#unknownkadath

A couple of years ago, prior to starting the degree, I came out as a trans woman, which is probably an important detail, and it's informed a lot of my  work. However, my driving impulse has always been monsters - my preoccupation with Destiny started entirely because a friend of mine showed me screencaps of Oryx after the The Taken King release and I was smitten. Pretty much all of the media I consume, the games I play, the art I create is in pursuit of ever greater or more unique creature and monster design, and they're very dear to my heart.

As far as what I do for fun  - my day is 90% working at the tablet, but I find time to play some games and build "gunpla" model kits as well as paw through my artbook collection. Almost everything I do is informed by my profession, so I use my hobbies as a means to access and process more referential or inspirational visual material or  techniques. I only recently started sincerely learning how to actually "paint," rather than just do some basic rendering under lineart, so that's been a major part of my work lately.

WiL: Was there anything in particular about Oryx that really drew you to him? Did Oryx come across as particularly great and/or unique to you, or is there something else that struck you with his character or design?

FB: Well, as I said, I'm transgender. In the ‘pitch’ my friend made to me about Oryx as a character,  the most interesting aspect to me was that he's a transgender man (although I'm a trans woman, the experience has some shared parallels obviously).

In media, it's incredibly difficult to find trans characters not wholly defined by that aspect of their identity, or who aren't constantly wallowing in the Misery and Tragedy of being trans. I want trans characters who occupy all roles - villain, hero, supporting and main - and it's rare to find anyone who's more than a token or like, tragedy porn. Oryx super resonated with me because he was this figure who acquired power and immediately transitioned, asserting his identity in a way that couldn't be defied - Oryx's story is very much one about self-definition and the value of existence under your own terms, which are very important concepts to me.

When I decided to start work on illustrating the Books I actually reached out to Seth Dickinson, the author Bungie contracted to write them (and the Cabal Booklet/odd flavour text, by the way) to get some specific questions answered and he was kind enough to respond and was very cooperative and supportive. Among the things I asked about I wanted to know  if Oryx was consciously written as transgender character or if it was just a coincidental "weird alien race" flourish. I was very happy to learn Seth had purposefully written Oryx that way, and that he was happy people took strength from it.

It's very novel to have, like, a "trans power fantasy"... a character who acquires absolute power over the self and instantly rewrites the contract between themselves and their body that so many of us spend our entire lives making adjustments to and renegotiating for some measure of peace. It was satisfying, refreshing.

Oryx is super cool to me on multiple visual levels obviously as well, being a mineral-encrusted deep space insect mummy warlord, but that element specifically sets him apart for me, and always will. It's cool to know that a trans character in Destiny can also be a hideous monster from beyond the stars.

WiL: Nice! I've wondered if Oryx was intentionally written to reflect a transgender person. I'm glad to hear a positive answer to that question, and I'm glad you found strength in it!

My next question is, why did you decide to take on this project? I mean, it's very clear that you love Oryx, so that factor is a given, but you mentioned in your original post that this was something you did for your degree. Care to elaborate on that?

FB: So, the structure of my illustration degree is such that while we’re given specific "briefs," such as topics or techniques, the final year gives us significantly more free rein. We're obligated to  complete three "projects" and author a thesis over the course of the final year, but the subject matter, material, everything about those projects is our call. The outcomes are judged based solely on technical and professional development rather than adherence to a specific brief.

This left the field wide open for me to kill two birds with one stone and bring in a project I had intended to do anyhow, but hadn't had the time or space for; something that I was sincerely passionate about rather than an edict handed down by a tutor. Illustrating the Books of Sorrow was something i'd wanted to do ever since I first read them back in The Taken King, and I jumped at  the chance. In addition, while i've produced and formatted artbooks before (My first published work, The Occult Supergiant Primer, can be found here ), I've been able to recoup the time invested away from client work in sales and funding. The Books are obviously material belonging to Bungie and I can't justify selling copies, digital or otherwise, of my illustrated version, so I had to find some other reason to make this investment of time and unpaid work worthwhile as well as enjoyable.

Being able to use the work produced to further my degree was the perfect "excuse.” That said, I've received so much attention from the Destiny community at large, including commissioned work from several new clients, that it would have easily been worth it regardless.

WiL: Your work definitely deserves the attention, you clearly have a strong sense of design! Would you be willing to tell us a little bit about the process you went through to make the Books of Sorrow? Do you have any early versions or storyboards that you'd like to share? Or did any of the illustrations go through any major changes from start to finish, and would you be willing/able to show us that process and talk a bit about why you made the changes you made?

FB: The greater part of the Books came together incredibly smoothly and naturally, with very little iteration required on specific pieces. The images had been stewing in my mind ever since I read the original verses a few years ago and they were more than ready to be rendered. What did require a lot of research, development and false starts were the designs for the sisters, Savathûn and Xivu Arath. Both of them have yet to appear ingame in any major capacity (although it's looking likely Savathûn is going to be a Year 2 DLC), so it was up to me to create designs for them that:

Satisfied the descriptions appended to them in the verses, as light as they were, and also matched the info Seth gave me

Satisfied my own personal expectations and interpretation

Conformed to the lore and the existing known morphology of the Hive in a way that would make them recognizable to a player with no prior familiarity with the Books

Balancing these principles lead to a lot of internal back and forth - Savathûn was easier because we had already seen her brood in D2 on Titan, so I knew to emphasize ornate crests, bonelike texture and a slightly less mineral, more biological look by comparison to Oryx's brood, the hive we exclusively encountered in D1. She was tough at first but ultimately fell into line with something satisfying for me, which actually drew a lot from the Xenomorph Queen in Aliens.

