Decided that it was time to examine the social make up of 'The Return of a Nagus' so starting at the top...
The Emperor/Empress
This is a hereditary position but it has swooped between several races over the millennium as the direct blood line of on family has died out and a new era begins. The main job of the Emperor/Empress is being the deciding vote in the Congress and keeping it from taking forever to debate an issue to death. A combination of Speaker of the House of Commons and benign dictator, the Emperor/Empress' job wasn't so much give orders as guide the Congress into making the right decisions for the good of the people. Herding cats maybe an easier task.
The Congress
Made up of the various ambassadors, ministers, dignities, envoys and diplomats that represent the planets of the Dynasty. Often noisy, always divided into factions and habitually chaotic. Alliances change by the day, sometimes by the hour. Unless you are a native in double talk and scheming it is not a place to get a job, however it always seems to attract political hopefuls out to make their mark on Dynasty history. The Congress Dome on Englansia is considered by some to be the centre of the Dynasty and is certainly the centre of the great debates. Each planet has its representative so the Congress has grown in size over the centuries.
All of this was over turned when Morgan Chandler seized control of the Dynasty. The Congress became a joke, where powerless diplomats debated issues only for their words to go unheard while Morgan and the Skilleths rules through brute force and abject fear. During the time of 'The Return of a Nagus', many Congress seats remain unfilled as it is the only protest that the Planetary Governs can safely make.
The High Families
The ones with the money, the connections and the trade agreements of the Dynasty. They can be as bad, if not worse, than the Congress as every member of the High Families are trained from birth to ever increase the value of the holdings of the Family Fortune. The direct bloodline is also jealousy guard and there are strict rules for assassination attempts. For most of their lives the Heads of the High Families are untouchable as the penalty for attempting to harm a Family Head or an Heir Apparent is death. Actually killing one results in the offender being 'consigned to the void', in other words taken up in a shuttle and bounced out of the air lock. The only time that this is not true is between the death of the 'Blood Originator' and their instalment as Head of the Family or their marriage. To avoid the possibility of internal attempts on the Heir Apparent's life, it was written into the laws that the holdings can only pace down the direct blood line, eldest to eldest. If the Heir Apparent does perish then the Family ceases to exist as a High Family and the holdings must be passed on to a different Family. As such normally the Rosinante are called in to act as body guards in this period as the Congress became tried of market contractions when an Heir Apparent was assassinated and the High Families started scrabbling to snap up the now free holdings.
The Guilds
With the High Families historically embroiled in scheming and back biting, controlling the stock market and the flow of finance, it was decided that having knowledge at the mercy of shifting alliances and always with the possibility of an essential piece of knowledge lost in an assassination attempt was not a good idea. Therefore, the Guilds were formed with the idea that the High Families would handle the money while the Guilds protected knowledge and skill. Though there is a measure of politics in the Guilds, to a greater or lesser degree, advancement is normally by examination and 'masterpieces'. The exception to this is the Shardin. Not quite a Guild but definitely not a High Family either, the Shardin are the information gatherers and processors of the Dynasty. From the quite bar girl, keeping her ears open for the odd tip off of a drug dealer, to the Black Ops man hacking into the computer banks of a High Family, all are Shardin agents and ultimately answer to the Lord of the Guild. Individual planets have their own information services but the Shardin answer to the Dynasty and to the Emperor/Empress.
After Morgan seized control of the Dynasty, many of the Guilds suffered division between those that supported Morgan and those that stayed loyal to Raquel. No where was this more bloody than in the Shardin where being 'sanctioned' is a euphemism for being killed by order of a higher authority. Office politics in the Shardin can be fairly fraught.
The Rosinante Templars
A semi-religious order, all members of the Rosinante are born with the Zi'kka abilities. Set aside from normal people by these mental abilities, the Rosinante trained from childhood to control their power and always serve the greater good. A Rosinante's first burden was always their duty, which was to do that which no others could, stand between the weak and those that would abuse them, guard the flock from the wolf and be the voice of reason in the face of hatred and persecution. However, in the years preceding the Dark Wars, the Rosinante were more often involved in safe guarding the interests of the rich as they could not run any mission without permission from the Congress. There is speculation that this may have had something to do with Morgan's fall to the Darkness.
Planetary Governors
Responsible for the individual planets, the Planetary Governors are the heads of the 'local' governments. Selection varies from world to world, with some being hereditary and others elected but all have to abide by the rule 'one governor, one planet'.
