Setting: Location Inspiration

By: Jason Collins

for the city:

the developing modern scenery blends almost seamlessly into the lush forest from bird's eye view. from the ground, however, the transition is a bit more harsh.

Brazil seems like the closest to Sylvan to me... ancient, yet new, growing yet deeply traditional. city folk stay in the city, unless they need to do something other city folk dont need to know about, or buy something most city folk dont get to buy. all the privileged city kids would die to see the outside, until they get to see the outside, then they realize they dont want to die.

and, for the temple:

natural grandeur, a sense of meticulous order, extreme isolation... the stone may be cracked and obviously aged, but the structure is as solid as the mountain

The Pack

The pack are the heart of the tail story. They represent the disenfranchised and orphaned youth who live in the slums of the Sylvan kingdoms common quarter.

Jay, Finn, Rich, and Burgh have been friends for as long as any of them can remember. They've been together on the streets all of their lives. They have a knack for finding their way into serious trouble and a talent for barely finding their way out of it.

They are one of the cities most underrated crews of grafitti writers and are always trying to earn the respect of their piers. However, their notoriety is slowly beginning to grow with some of their recent stunts.

They haven't joined up with any of the local gangs, but they do associate heavily with Fort Foxx and his revolutionary group. Still very young, they're not too deep into the politics that drive Fort's revolution. But the jobs and tasks that fort offers them feeds their desire for thrill seeking and mischief.

Each member of the pack has a valuable quality they bring to the group. Together the pack are a unique force to be reckoned with.

If only we could get them to take everything as seriously as they do their grafitti........

Lord Malekk Blueclaw

Malekk Blueclaw is the oldest living member of the Blueclaw bloodline. The stern look on his face tells the story of a thousand battles and the victories of a seasoned war veteran. He is wise and has a sharp sense of duty and honor. Loyal to the Sylvan crown, he serves as the Kings military advisor as well as his mentor on day to day matters.

The only thing that overrideds Malekks dogmatic sense of duty is his immense love for his three children. Just after his youngest son Cruegers birth, Malekks wife was killed in battle. It seems as though Malekk somehow blames himself for the death of his wife and that guilt has fuled his love for his children.

A wise advisor in political matters and a loving father, Malekk is still a warrior at heart and that aspect of him spills over into all portions of his life. He is especially hard on Crueger because he see's great potential in him, although he would never openly admit it to crueger. Malekk raises his children to be warriors with tough love and wise words.

Malekk wears the legacy of his bloodline like a badge of honor on his sleve. He is considered to be the most knowledgable on the history of the Blueclaws, and is often reciting fact to his children to remind them of who they are. He has a calm exterior and a very refined demeanor, but during times of combat Malekk is often leading the charge and the first to strike.

Humble Beginnings

Oldest known sketch of the original Tail characters,1991 by Jason Collins.

This project now known as the Tail formally Ninja Force, was originally conceived back in 1990. Not by an ambitious collage student perusing his degree in literature, but a 3rd grader perusing and entertaining afternoon playing in the woods. This classic childhood ritual of role playing soon developed into a cast of comic book characters. A constructive (and attention getting) hobby for any 10 year old. Over the years characters developed along side the young artists skill.

Still the Ninja Force, 1995 by Jason Collins.

Speaking from my personal experiences, looking back at this concept, I've come to realize a lot of things about childhood and what it is in the creative mind. Most importantly I realize, back then there was no established restraint against creativity. By restraint I mean the techniques you learn from art class, collage, or work. As a child then and now I felt like an ambitious artist. Where I grew up, there was little to no access to artistic venues (and there still isn't). Nowhere for a kid serious about cartooning to get exposed to artist, methods, or history about what it is he wanted to do. Nevertheless I taught myself (along side a close friend) cartooning, sequential art, and animation.