Xivu Arath was a little trickier because she had to be distinct from Oryx, who kind of already occupies the "big mineral/bone-encrusted bruiser" archetype visually, so I had to take her even further. I spent a lot of time wondering whether she would have any ornamentation like some of  the bigger Knights (Alak-Hul comes to mind), given that she represents the "ultimate" Knight morph, but I eventually eschewed all decoration in favour of something reflecting her nature in the narrative: blunt, implacable, spartan. She dispenses with the ritual and hierarchical trappings the other siblings indulge in - notably she decides that all battlefields are her Court, rather than entertaining a court herself, and she tends to default to just brutally bludgeoning whatever stands in her way rather than making an appeal to the Deep or engaging in trickery. I was very satisfied with how she turned out, and the piece featuring her is easily one of my favourites.

WiL: I was going to ask which piece is your favorite! Do you have a Top 3 that you're most proud of?

Is there anything about the Books that you wish were different, or is there something you wish you had the opportunity to draw for this project but couldn't justify including it?

FB: I have a strong tendency to favour whichever the last piece I completed was, because by default I'm always proudest of my most recent work and very rapidly lose favour with pieces even like, a week old. That said, I think overall the strongest piece for me personally would be Oryx slaying Akka, alongside the final Wormfood painting and the Savathun piece, although honorable mentions go to Xivu Arath and Quria, Blade Transform.

I can't say there's anything about the Books specifically I wish was different. The part of me that's purely consuming it as a narrative wishes that they had found Taox, that there had been some confrontation there. I feel like there's a very strong "childhood vengeance" element to the Taox subplot, like when you're put down by an adult for drawing in class and you fantasize about coming back to the school years later as a wildly successful artist and making them admit they were wrong to have stopped you. A key part of that fantasy is recognizing it as a remnant of childhood, this impulse born out of a narrower perspective and inflated self-worth, and realizing you can move past that shit (Although if/when I do become a wildly successful artist there might be a few teachers I'll look up).

Ultimately, I think the arc of the books and what the story is trying to say about distortion of intent and self makes Taox disappearing a much more emotionally resonant and interesting turn. It would be neat if Taox turned up somewhere in-game, and became the focal point of a new Hive offensive.  An entire species/culture with such a specific individual grudge is a fascinating concept.

With about a month and a half of time allotted for the project and 50 verses, there was a lot of stuff I had to cut despite how much it hurt - in a complete version I would have wanted a painting for every verse, but specifically I would have liked to draw Akka in full, the Dakaua War Angels, the Harmony/Gift Mast,  the Qugu; basically I would have given form to the many species and cultures Seth conjures up with a few phrases and a loose description but still manages to make incredibly evocative.

WiL: Do you think you'll ever return to the project and draw those images, either as standalone pieces or as an update to the PDF you've already made?

FB: An update to the .pdf itself is unlikely. I tend to consider projects released to be complete, and usually by the time I revisit a subject I'm not obligated to work on it will have been a few years at the very least. I tend to have developed my technique and approach enough that new pieces inserted retroactively would look somewhat disjointed in terms of quality and style. The chance of releasing standalone paintings - especially of points of specific interest for me like say, Akka in his entirety, the Dakaua war angels, the Qugu, etc. -  is significantly higher. Whether that happens sooner or later depends entirely on what my current workload looks like, and aside from the incredibly generous and supportive response to the project from the larger community the Books are very much a passion project and have to be weighed against, say, contract or school work going forwards.

WiL: That makes sense. What other projects do you have going on right now, if any?

FB: Just this morning I decided on the subject of my final degree project, which I'm also planning to run as my second artbook with an accompanying Kickstarter and print run - something I can actually sell as well as being material that excites me! It's entirely too early to disclose any specific details about it though.

Other than that, I continue to produce odd pieces of fanart in between a regular flow of client work both from private individuals and studios. I guess I can safely say I'll be doing more work on the second Homestuck game after contributing to the first, as well as doing some designs for a music video I was contracted for, and also finishing my thesis for the aforementioned degree.

The key thing, I think, is to keep moving - I get very anxious when I'm spinning my wheels between projects, and the temptation to linger on the threshold a while longer is incredibly strong, especially when there's always the fear your new work will fail to surpass what's come before. Reaching a personal peak like some of the paintings I did for the Books of Sorrow is a double-edged sword, and it can signify both a great accomplishment and a raising of the bar that can be daunting to follow. I'm confident that whatever you see from me next will manage it, though!

WiL: Believe me, after talking with you for a while, I'm confident your next project will meet your expectations. You are a very talented and very ambitious artist, and we can’t wait to see where your career takes you! It’s been a pleasure to talk to you, and we’re looking forward to your next Destiny passion project.

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This interview has been edited for length and clarity