 We have many, many sessions working together on Zoom, which is a video call software. And we go over whatever the stage is. That's Xanthe, Matt, boy up there. That's my brother Alexis. And this moment there was actually Matt was finishing the last page of one of our books while we were talking right there. This is why we're all so giddy. This is Alexis and I work. We script together and we're so we're on Google Drive all the time. And there'll be times like this where I'll be typing on a particular scene and suddenly his cursor appears and a paragraph starts appearing above mine and we're actually working together. It's kind of an amazing thing. Then I take the script and thumbnail it. The thumbnail stage is a really important part of making a comic. And so you can see on the on the script page, I'm breaking down what are going to be individual panels and different balloons. This is a time lapse. What you're seeing here is very much accelerated. It takes everything takes a lot longer than what you see here. So then what happens is my thumbnails go to the art team and they each pencil different scenes. And it's a very unusual thing. But if you read the pencil all the way through, you'll see three different styles of the characters. So what you're seeing there is Boya at work. And again, this is time lapse. It's sped up. You know, this might be two pages might be five hours of work at this stage alone. Right. So graphic novels, if you don't know this already are beasts. They're labor intensive. It takes a lot, a lot of work to produce one. But if you love what you do, you're willing. So this is Boya penciling in. And then this stage is all done. They're all working. All the three of them are working on synthetics in layers. So sometimes you can see my pen. My thumbnail will be underneath there in gray. And so that first pencil, there'll be sometimes some of this kind of shading just to get a basic idea of the lighting. And like I said, you'll see, you know, some of the pencils will be done by Boya, some by Matt, some by Xanthe. And then sometimes depending on what's needed for a particular scene, you know, they have different strengths and they'll go back in and kind of tweak things on each other's pages. And before you know it, you don't know who's done what on these pages, or I don't anyway. Sometimes at first when we started, actually it was much easier to tell them apart one from another. And now I have a harder time. I say, oh, was that a boya? And then Matt does all the inking. So that's when everything kind of comes together and feels more unified. It has one voice visually, if you can say that. And on this one, this is a flashback scene in book two. And so these are actually going to be soft panels. They're not hard lines. They're soft panels. And the flashbacks also have a kind of visual code. They're done in a limited palette. They're almost monochromatic. So you can see that Matt is inking the balloons first and tweaking them as needed. And then, you know, as we go, we're working and reworking the dialogue. So there'll be adjustments all the way through sometimes at the very end, even on like balloons placement or size. And that's the advantage of you can see on the right side how many layers there are on this document. It becomes a huge document in time. So that was the pencil you saw before. So Matt is inking a boya pencil. And it's a flashback with Una when she was little, if you've read Five Worlds. I know one person has. And everything you're seeing, this is the fruit of many, many, many decisions and a lot of thinking, a lot of planning. You know, we know that we're on a particular world called Mondomani, which is the mother planet of the Five Worlds. And so there's a history to it. There's a certain style of architecture. There's different classes here. We're in the upper classes. And then Xanthe comes in for the key color. And that's one of the things that's really amazing when you explore, when you read Five Worlds. You'll see the color, her color palettes are very unusual. It actually took me a while to realize that we were done with Book One, in fact. And I realized, hey, you never use any white. There's no white. And that's because on this world, the light gives a kind of a creamy, warm palette, right? And so the only white is in the balloons, but it's going to be different on the other worlds where the light is going to be different yet again. So this is, and you can see it's not perfectly cleaned up, because at this stage it's really just laying in the basic palette. The blue people come from the world called Toki. And as you can see, they're doing the menial jobs here. So then all along while this is happening, I'm laying out in software called InDesign, which is a layout software. I lay out the dialogue. And for me it's magic, because at this point I open up my document every morning and I see these pages get updated magically. And this was from Comic-Con, a little spoiler teaser glimpse of Book Two. So now we're on the world called Toki, which is a totally different mood, different feel, different architecture. This is a little glimpse of the world called Salah Sandra, a bit Tibetan-inspired. And that's a little Uno in a flashback. So there you go. That was a little glimpse.