The Renegades
The flip side of the Rosinante, the Renegades are Zi'kka users that are followers of the Darkness. They are the embodiment of selfishness and greed and are often found in the corridors of power; the Renegades normally use subversion and guile to take what they want from the Dynasty and as such are the most dangerous enemies of the Rosinante as they often appear to be upstanding citizens of the Dynasty. Where there is a trade deal that puts profit before people, a building project that ignores the damage it is doing to the environment in favour of gain or cruelty performed in the name of sales, then there is the most likely place to find a Renegade. However, a lot of the time it is just mortal greed and it is often difficult to tell whether there is a Renegade subverting people's better judgement or not.
The Free Companies
Those that are not exactly part of the power structure, if anything they are sort of the opposite to the power structure. Smugglers, pirates, illegal slaving outfits are all counted as Free Company members but mercenaries also fall into this category as they are not controlled by any government directly, going where ever the money flows.
The Rest
Divided as ever along the lines of money, power and influence, with high class being comprised of those with money but not High Family status, middle class being the 'learned' workers such as doctors and solicitors, low class being manual labours, who most often inhabit the 'Termite Blocks' of the big cities and below all of them are the slaves, the indentured workers who can be bought and sold at the owners whim. There are meant to be laws protecting the basic treatment of the slaves but the inspectors are often useless at their jobs or paid to 'look else where'.
So there you are, obviously the power structures shift and change as the books move as there are some big social upheavals in store for the characters. However, if you want to write a 'realistic' novel you need to have these sorts of details organised while you write as it gives the text a depth that makes it feel as if the cities work, even when the readers aren't reading about them. It also gives you an idea for what sort of characters you characters are going to be meeting and can lead to some interesting developments when they meet someone who doesn't conform to the usual power structures.
Wednesday 30 September 2015
Thursday 24 September 2015
Einstein, Stretched Space and Faster Than Light Travel
Seeing that I haven't had a very go response from my more artwork based blog posts, I thought that I'd return to the world(s) of 'The Return of a Nagus' for this weeks blog post (sorry about them becoming a little irregular but an infant distraction really is distracting).
Whether you like it or whether you don't, if you are going to have science fiction whether other worlds are visited and other races encountered then you are going to have to have some form of space travel.
Now you could have it that its only just faster than light so most of the story takes place on the ship during the vogue, such as in 'Midshipman's Hope', which does have its merits as, if something goes wrong, you are a very long way from help but it does narrow down how many new worlds and new races you can meet with one lot of characters.
If you are going to have really faster than light travel then you need to put some thought behind it.
Some use an alternative reality that is theorised to lay behind our own. This is very popular as you can introduce the risks of attracting the attentions of some THING that calls the 'Warp' home. Usually these are of the demonic variety so it would be interesting to see a setting where the beings of the 'else where' are either not interested in humankind or are even angelic.
Some use Worm Holes, where time and space are folded like a piece of card and a hole punched through the desired point.
Having read 'Einstein and His Inflatable Universe' I came up with something slightly different from the usual system of Worm Holes.
Instead, I pictured the universe in the style of Einstein as a flat sheet with the gravity wells of the solar systems making depressions in said sheet. Only instead of rubber, I imagined it to be made out of the material elastine, which is what those skin tight T-shirts are made out of.
Then if you want to travel from one solar system to another, you first fly out of the gravity well using the engines that are just short of faster than light then you select one of the threads, snap it and stretch it out before reacting it to the point where you want to go. Because you have stretched the space you have also stretched the time, therefore a journey that normally only takes half an hour still only takes half an hour, its just that the end of the journey is in fact several million light years away from where it would normally be.
I have been told that it is one of the attractions of my books as it is pretty different from any thing else in science fiction. If you'd like to read it for yourself and decide, please visit the shop page. (The Hardback version maybe temporarily out of stock as I am updating the internal file as out the 24.09.2015 as someone pointed out a major blooper in the title listings.)
Of course, once you have worked out your faster than light travel you have to decide if there are any limitation on it. It could be that only the biggest ships have faster than light travel so other than the rich and powerful, everyone else is reliant on being able to pay a big company for transport.
In my book I when for the idea that 'instant' jumps are impossible, you have to have a lapse of at least half an hour. To add to the sense of historical development, I haven't specified why this is, just that the test ship "experienced severe technical difficulties". This could mean that it had a total systems collapse or that the captains head imploded, I haven't really decided and I figured that it add to the sense that the technology has a long history of development if I left it unspecified.
