Q. After working as an illustrator, I wonder if there's a special reason or behind-the-scenes story
   about your new challenge as a webtoon author through 'The Fantasie of a Stepmother'!  

A. I knew being a comic artist was not an easy job, so I hadn't even thought about debuting in this field, but
   my connection began when I took on the prologue webtoon for the original work.
   An agency contacted me with a brief introduction to the original novel.
   After finishing the prologue webtoon, I received an additional offer for the main series and
   I remember checking the remaining details of the work.
   Among the contents of the original work, I saw parts that I felt I could express well, so
   I chose it without much hesitation. (I didn't know I would be serializing it for this long at the time...!)

Q. Creating single illustrations and working on a webtoon that continues a story every week must have huge differences in the workflow.
   How has your experience as an illustrator positively influenced your webtoon work?
   Conversely, what were some things you had to newly learn or adapt to for webtoons?

A. Webtoons, like illustrations, sometimes require a single decisive cut that captures everything. 

△ I surrender. 🏳️

   Being able to conceptualize such cuts or complete them in a relatively short amount of time is likely thanks to my experience as an illustrator.
   Other than that, all the other processes required for a webtoon, like storyboarding, drawing, and directing, required me to newly adapt. 

 

Q. Do you have any special 'creative rituals' or pre-work routines, Author ORKA?
   Or is there any music or media you usually play while working?

A. The expression 'creative ritual' is quite fun.
   I do have a 'waking ritual' where I lie half-asleep due to low blood pressure, and only barely manage to sit up when my dog begs to go out...!
   I absolutely need caffeine to work, so brewing a cup of coffee before starting work might just be my creative ritual.  

   I listen to music routinely and don't really discriminate between genres.
   I might be listening to BLACKPINK's JUMP and then suddenly make a sharp turn to Schumann's Träumerei.
   Some chapters have a set theme song, and in those cases, I just listen to that one song on repeat.
   For example, the theme song for the oratorio in the final episode of Season 2 was Mozart's Requiem (Lacrimosa),
   and the theme encompassing Season 3 was M83's OUTRO, and I listened to these songs throughout the entire process of working on those parts.
   The latter is also the theme song for the duel of honor in the Holy Inquisition.
   (It's also the intro song for the Netflix drama Versailles. It's a drama I like.)
   I have a personal <The Fantasie of a Stepmother> playlist that I've made, and I usually play it when I'm stuck on directing.

 △ From Season 2, Episode 68

 

Q. How was your unique art style and atmosphere formed?
   Please tell us if there are any artists or works that have influenced or inspired you the most! 

A. Since it's about things I like, is it okay if this gets a bit long?  

   My art style was heavily influenced by the media I consumed in my childhood.
   Many works from various authors come to mind, including Jump series works, but
   I was mostly influenced by Hisashi Hirai, who worked on the anime <Infinite Ryvius>.
   I really love the author's art style and sensibility expressed in Marimo Ragawa's <Baby and Me>. They are all old works...!

   If I were to pick works that inspired me in terms of story and comics, Author Tono's <Calbania Story>,
   the immersive story worlds of Authors Yoon Tae-ho and Yang Young-soon, Author Miyeok's Efficacy's <Chicken is Great>,
   and Author Binari's <Yeohae> come to mind. I also like Author NeonB and Caramel's overall works, Gold Kiwibird's <Mejina>,
   and Oribal's <Harem Survival>.

   It feels like this just turned into a filibuster about my tastes, but it's hard to definitively say what I got from where because
   they are all such inspiring and excellent works. If anyone reading this interview is interested,
   I highly recommend you check them out. 

Q. Is there anything you constantly study and strive for to improve the detail or expressiveness of your art?
   Are there any new skills you want to learn or expression methods you'd like to try?

A. I'm always looking for ways to improve quality relative to time.
   Since there are many processes I dive into directly, such as storyboarding, line art, coloring, and post-correction,
   it's important to reduce even a single step.

   (Entering Season 3, my talented assistants Riri (line art) and 7H (shading) have been a huge help! Thank you! ><b) 

   I'm constantly thinking about whether there are better options than my already established work processes, and
   recently, I've been interested in utilizing 3D assets in my manuscripts.

   I used to be someone who was used to drawing by hand, but I'm becoming much more modernized. 

Q. The studio where your masterpieces are born! We're curious! Please introduce it to us~!

A. My main monitor, which is central to my work process,
   and a sub-monitor where I display my schedule and references. A Pomodoro timer on a tablet, memo pads, notebooks, and reference materials.

△ A holy pilgrimage 

[About <The Fantasie of a Stepmother>]

Q. Before starting the webtoon serialization, what part of the original web novel did you find most appealing,
   and how did that influence your art style or directing direction?

A. I liked the shape of the harmonious life that Shuri and the other characters build together.
   In line with these characteristics of the original work, I was able to tone down the aristocratic extravagance in the backgrounds, costumes, and the overall worldview,
   and adopt designs that feel more like they could exist in reality. 

△ You can get a glimpse of the meticulously built-up details... So touching 🥹

Q. While adapting the vast story of the original web novel into a webtoon, what were the core elements you wanted to capture the most?

