempt to find something that would look nice on Feyli's body-shape and show off the roses without utterly destroying the line mileage if I wanted to draw her in it again later. (Still ended up doing the skirt-embriodery by hand so task failed successfully).

Accessory-wise I thought it would be fun to crank the "roses" theme up to 11, since Feyli really leaned into that with her alias and cover stories, so I threw in some rose-embroidery finishing to the edges of her lace cape (shout out to ClipStudio users rainbowgrimart and 얀얀씨 for their ornate lace and jewellery brushes, which were an absolute lifesaver for the detailing) and also traded up her usual hair-wildflowers to match.

Whether Feyli canonically wore her antlers to the ball is a mystery, but since she can change those now and Nichole did mention her keeping the hair-flowers I thought it would be neat to give her a smaller but more formal set of sparkly silvered deer-horns to fit the dress-code. I also had some fun playing around with her hair and make-up since it was a black tie nobles event and I figured Lady Infiltration might go the extra mile to style herself for the evening. She's the only party member with long hair, I had to.

The jewellery was mostly just goofing. I really wanted to give her a version of Tante Padva's "slit throat" ruby choker necklace from Erin Morgenstern's The Night Circus since I felt like Feyli's backstory and Nichole's description of the dress would vibe with that aesthetic. For the rest, I figured silver would be a cute way to have her be matchy with Coil and contrasting to fellow-infiltrator Morenthal. Plus I thought it would be funny to give her a bunch of rings and loop-bangles since she's such an incorrigible fantasy-gachapon girlie.

Once I realised that Feyli had somehow managed to bring a bag with her rescue-rat companion, Soli, and recently-acquired copper dragonscale lizard through the cloak-room weapons check, I knew I had to find a way of including them as well. They're hard to see in the main drawing but I had so much fun with them that I decided to do a bonus sketch:

(Also feat. Pocket, the Party's new intrusive thoughts generator fairy friend.)

Double-bonus detail crop because I quite like how Feyli's expression-work and hair turned out:

MORENTHAL

This poor Drow, he can never catch a break…

Morenthal may not have been the most mechanically dangerous party member to fall victim to Mister Wick’s manipulations although, given that the key was revealed to let its wielder read existing memories during the alteration, and that all of the Flower Crowns were fully briefed on the locations and nature of the Eversteel artefacts, him getting a hand on any of them could have been very bad plot-wise but from a character point of view I think he’s the one who the key’s effects had the potential to be most personally devastating for.

The way things ended up playing out across Session 25 was precisely the nightmare scenario Gamb was fretting about out of game: Mister Wick forcibly implanted Morenthal’s mind with false memories of being his lifelong trusted confidant and supporter, then – before the Flower Crowns could reverse the key’s effect – Morenthal discovered that Mister Wick had been killed in combat with Coil and Preston, leading to the Party having to physically restrain him so they could use the key to undo the damage, thus confronting Morenthal with the realisation that not only was everything he thought he knew about Jonathan a lie, but in actuality Jonathan had committed possibly the most invasive violation he’d ever been subjected to in order to forcibly make Morenthal into one of his loyal tools.  That level of emotional and mental whiplash would be rough on any character, but for Morenthal it’s particularly brutal because…

Based on what’s been revealed in-game so far, the core of his character is that Morenthal is an abused child.  This most-clearly came up in his conversation with Gelnek in Session 14; he was a child who grew up with nothing, raised by the Bloodletter Mercenaries as a tool instead of a person, and taught to see faces only as targets – with him also mentioning to Hobson in that their “combat training” involved being relentlessly beaten down until he learned to fight back.  During his Session 21 visit with the Nightmother, he openly admits that “nowhere feels safe”.  From that it’s pretty clear to read that Morenthal has never felt unconditionally loved, safe or respected around other mortals.