Once that is all nailed down, you can start dreaming, where your faster than light travel will take you. I'd say dream big, the universe is a big place, anything could be out there.
Whether you like it or whether you don't, if you are going to have science fiction whether other worlds are visited and other races encountered then you are going to have to have some form of space travel.
Now you could have it that its only just faster than light so most of the story takes place on the ship during the vogue, such as in 'Midshipman's Hope', which does have its merits as, if something goes wrong, you are a very long way from help but it does narrow down how many new worlds and new races you can meet with one lot of characters.
If you are going to have really faster than light travel then you need to put some thought behind it.
Some use an alternative reality that is theorised to lay behind our own. This is very popular as you can introduce the risks of attracting the attentions of some THING that calls the 'Warp' home. Usually these are of the demonic variety so it would be interesting to see a setting where the beings of the 'else where' are either not interested in humankind or are even angelic.
Some use Worm Holes, where time and space are folded like a piece of card and a hole punched through the desired point.
Having read 'Einstein and His Inflatable Universe' I came up with something slightly different from the usual system of Worm Holes.
Instead, I pictured the universe in the style of Einstein as a flat sheet with the gravity wells of the solar systems making depressions in said sheet. Only instead of rubber, I imagined it to be made out of the material elastine, which is what those skin tight T-shirts are made out of.
Then if you want to travel from one solar system to another, you first fly out of the gravity well using the engines that are just short of faster than light then you select one of the threads, snap it and stretch it out before reacting it to the point where you want to go. Because you have stretched the space you have also stretched the time, therefore a journey that normally only takes half an hour still only takes half an hour, its just that the end of the journey is in fact several million light years away from where it would normally be.
I have been told that it is one of the attractions of my books as it is pretty different from any thing else in science fiction. If you'd like to read it for yourself and decide, please visit the shop page. (The Hardback version maybe temporarily out of stock as I am updating the internal file as out the 24.09.2015 as someone pointed out a major blooper in the title listings.)
Of course, once you have worked out your faster than light travel you have to decide if there are any limitation on it. It could be that only the biggest ships have faster than light travel so other than the rich and powerful, everyone else is reliant on being able to pay a big company for transport.
In my book I when for the idea that 'instant' jumps are impossible, you have to have a lapse of at least half an hour. To add to the sense of historical development, I haven't specified why this is, just that the test ship "experienced severe technical difficulties". This could mean that it had a total systems collapse or that the captains head imploded, I haven't really decided and I figured that it add to the sense that the technology has a long history of development if I left it unspecified.
Once that is all nailed down, you can start dreaming, where your faster than light travel will take you. I'd say dream big, the universe is a big place, anything could be out there.
Wednesday 16 September 2015
Patreon
O.K. having tried to create an Instagram account and failing because I do not own a smart phone and therefore cannot download the app necessary, I have taken the plunge and created a Patreon account.
For those of us who are not in the know, Patreon is a website that enables creators to upload their creations or images of there creations and in return their patrons pay them a small amount of money, be that per item or per month.
As my produce rate is fairly low and is likely to become even lower now that I have a baby on the way, I have decided that being paid per post is the most fair way of patroning me as there are likely to be some months where I do not have the chance to upload new content.
I have not stated what amount of money you have to pay to patron me as I believe that it should be up to the generosity of each patron, that and I didn't want to seem greedy.
As a patron reward, I will give to each of my patrons a signed and dated copy of Draconic Discussion:
My patreon address is https://www.patreon.com/user?u=2347372&u=2347372&ty=h
The image is attached to the post by the link and I hope that my work is good enough to patron. Thank you every one of you who reads my blog posts.
For those of us who are not in the know, Patreon is a website that enables creators to upload their creations or images of there creations and in return their patrons pay them a small amount of money, be that per item or per month.
As my produce rate is fairly low and is likely to become even lower now that I have a baby on the way, I have decided that being paid per post is the most fair way of patroning me as there are likely to be some months where I do not have the chance to upload new content.
I have not stated what amount of money you have to pay to patron me as I believe that it should be up to the generosity of each patron, that and I didn't want to seem greedy.