A. What I wanted to capture were the messages I felt while reading the original work.

   It's a work that primarily deals with bonds with others, and it contains the belief that even if fate sometimes plays tricks on our lives,
   we can overcome any hardship if we have someone external to rely on and a strong inner strength.
   It also highlights the satisfaction of life gained from small, everyday happiness, rather than being obsessed with grand achievements or glory.

   

Q. Is there anything special that can only be felt in the webtoon, unlike the original work?

A. Since I try to maintain the large framework of the original work as answered earlier,
   if I had to point out the webtoon's unique charm, it would be the side stories and extras prepared to add branches to the story.

△ ...? I guess the meaning of 'sub' as we know it has changed. 🤔

Q. When visualizing the characters described in text from the novel into your own art style,
   I wonder how you built their first impressions and charms!
   Are there any behind-the-scenes design stories for main characters like Shuri or Nora especially?

A. Main characters with a lot of weight like Shuri, Nora, and Jeremy had plenty of information, such as behavioral descriptions, in the novel, so
   their appearances naturally came to mind as I read through the work. They came out fairly quickly without much struggle.
   Additionally, each family has a designated theme color and a symbolizing animal, so
   those elements were a great help in determining the characters' impressions. Jeremy definitely had a lion motif.

   Shuri's hair design is themed around a bird's wings and a fluttering tail. I'm waiting for the right moment to utilize it.

   There are a lot of characters, with just the main and supporting cast numbering around 30, so there were moments when I felt overwhelmed, but
   fortunately, I made sure family members shared similar physical traits, so I could quickly grasp the images of supporting characters as well.
   (ex: Elias takes after his mother's side = the visuals for his mother, Alice, and his uncle, Hermann, were naturally determined.)

   Shuri is free-spirited and (though she's in an environment where she can't be) even if at first glance she looks like a pure, innocent girl,
   I wanted to create an image of her hiding inner strength and an unyielding power in the face of hardship.
   Even though she has a face exactly like Ludovica's, I wanted their personalities to be distinguished by subtle differences (the angle of their eyebrows or the type of their smiles), so
   I am paying attention to that.

△ 🌹

Q. The dreamlike, beautiful color palette and light direction flowing throughout the work draw admiration from readers.
   How did you plan your color strategy to determine the overall atmosphere of the webtoon?

A. Paradoxically to your question, the only regret I still have is that
   I didn't thoroughly think through the colors before the series launched.
   Because I was only focused on drawing an entertaining story,
   I lacked consideration on how to effectively present the work to readers with beautiful visuals.
   I realized the need too late and ended up trying various things even while serializing.
   Now, the direction I want to take is clear, so I'm giving variations based on the content of each episode on top of a basic framework.

   I consider it important to melt the type of environment, season, and weather where the characters appear into each episode.

   It's more efficient to finalize a post-correction style and use it repeatedly, but
   for the reasons above, if it doesn't match the mood I want to show, I frequently create new correction groups.

△ Is what I'm looking at really 2D... Phew- 😮‍💨

Q. In contrast to the dreamlike colors and atmosphere, the heavy scenes and directing created by your signature stark contrast also stand out.
   In most works, extreme backlighting or side lighting is used to create stark light and dark contrasts, but
   you sometimes show direction where the characters seem to face the light head-on.
   I thought the sharp shadow lines drawn in those moments actually evoke an even heavier atmosphere.
   Do you have any specific know-how regarding such bold use of shading?

A. For light expression, I imagine 2 to 3 types of directing in my head with the cut in front of me, and
   then choose and apply the one that better suits the scene.
    

   When I decide to use bold lighting, it's usually when I want to specifically illuminate a character's face brightly, or for the highlight cut of that episode.
   The intention is to distinguish it from other general cuts with strong shading to make the readers pause at that scene for a moment.
   Or I use it when long shadows are necessary to guide the viewer's gaze.

   I've added this and that explanation, but truthfully, in many cases, I quickly try painting different options and
   choose the directing that gives me the "This is it!" feeling inside, so if that's a secret, I guess that's the secret. 

Q. The diverse panel divisions and page compositions that add liveliness and dramatic effects to the webtoon are very impressive.
   Could you explain this directing technique that makes readers naturally immerse themselves in the story?

A. I first consider whether the emotions and rhythm will be properly conveyed to the readers.
   In terms of details, I keep in mind not to make less important cuts too large.
   Because the sizes of page manuscripts and scroll manuscripts are different, there are times when it looks awkward, and I sometimes completely re-edit those cuts. 

△ Comparing it to the scroll version, it has another kind of charm...🌟

Q. While characters' psychologies are described in detail through text in the novel, in a webtoon, this must be conveyed primarily through art and dialogue.
   What element do you consider most important artistically when it comes to psychological depiction?

A. I pay attention to facial expressions and colors.
   In particular, color tones and exposure significantly determine the meaning and atmosphere a scene provides.
   When it's difficult to express through art alone, I sometimes borrow the power of narration.
   If it's a scene where a character is heartbroken, I use the method of depicting the facial expression and then briefly writing down how it hurts, or
   what kind of pain it is. 

Q. When you directly bring to life the extravagant backgrounds, delicate costumes, and charming props that were left to the reader's imagination in the novel through your drawings,
   I'm curious what materials you reference and draw inspiration from.

A. The more references, the better. In fact, if I lack them, I can't fully immerse myself in the work, so I actively utilize image materials gathered through Google, Pinterest,
   and other websites.

   For characters, even main characters, if I draw relying on memory, there are always parts I get wrong, so
   I always keep character sheets and necessary photo references open right next to me.

△ A preeeeeccious costume sheet...👏👏👏

Q. When adapting the web novel into a webtoon, if you had your own adaptation ideas or devices to visually maximize specific scenes or character relationships from the original,
   what were they? 

A. There are some who encounter the story for the first time through the webtoon, but
   since there is an original novel it's based on, I tend to think about
   how I can deliver a new shock using the content the readers already know.

△ I don't know about that, but every moment is a shock.

   I proceed with directing and adaptation ideas focusing on this aspect as well.
   I aim to visualize it in the images readers might have imagined, while striving to create scenes that are neither too alien nor too plain. 

△ Crazy... This is crazy... 

Q. If there are scenes or episodes that weren't in the original but were newly added during the webtoon adaptation process, or conversely, scenes that you unfortunately deleted for the flow and directing of the webtoon,
   what was the reason?

A.  Cardinal Richelieu's past arc or the final episode of Season 2, "The Unfading Flower," are original episodes in the webtoon.
   I'm creating side stories focusing on characters where there's a need to delve a bit deeper into their psyches.

   In the case of 'The Unfading Flower', I used a lot of metaphors and allegories in the content, and
   it was a challenge to implement this so that it wouldn't come across as too abstruse to the readers.

   As another kind of example, there's the scene where Nora draws a portrait of Shuri.
   I wanted to draw material fitting for the romance genre! 

   I am carefully omitting scenes that might be slightly too violent to depict and handle through drawings in a comic.

Q. Are there any 'cuts' or 'scenes' in 'The Fantasie of a Stepmother' that you, Author ORKA, put the most effort into,
   or are particularly attached to?

A. The cuts where Shuri smiles brightly, the cuts where Nora's heart is pounding. The group shots where they appear wearing pretty clothes. 

△ Our shining Shuri 🥹

   I was also happy because the readers really liked the entrance scenes of the Neuschwanstein family.

△ Mom raised them well. 👏👏👏

Q. Is there any comment among the webtoon readers' reactions that was most memorable or gave you strength?

A. I'm extremely delighted when readers discover the symbolic meanings of each episode or the small Easter eggs I've hidden!
   Because they leave many poetic and deep comments,
   I spend my days feeling a sense of nervous tension, realizing that I'm presenting my work to such high-level readers...!
   Besides that, I read all the comments readers leave, and I draw immense strength from them every time.

   I love you🥰

[Outro]

Q. What kind of work do you think 'The Fantasie of a Stepmother' will be remembered as to you personally, Author ORKA?
   I'm curious what kind of precious milestone it will have marked in your creative life! 

A. Out of a decade where even rivers and mountains change, I've poured more than half of it into <The Fantasie of a Stepmother>.
   It's my first commercial work, my first long-form series, and a work that taught me how to
   strive anew every day to show better results to the readers.

   Since there is still a lot of the story left, it might be good to think about this reflection when the end is near!

△ They say there's a lot of story left!!! 🎉🎉🎉🔥🔥🔥

Q. If you were given a brief break amidst your busy serialization schedule, what would you want to do first?
   Even a small pleasure would be great! 

A. I want to pack a few of the books I haven't been able to read that are piled up in the corner of my room and just take off to a quiet travel destination...!
   Recently, I've also developed an interest in two-wheeled vehicles, so challenging myself to get a small motorcycle license would be nice too.

Q. Could you give a word of advice to give courage and inspiration to aspiring webtoon authors or artists
   who want to create beautiful art and stories like you, Author ORKA? 

A. I think the most important quality for a webtoon author is neither brilliant drawing skills nor flashy directing abilities, but
   the desire to tell something to the world.
   If you have a narrative harbored in your heart, you can take on the challenge. I cheer on all aspiring authors who are dreaming.

Q. I wonder if today's interview, for which you took out your precious time, came across as a special meaning to you as well, Author ORKA.
   Do you have any newly organized thoughts or feelings?

A. Looking back at the production process of the work, I realized anew what kind of times I went through and
   with what mindset I had been drawing this work!
   I feel like I'll be able to immerse myself in the serialization again with a freshly refreshed mind.

Q. Lastly, if you have anything you'd like to say to the readers who have loved <The Fantasie of a Stepmother>, please feel free to do so.

A. Even though you have as many options as stars in this era of content overflowing with things to enjoy,
   the readers who seek out and support <The Fantasie of a Stepmother> are
   the driving force that allows me to continue this work.
   I will diligently strive until the completion to show a good side that matches the love and sincerity you send.
   Thank you always!

Perhaps salvation is not something grand, but lies in each other's gazes and small laughter?
Thank you for joining us for this long interview! 🥰