(This also helps contextualise why he’s so devoted to the Nightmother.  From what little we have seen of his visits to her, Iris is a fond “adult” figure, who does not threaten, does not judge, asks nothing of him aside from his company, and cares equally for all the souls that pass through her domain.  For a child “growing up with nothing” but violence, that would have been everything.)

But then, enter Jonathan fucking Wick.  And now, just for a short while, Morenthal has all these “memories” of Jonathan being there to confide in, encourage him and support his escape from the Bloodletters.  Suddenly he believes someone was there for him and, while the memories might be fake, the feelings of unconditional safety they would have brought were very real.  Little wonder that he started acting like a Trilby-level naive goober around Mister Wick to the point of accidentally snitching on the rest of the group.  Only, then it turns out to be a lie and those memories are gone.

For me, I think one of the worst things Morenthal might end up dealing with in the aftermath of having his memory fixed isn’t the specific feeling of personal betrayal or the potential shame at having been caught: it’s the realisation that he was always alone.   That there was no mortal on the outside who cared or came for him when he needed them – just him and the distant fondness of a Divine.  That would be awful beyond words, and yet the Flower Crowns were forced to inadvertently inflict it upon him in order to restore his mind.  No wonder he wouldn’t look any of them in the eye before the session closed.

Worse still, the nature of the key makes it incredibly hard not only to trust others, but to trust your own mind.  The players and audience above-table know that Morenthal is back to experiencing and remembering reality as it happened, but the question could very well linger for him, bringing with it a hefty dose of paranoia.  Sure, Morenthal correctly remembers that Coil is a straightforward, loyal person who wouldn’t be tempted to tamper with his mind beyond undoing Jonathan’s manipulations… but he “remembered” that about Mister Wick too, and wouldn’t that be a beneficial thing for the Party to have him think?   To Morenthal, people were already Not Safe™, but now the one person he ever believed might be had actually violated him worse than anyone else in order to force and abuse that trust.  How is he supposed to trust anyone if he can’t trust the authenticity of his own recollections.  (I get the feeling that Morenthal probably isn't going to be capable of relaxing until the Shaper of Minds is confirmed to either be locked back safely in the Vaults of Eversteel or fully removed from the Mortal Plane by Six).

It makes it really tragic that all of this came directly on the back of Episode 23, where Gamb revealed during the above-table break chat that - even if Morenthal didn’t recognise why – he unconsciously trusted Trilby and Gelnek enough to jump off the airship without checking that his rope was secure, because deep-down he knew they would catch him.  To go from that high-point to the whiplash of him first thinking the Flower Crowns had killed the only person he was ever “safe” with, then them inadvertently subjecting him to the most painful realisation he could ever experience and potentially leaving him wondering whether he can even trust his feelings about them is absolutely gutting.

I think the thing that scares me most about how the aftermath could potentially play out is another trait that Gamb and Dan have established for Morenthal: he's a flight-risk.   He shies away from letting people get close and, if he feels unsafe enough, he runs.  It’s already been mentioned/implied that he’s considered fleeing the group at multiple different points across the sessions.  And with him likely not feeling safe even in inside his own mind right now, that risk is probably at an all-time high.  The poor lad is staring down the barrel of a potentially-impending multi-level emotional crisis, where a lifetime of instincts will probably be urging him to run hard and fast because People Are Not Safe™.

And the thing is, that instinct isn’t a good one for him either.  Morenthal might have gotten by on his own “just living to be” up until Filgrove, but that feels a lot more like surviving out of necessity than having an actual life.  It’s pretty obvious that he pushes people away as a defence mechanism:  if you don’t care about anyone then you can’t be hurt by them or have those people used against you.  But if you don’t let yourself care and feel things, you’re not really living.  The truly tragic part of his running being a potential foreseeable outcome is that the Flower Crowns are good for Morenthal.  (I doubt Morenthal realises it and can’t speak to Gamb’s above-table thought process but it’s interesting that one potential interpretation of Morenthal’s cynical, faux-apathetic, “stinky” behaviour is that of a former abused child quietly testing the boundaries of whether he’s allowed to exist in a way that’s inconvenient for others, to which the answer from the Party has largely been yes provided he isn’t actively encouraging Trilby to get himself killed, or killing people without explaining himself).  He survived alone before because that was all he knew, but I get the feeling he wouldn’t do so well if he tried to go it solo again after being with people (he’s already confessed that the idea of Feyli being gone makes him miss her).   That’s not a road to walk on his best day, let alone with his current headspace and tendency towards self-destructive choices. 