As a patron reward, I will give to each of my patrons a signed and dated copy of Draconic Discussion:
My patreon address is https://www.patreon.com/user?u=2347372&u=2347372&ty=h
The image is attached to the post by the link and I hope that my work is good enough to patron. Thank you every one of you who reads my blog posts.
Tuesday 8 September 2015
An Infant Distraction
Am struggling to keep up with all the jobs recently, because I literally have an infant distraction in the making. Quite literally.
Now that it's been confirmed that I'm four months along and everything is acting normally, I guess it is time to share the news - I have a mini minion on the way.
I'm going to be a mother.
Having gone from wondering if I was ever going to be brave enough to allow myself another boyfriend EVER to this stage in eighteen months is something that is I never thought would happen.
Now, having reached this stage I'm now wondering how the heck I'm meant to balance career with social life (not that I have much left, where is that blasted time turner!?!) and a little sproggling.
I suppose it depends on how much the little one is like me and my soon to be husband. Both of us started sleeping through the night at an early age and were quite content to amuse ourselves. Of course that was part of the symptoms of being autistic so it will be interesting to see just autistic the next generation will be. There again, I share a house with an invalid Mother, a to-be-husband, three mad-cap cats and two barmy-apeth dogs. With all of that I suppose that I've had a lot of practise at making my life work, just, so adding an autistic baby to the mix... could be absolute chaos in the making.
Oh fun and games here we come!
Now that it's been confirmed that I'm four months along and everything is acting normally, I guess it is time to share the news - I have a mini minion on the way.
I'm going to be a mother.
Having gone from wondering if I was ever going to be brave enough to allow myself another boyfriend EVER to this stage in eighteen months is something that is I never thought would happen.
Now, having reached this stage I'm now wondering how the heck I'm meant to balance career with social life (not that I have much left, where is that blasted time turner!?!) and a little sproggling.
I suppose it depends on how much the little one is like me and my soon to be husband. Both of us started sleeping through the night at an early age and were quite content to amuse ourselves. Of course that was part of the symptoms of being autistic so it will be interesting to see just autistic the next generation will be. There again, I share a house with an invalid Mother, a to-be-husband, three mad-cap cats and two barmy-apeth dogs. With all of that I suppose that I've had a lot of practise at making my life work, just, so adding an autistic baby to the mix... could be absolute chaos in the making.
Oh fun and games here we come!
Saturday 5 September 2015
Artwork, Myths and Legends
All right, I will admit that the reason that there hasn't been a blog post here for far too long is because last week was just plain weird. One of those weeks were the routine was thrown out of the window at the beginning of the week and then didn't return for the next ten days. O.K. technically the last week and a half has been weird but you understand what I'm trying to say (I hope).
I've only just about managed to regain routine from Wednesday onwards this week so I've had a fun time trying to catch up with all the work that wasn't done last week. Still I'm just about climbing on top of it now (how come it looks as tall a Everest from the bottom and not so big from the top?) and I have another possible contract coming in but it is rather like a competition in that there are several artist looking to land the job and I need to send my pencil sketch to the judge to see if I land the spot. Still I have a deadline of January next year but I'd rather get it done quick so that the judge can see that I'm committed to the project.
Sometime in life timing is everything. You know the schools that stopped sports day because it 'wasn't fair on the losers', well I'm sorry to tell you kids but once you are out in the nasty world of work, everything is basically a race and you have to run harder and faster than everybody else on the track. Whether we like it or not the word 'competition' rules the day.
Granted that is why I'm now self-employed as an artist and an authoress, because there was no way that I was ever going to be able to run fast enough to beat the others in the competition for a 'normal' job (curse you co-ordination difficulties). However, just because I knew that I was going to fall flat on my face in that race didn't stop me racing. Instead, I found a race where I had more of a chance of my strengths being able to carry me through rather than my weaknesses tripping me up.
So saying, the work on 'Mulo's Son, Morrigan's Daughter' is coming along well. Granted today it took me nearly an hour to paint her boots. What comes of having to work double hard at your co-ordination and need to make it exactly right so that the boots look like black leather but you can still see the shape of one leg in front of the other. Heads up to those reading this, I work with traditional paint brush and paper and I do not intend to shift into digital media. This is because I can neither afford to buy the sort of software needed to produce the sort of quality expected and also if I spend too many hours, too many days running staring at a computer screen I wind up with serious conjunctivitis. I'm an artist, risking my eyes working with a media that puts an undue strain on them is just stupid.
