Author has written 64 stories for Disney, Calvin & Hobbes, Family Guy, Phineas and Ferb, Futurama, Looney Tunes, Transformers, Elder Scroll series, Hobbit, Mario, Halo, Guardians of the Galaxy, Mass Effect, Downton Abbey, Lord of the Rings, Sam & Max, Scooby Doo, Fallout, Kung Fu Panda, Zootopia, and NCIS.
I'm a cartoon guy, but that doesn't mean I don't like other things. The canons I write therefore, tend to be somewhat varied; however, all of them have a very specific tone and goal in mind. My stories are usually darker than most, tackling mature themes and dealing with somewhat realistic scenarios in the hopes of bringing humanistic qualities to non-human characters. The reason for this is out of the principle belief that comes through in all of my work, both fan fiction and original, that cartoons, and animation in general, but specifically American animation, can be so much more than it currently is. That being said, even though my stories are dark in tone I am not completely without feeling as my comedies, especially the earlier works "Welcome to Disney World" and "Learn to Fly: The Story of Jose Carioca, His Friends, and a Naturalist" both of which are in the Disney fandom, showcase some of my comedic side. Granted, neither of these stories reflect my current writing ability, but they are still prime examples. More recent examples are "On Top of the World", a redux of WDW; and "Standing at the Edge of the World" for a dark comedy.
I am going to be blunt here, I don't like a lot of romances. The reason for this is because all romances tend to follow the same story structure and pattern and I find that to be incredibly boring. I am not going against these types of stories, for there are some people who like them, but they will not be something that you will ever catch me writing. The exception to the rule however are tragic romances. To be clear, in my case these type of stories don't focus on the romance in its entirety, the romance often serving as a small piece of a much larger, and frankly more interesting plot. Tragic romances are chiefly character driven, just like regular romances, but because they are tragic in nature the reader needs time to build a strong relationship with the characters involved, which is the reason why the romantic aspects are often downplayed in many cases. See "Stockholm Syndrome"; "No Vacancy"; and "Welcome to Disney World" for good examples of this.
Read it again.
Most of my stories, specifically the ones written within the last year (2015-2016) carry various degrees of overtones and undertones. These pieces are designed to make the reader think beyond the content and instead focus on the ideas that the story presents.
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