It reminds me a lot of this article:

“Still, it’s easier for us to keep blaming ourselves because it’s preferable to facing the unthinkable: the fact that our parents don’t love us. …  Most people would rather do anything than accept this as the truth. Not only is it painful; it’s humiliating.”

So yeah, suffice to say I am incredibly concerned about how Morenthal’s arc is going to play out over the next session(s).  Here’s hoping that Gelnek and/or Coil have enough emotional savvy to keep an eye out, and enough patience to stick to him even if he lashes out in attempt to drive them off.  Even if it all works out okay, I get the feeling that this one’s going to be ugly.

But before that, a short story: I've been following Dan's content on Youtube for... oh jeez, that sure is almost a decade now, both on his current New Frame Plus/Playframe channels and back when he was the primary founder and narrator for EC. His old games education videos helped me get one of my earliest jobs in project work and introduced me to a bunch of media production concepts (like scope management) that would go on to inform some of my own storytelling analysis posts. It was a startling little moment of artistic ouroboros to realise I was mentally running through key points from Dan's own Pose Design 101 video as I was drawing his DnD character. Never expected things to come full-circle like that, but if you're seeing this, Dan: here's to you 🫡 If you're not Dan and haven't already, do go check out his stuff - it's all super well-produced, informative, funny and he's just an overall stand-up guy.

Now: onto the tiny little nerd and his passé party attire

This was a really fun costuming challenge, with a bunch of interesting curveballs thrown in the mix. Unlike the rest of the Flower Crowns, Hobson didn't choose his own party outfit: it was picked out by his patron after Valse kibbitzed him into giving up and letting a heroism-obsessed Fey call the shots. Dan cited Valse as having the fashion sense of Stede Bonnet-as-depicted-in-OFMD, briefing a vaguely 19th century-style outfit that had frilled sleeves and 'would have looked gaudy even when it was in fashion a century earlier'.

Actually dating his outfit was the first challenge. D&D settings are kind of an anachronistic uchronia, with classic swords-and-sorcery fantasy campaigns potentially pulling inspiration points from anywhere across the Arthurian era up to pre-war modernity. Which leads to the question: how do you make something seem dated in a setting where most everything looks vaguely ye-olde-fantasy? The other challenge was that, IRL, the 19th century (i.e Victorian era) was when menswear started taking on a lot of the shapes that would eventually become modern suit and top-'n'-tails fashion. Since Trilby was already going to be wearing classic top-'n'-tails formalwear, I decided to set Hobson's style earlier in the 1800s-1820s and pull in some 18th century Stede Bonnet flourishes to visually set them apart. This article provided some great reference images, and once I hit on the figured silk waistcoat I knew I had a potential starting point.

Colour-wise, I stuck with the burgundy-and-gold palette the Dans gave Hobson in his official gala stream art, since those looked good together and matched up with Dan J's tendency to draw Hobson wearing greens/earth-tones and Valse in reds/jewel-tones. The combination is a lot more colourful and richly saturated than is typical for this style of Victorian-adjacent clothes, which felt appropriate for Valse's gaudy tastes.

Fabric-wise, I figured a fun way to gaudy things up even further would be to lean into the silks and satins that were fashionable at the time, but make all of his outfit shimmery rather than just a single feature piece. As a bonus, silk and satin clothes tend be hot, inelastic and have horribly itchy seams if worn unlined, which felt like exactly the kind of thing Valse's all-form-no-function sensibilities would inflict upon the small, long-suffering fellow. Both these fabrics also have a habit of behaving hideously and ripping themselves apart when worn wet, which makes this a great outfit to, say, accidentally fight an Aboleth in. Poor Hobson.