Any way, to give you a heads up one what to expect from this painting, I'm branching out into studying the myths and legends of Europe.
The Mulo's Son comes from the Romany legends of the Mulo (Muli if it was female). From what I have read I think these creatures are where we gained the legends of the Gothic vampires. The original vampires of European legend were seriously ugly, think a befanged Lord Voldemort and you've just about got the picture. The Mulo however were extremely handsome and seductive as that was how they hunted. The Mulo fed, through shall we say, intimate contact with their prey (cough blush). However, if the victim survived the draw on their life energy then they could produce a half breed child, blessed and cursed with the strengths and weaknesses of both races, one of those weakness being that they need extra life energy only, not being pure supernatural, they had to access it by drinking blood straight from the vein. The flip side strength was that they were unearthly beautiful, like their supernatural parent.
The other reason I think that the Mulo/Muli were the ancestors of the Gothic vampires is because the original vampires couldn't change their shape, where as the Mulo/Muli could, the two favourite alter forms being a very large wolf or a truly gigantic bat.
Interesting enough Mulo/Muli children were considered to be the most dangerous of all the undead as the only way to kill a Mulo/Muli was to find its grave and pour a libation of hot oil over it to complete the burial rights. Their half breed children, however, had no graves, therefore they could not be permanently killed. You could dismember them, burn them to ash and given enough time they could regenerate. Sprinkling the ash on running water used to speed up the process if anything as it gave the pieces something to move through. Rather recalls the Hammer Horrors Dracula's ability to keep coming back for one more round. That is the other thing, the greater majority of the Romany's settled in Ireland as it was the one European country where they weren't persecuted and Bram Stoker was Irish. Um, possible link there, wish I knew how to do the research to find out more.
Any way, back to the painting, I decided to combined the two alternative forms into a werewolf like creature only with six limbs, two of which are huge wings. Drawing the four arms with all the proper muscles in place was a decided challenge, even with an extremely good reference shot. It was fine up to the point were I had to deviate from the original to extend the spine to take the extra limbs, that was interesting.
The other character in the painting is, of course, the Morrigan's Daughter. The Morrigan was one of the Irish Celtic Goddesses of death. She was also known as the 'Chooser of the Slain', something akin to a Valkyrie as her birds, crows would fly over the battlefield and chose who would die. She could also take mortal lovers and is said to have born children for them. Apparently nearly all of her children were daughters with daughters running strong in the following bloodlines. However, these were not fair maidens suited for an ivory tower, these were warrior maids and shield maidens, more than capable of fighting alone side their friends in battle. It took a very strong and very brave man to be able to court a daughter of Morrigan, hence why in the painting she is carrying a drawn rapier.
Her costume I picked up from a short story that featured a Morrigan Daughter as one of the main characters as it fitted the Gothic tone and I just plain well liked the description. The only change I've made is that the cloak is only half length so that she didn't cover up all the details of the Mulo's Son behind her. I also liked the description of the costume because it made it blatantly obvious that she was a desirable women who was not afraid of her body but didn't neither was it 'everything on show' like many pulp fantasy female outfits are. I do not agree with the nudity of most fantasy artwork but I do appreciate a painting that shows a women as a strong equal to a man.
I decided that a Morrigan's Daughter would probably be the best 'beauty' to fit my 'beast' so I have painted them with complementary colour scheme that is the opposite of the back ground to make them stand out. There is only a little more work on the Morrigan's Daughter to do so I'm hoping to have her done by the end of the month. Once she's done I promise to put a post up here.
I've only just about managed to regain routine from Wednesday onwards this week so I've had a fun time trying to catch up with all the work that wasn't done last week. Still I'm just about climbing on top of it now (how come it looks as tall a Everest from the bottom and not so big from the top?) and I have another possible contract coming in but it is rather like a competition in that there are several artist looking to land the job and I need to send my pencil sketch to the judge to see if I land the spot. Still I have a deadline of January next year but I'd rather get it done quick so that the judge can see that I'm committed to the project.
Sometime in life timing is everything. You know the schools that stopped sports day because it 'wasn't fair on the losers', well I'm sorry to tell you kids but once you are out in the nasty world of work, everything is basically a race and you have to run harder and faster than everybody else on the track. Whether we like it or not the word 'competition' rules the day.
Granted that is why I'm now self-employed as an artist and an authoress, because there was no way that I was ever going to be able to run fast enough to beat the others in the competition for a 'normal' job (curse you co-ordination difficulties). However, just because I knew that I was going to fall flat on my face in that race didn't stop me racing. Instead, I found a race where I had more of a chance of my strengths being able to carry me through rather than my weaknesses tripping me up.
So saying, the work on 'Mulo's Son, Morrigan's Daughter' is coming along well. Granted today it took me nearly an hour to paint her boots. What comes of having to work double hard at your co-ordination and need to make it exactly right so that the boots look like black leather but you can still see the shape of one leg in front of the other. Heads up to those reading this, I work with traditional paint brush and paper and I do not intend to shift into digital media. This is because I can neither afford to buy the sort of software needed to produce the sort of quality expected and also if I spend too many hours, too many days running staring at a computer screen I wind up with serious conjunctivitis. I'm an artist, risking my eyes working with a media that puts an undue strain on them is just stupid.
Any way, to give you a heads up one what to expect from this painting, I'm branching out into studying the myths and legends of Europe.
The Mulo's Son comes from the Romany legends of the Mulo (Muli if it was female). From what I have read I think these creatures are where we gained the legends of the Gothic vampires. The original vampires of European legend were seriously ugly, think a befanged Lord Voldemort and you've just about got the picture. The Mulo however were extremely handsome and seductive as that was how they hunted. The Mulo fed, through shall we say, intimate contact with their prey (cough blush). However, if the victim survived the draw on their life energy then they could produce a half breed child, blessed and cursed with the strengths and weaknesses of both races, one of those weakness being that they need extra life energy only, not being pure supernatural, they had to access it by drinking blood straight from the vein. The flip side strength was that they were unearthly beautiful, like their supernatural parent.
The other reason I think that the Mulo/Muli were the ancestors of the Gothic vampires is because the original vampires couldn't change their shape, where as the Mulo/Muli could, the two favourite alter forms being a very large wolf or a truly gigantic bat.
Interesting enough Mulo/Muli children were considered to be the most dangerous of all the undead as the only way to kill a Mulo/Muli was to find its grave and pour a libation of hot oil over it to complete the burial rights. Their half breed children, however, had no graves, therefore they could not be permanently killed. You could dismember them, burn them to ash and given enough time they could regenerate. Sprinkling the ash on running water used to speed up the process if anything as it gave the pieces something to move through. Rather recalls the Hammer Horrors Dracula's ability to keep coming back for one more round. That is the other thing, the greater majority of the Romany's settled in Ireland as it was the one European country where they weren't persecuted and Bram Stoker was Irish. Um, possible link there, wish I knew how to do the research to find out more.
Any way, back to the painting, I decided to combined the two alternative forms into a werewolf like creature only with six limbs, two of which are huge wings. Drawing the four arms with all the proper muscles in place was a decided challenge, even with an extremely good reference shot. It was fine up to the point were I had to deviate from the original to extend the spine to take the extra limbs, that was interesting.
The other character in the painting is, of course, the Morrigan's Daughter. The Morrigan was one of the Irish Celtic Goddesses of death. She was also known as the 'Chooser of the Slain', something akin to a Valkyrie as her birds, crows would fly over the battlefield and chose who would die. She could also take mortal lovers and is said to have born children for them. Apparently nearly all of her children were daughters with daughters running strong in the following bloodlines. However, these were not fair maidens suited for an ivory tower, these were warrior maids and shield maidens, more than capable of fighting alone side their friends in battle. It took a very strong and very brave man to be able to court a daughter of Morrigan, hence why in the painting she is carrying a drawn rapier.
Her costume I picked up from a short story that featured a Morrigan Daughter as one of the main characters as it fitted the Gothic tone and I just plain well liked the description. The only change I've made is that the cloak is only half length so that she didn't cover up all the details of the Mulo's Son behind her. I also liked the description of the costume because it made it blatantly obvious that she was a desirable women who was not afraid of her body but didn't neither was it 'everything on show' like many pulp fantasy female outfits are. I do not agree with the nudity of most fantasy artwork but I do appreciate a painting that shows a women as a strong equal to a man.
I decided that a Morrigan's Daughter would probably be the best 'beauty' to fit my 'beast' so I have painted them with complementary colour scheme that is the opposite of the back ground to make them stand out. There is only a little more work on the Morrigan's Daughter to do so I'm hoping to have her done by the end of the month. Once she's done I promise to put a post up here.
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