Some other details, just for fun: 1. Hobson's sketch layers include a drawing of his un-removable cursed left bracer. He's pulled the frilly, puffy sleeve over it but you might spot hints of the shape and the gem if you squint. 2. The reference waistcoat I used had floral embroidery on it. Had this actually been a Hobson outfit, I would have converted them to his garland flower (Forget-Me-Nots), but since it was a Valse pick I decided to make them Senaliesse chrysanthemums; a flower given out to friends of the Feywild's Summer Court as a sign of protection and favour. (It also adds extra layers to Pocket mistaking Hobson for a denizen of the Fey, which is fun).

Close crop on the details because I'm very happy with how they turned out:

Unlike with Morenthal’s outfit (which was mostly drawn from Dan and Gamb’s official stream design) I thought it would be a fun challenge to take the chaos of JoCat’s Gala outfit brief for Gelnek (a large fluffy fur coat and stacked tower of Cowboy, Pork-pie and Trilby hats) and try to render out something fashion-adjacent.

Figure-wise, I wanted to push the broadness of Gelnek’s build and body-shape, since Jo introduced him as being atypically bulked-up for a Goblin (to the point that he sometimes gets almost-mistaken for an odd-looking Dwarf) and charging Hobson down like small green boar during their first training spar.  I thought it would be fun to lean into him being a stocky bundle of muscle compared to how Goblins are typically drawn. 

For the coat, I liked the idea of taking men’s fashion-furs and giving him a long-cut trench-style coat with a big fur ruff around the collar.  Really fluff the guy up with an impressive “beast-coat” that makes him look even bulkier.

Gelnek’s under-coat situation wasn’t described, so I went with a close-fit black two-piece since I figured that could help emphasise his actual silhouette without being too visually busy, and might make some fun strong shapes if I wanted to draw him in more dynamic situations later.  I also gave him a few sash-belts with some of his hunt-trophies pinned on (the Voidcrystal Snail-eye, a Wyvern Tooth from their fight on the Javelin and Trilby’s gifted Dragon-Scale button), just to keep the under-outfit from getting too conventional.

Hat wise, there’s not much that can be done to rein in the “putting a hat on a hat” effect of the Trilby on Porkpie on Cowboy tower, so I just tidied them up a little with some nice complementary colours and bands that coordinated with the rest of the ensemble.  The Cowboy brim and long coat combo ended up giving him some strong gunslinger energy, which is kinda fun for a traveling war-bard.

For his hair, I wanted to neaten up his big mess of fluffy curls for the formal setting, without going the same slicked-back conventional-imperial-common route that Hobson and Morenthal were already sporting.  Since Gelnek’s birth-tribe come from a swampy region and places a lot of cultural importance on headwear, I thought it might be fitting to do him up with some neat protective braids.

Gelnek’s shoe situation was an interesting one since canonically he doesn’t wear them.  I didn’t want to deprive him of his quest for the perfect shoe, but also figured he would need something to avoid the standard “no shoes, no service” rule at formal events, so I ended up pulling inspiration from Across the Spiderverse and giving him some Pavitr Prabakar-style foot-wraps with a bit of fancy gold trim to match the sash and middle hat.

I also decided to rep’ his drum-shield, seeing as Gelnek ended up being allowed to bring it into the venue.  It’s barely visible in the final drawing but a good quarter of his thumbnail page was notes on how do drum-shield work?  In my head I see it as something like a kettledrum set inside a convex round-shield/Dhal that lets him beat the drumhead while keeping the shield between him and danger.  I also like the idea of him being able to play the shield part like a handpan.

Bonus look at his sketch layers because this man's hats and physicality fought me harder than he fights drakes: