https://youtubetranscript.com/?v=U9-wXJkM0Yw
are live, I guess. So hello everybody. We’re pretty excited to be here. As we start, I want to introduce you to Kord. Kord Nielsen is, of course, the artist for God’s Dog. So I’m really happy that he can be here. It’s been a long journey for us to come. Sorry about that echo. Oh yeah. I mean, it might echo because of the delay, actually. You might end up having to put on earphones. It may be. Or mute the YouTube and then at least have Zoom. Yeah. All right. Sorry about that. So we’re figuring this out. It’s actually the first time I think I do a live video with two people. And so figuring that out has been fun. As you know, my boomer status here. And so yeah, so like I said, Kord, it’s been a long journey. We’ve been working together. We’ve been through a lot. Kord is also a young father. You know, he’s had all these issues. He’s moved. He’s had all these things going on in his life. But here we are. We’re pretty excited. The crowdfunding has been stellar. Like, it’s just been taking off in a really exciting way. And as I mentioned several times, one of the purposes we have, one of the goals we have is that we can raise enough funds so that Kord can do this full time. And then we can start pumping out God’s dog books in a timely manner. So Kord, say hello to everybody. It’s good to have you. Hello, everybody. It’s good to be here. And so I wanted you guys to get a sense of, we’re definitely going to be more in the chat than we usually are in these types of things. But I wanted you guys to meet Kord and I want to tell a bit the story of how we started and just how it’s been to put this together. And so I met Kord, was it in 2018 or 2017? Like right at the beginning, wasn’t it? Yeah, it was very either late 2017 or early 2018. Yeah, so it was right when Jordan Peterson was kind of piercing before his book, before all of that. And maybe tell me, tell them how you, why is it you reached out to me, how that started. Do you remember? Yeah, so I was obsessed with Jordan’s work, and especially the biblical series. And I was trying to make a sort of like a research comic where I was trying to lay out all of his ideas and things I was learning about Genesis, etc. And I noticed a pattern in what was it? I was looking at the flood and the Noah story, and I noticed a pattern of the names of the fathers in the lineage from Seth and the lineage from Cain. And I noticed that those names were starting to become more and more similar the closer they got to the flood. Like from Noah’s father, grandfather, great-grandfather, and two volcanoes same, and their names were getting closer and closer. And I just thought that was strange. And I reached out to you to ask if this was a pattern you had seen. I don’t even really remember what your response was. But in a way, it didn’t matter what I responded because I just remember you saying you’re doing a comic book. And so obviously, I have a love for art and I’m always interested in meeting good artists. So I remember asking you about the project. And I think you even send me some images or at least there were some images available of what you were doing. And I asked you for a page and then I went to see the work you were doing. And I always had, I’ve been for years to be honest, like for years since 2010 or 2011, I’ve been trying to think of ways to get the God’s dog story out there. Matt and both of us, Matt and I. And so looking for comic artists, thinking of how we could do this. So I went on your website and there were two comics and they were both like a weird representation of a Jimi Hendrix song, but like in a medieval setting. And so one was like this kind of sorcerer character, like an alchemist in his lab. It was Purple Haze and he steps out of his lab. And there was another one that was with like these wolves in the forest. And to be honest, it didn’t really matter what the content was. But I really saw that the composition of the panels and the way that the flow of the story was going. I think there were just two pages each, but I thought, oh my goodness, this guy, he could totally do this. And so, yeah, so I ask you if you would be willing to read the screenplay. Yeah. I remember you said, I have a project that could be a comic book and maybe we’ll work together sometime in the future. And I just kind of put that in my back pocket. And then I kept working on this project that I was trying to work on and it was too big and it was driving me crazy trying to like write a research comic about Genesis. So I was like, forget this one, I’m going to reach out to Jonathan and say, well, I’ll do that book. And it was interesting because that one book that you were doing with the Jordan stuff, it was not, how can I say it? It wasn’t a visual idea, right? It was a more conceptual idea and your work is so good visually. Like it’s the composition, the contrast, the way that you put together the characters. That’s what’s really powerful about your work. And so it probably wasn’t the best thing suited for you, but God’s talk was definitely the best thing that was suited for your talent. So tell people like what, you know, when you did end up reading the screenplay, what did you think? Like what was your impression? The first time I read it, my first impression was this is way bigger than than I was expecting. And yeah, it was huge, but it was really rich. I can remember right where I was the night that I read it. And it just left a big impression on me. I knew that it was going to take a lot, but I really wanted to be a part of it. And so then you go ahead. I mean, we just basically that already, like right at the beginning, I remember you read it and you said, okay, you know, I don’t know what this means. Like, I don’t know exactly what this is going to lead to, but you know, I want to, I want to try this. I want to do this. And so obviously we realized that it would make no sense to fit this into one book. Like it would just be way too much. And so, and so, yeah, so we just started working it, cutting it into pieces. But it was mostly you that did that work. If I remember. Yeah, I just, I found, I found parts in the big script or screenplay that seemed like good places to break it up. And that would still feel like self-contained stories for each novel. Yeah. As close as we could. Yeah. And so, so that’s, so that’s how it really started. And I also had done like several drawings at the outset to, you know, cause at first the idea was to make it as a screenplay, but we really, we still did want a world build. So I drew all these characters and the scenes, the different, like, for example, there’s like this city of giants and there’s all these, these different characters. So I did these drawings, but yeah, but I’m not a con like, I’m not really comic book artists. I think I was looking through my, I was looking through my sketchbook and I found that I tried to do like about 10 pages of the story. But yeah, it’s not, it’s not as good as yours, Cord. Oh, that’s all I can say. I mean, it’s okay, you know, but it’s not, it’s not as good. It’s definitely not as good as yours. So I’m really happy that you were willing to do this. Well, thank you. Yeah, it’s been a pleasure. All right, guys. So this, this is your chance. Like I’ve got people in the chat, you know, I am really going to, we’re really going to, to be open to, to the chat this time. So if you have questions, if you have things that you were curious about, then, then, then this is the place. So somebody asks, will the VOD be posted? I don’t know what that is. Do you know what that is? What’s a VOD? So we don’t know what that is. So sadly we have no idea. And so, yeah, so the, the, the idea that we, we started working with was basically Cord worked on all the sketches, you know, he worked on, first of all, we laid out the entire book, like during, doing all the layouts for the entire book. And we even had, I remember, I don’t know if you remember, we had the idea that we should do the, all the books first, that we should do all the sketches for all the books first, because we wanted to have like a massive, like a massively coherent project. But man, that was just, it was just not reasonable. It was just too much. Yeah. And you had the better idea at that point. We had finished the first one and almost the second one. And you said, we’ve got to start this thing, because the second one could change depending on how the success of the first one does. And it was the right decision. So I started drawing pretty quickly. And here we are, I guess. Here we are. Yeah. And so the, the big thing that’s important for people to understand too, is that, is that the, the book, how can I say this, the story that we have, the screenplay. So we wrote the screenplay when we were very naive back, we started in like 2008, 2007, 2008. We finished in 2010. And we thought like, we’re going to send this to all these Hollywood studios. And, you know, we’re going to have this done as a movie, but that wasn’t going to happen. So it was requested, like it was recommended by a script scouting agency. And it was, it was like, it was requested by studios. We even tried to like send it to Mel Gibson, which just shows us how naive we were at the time. But ultimately it didn’t work. But in creating the process of refining it into a screenplay, we also had to remove huge amounts of story, like all these threads that were making it richer and more and fuller, we had to remove. And so, you know, one of the things we’d like to do, it depends on how well the book does, is to make this into even more than what it was before. That is add more of the threads together, make this an even more epic story. So this is something that we’re looking at doing. All right, let me see. I’ve got some questions here in the chat. Someone asked a technical question, will the signed pics of St. Christopher be signed on the back? And so I’ve had several people ask that. And I think that’s fine if that’s what people want. I don’t know if that’s really that that’s what people want. But I understand, I understand that some people said they wanted signed on the back so that they could kind of use it, you know, in their, as in their icon praying corner or something like that. So I’m not, I haven’t decided. For sure it’ll be hard to do like specifics for specifics people, especially if we’ve got like a thousand a thousand things to deal with. But but I’m considering it, let’s say, hopefully, you can always get an unsigned print, you know, if ever we end up signing it on the front, it’s also also a possibility. I think it’s like 10 or 15 dollars. So that might be it. And the the VOD question people are correct correcting is saying it’s video on demand. So I guess that means will this video be posted afterwards? Yeah, definitely. It’ll just stay on my channel. And so that that’ll be that you can just watch it later if you want. All right. So Christopher Simbersky asked, does the story swell out to the edges of the world and then snap back to the into the center? So the best way to really understand the way the story works is that it’s really about the relationship between the center and the periphery and the stakes of both and the advantages and the disadvantages of both and how they play on each other. And so you mostly have to understand it as scaling up of the same problem. Right. So it starts with a smaller version of the story where it’s like St. Christopher encountering these characters in the wilderness. And then it becomes something like I said on the with the Nicholas Cotar discussion in the last book, it’s going to be something like, you know, the Byzantine army fighting an army of giants, which I’m sure court is super excited about doing something like that. I think that that that scene particularly made me reach out to you and say, I don’t think I can do this at all. There’s no way that this will be done. But you you talked me into it. So we shall see. But it’s also I think it’s also something that we’re going to work up to. And so, you know, I think that also at the beginning, you obviously had to acclimate acclimate yourself to the characters, acclimate yourself to the specific style of the of the comic. And so I’m sure that by the end, when we’re ready, you’ll just be zipping through, you know, massive combat fighting scenes between armies of giants and with the Leviathan, you know, taking up some of that space. So I’m sure it’ll be totally fine. No, I yeah, I mean, I was being a little facetious. As I’m as we’re getting to the end of the book, and I’m finishing up the final pages, I’m actually starting to really get in the groove of drawing how I like to draw the book. I’m figuring it out. So I’m happy to keep going. And I think it will only get better. That’s for sure. It’s already gotten better from the first page until the last pages. You can see, like this an improvement in fluidity, you know, like you are the composition, I think is as good all through, but towards the end, you can really feel more fluidity in the the character. So that’s awesome. Thank you. And so someone asked, can you venerate the dog headed depiction? And so, you know, I would say that you should be cautious about that. It’s probably better to, to avoid it or to ask your priest, you know, your own spiritual authority, what they think of that, you know. So it’s a tricky question, because it’s a controversial icon. And so I would rather say no, ask your priest. And that’s the best way to, to deal with that. All right. Someone says, who are Chord’s artistic influences? And what are your thoughts on the future of the graphic novel medium for visual storytelling? The two visual influences that come to mind are Jeff Smith, who created Bone, and Mike Mignola of Hellboy. There are a few in there, but I really like, I don’t know, very, like visual graphic simplicity, strong black and white work with a lot of solid black ink shapes. As far as the future of the graphic novel medium, it’s funny, I’ve kind of pulled away from like the world of comics, especially in the last few years, I don’t follow a lot. But as a medium, I think graphic novels are, are, are great. I mean, they’re the net, they’re just shy of maybe what you could do with animation and film. But as I think it would be interesting more to focus on what kind of stories would be told in the future. And I think that’s a lot of what Jonathan and I are hoping to have an effect on with this story. Yeah, I think that’s really a really important aspect is that the way that we’re thinking about this is not only just about this story. And if you watch also my interview with Nicholas, you’ll see that we’re hinting at the idea that we really want to inaugurate kind of a new, I mean, it sounds arrogant, but it’s like a new era of storytelling. We want to, we want to give people the possibility of telling these types of stories, which is to unabashedly dive into our own stories, our own mythology, our own, you know, our own biblical world and, and do it in a way that isn’t, that isn’t flaky, that isn’t moralistic, but is just the celebration. Like the story, the story is really like an adventure story. It’s like, you know, it’s like Lord of the Rings or some, some other adventure story, but it’s a celebration of that whole kind of biblical lore and biblical world. And it’s funny that, you know, Cord mentioned Mike Mignola, which is, which was also one of the reasons why I really loved his work, because I appreciate Mignola, but not only that, there’s something about the, what we’re doing, which is almost like, almost like an anti hellboy is a good way to understand it, which is. I was thinking of that today. It was, it’s almost like, like if this God’s dog world gets expanded, it’s almost as if Mike Mignola believed in some of the stuff he wrote about, you know what I mean? It’s like, it has that heart, but then also it’s, it wouldn’t be cynical or ironic. Exactly. And so that’s what Mignola does is he dives into all of kind of these ancient legends and kind of esoteric Christianity, you know, and Arthurian legend and all these, these kind of medieval legends that exist in the West, but he does it in a way that like, like Cord said, is kind of cynical, materialistic. And also the character of Hellboy is a very, is a very disturbing character because he’s supposed to bring about the end of the world. There’s all this tension that’s there. And so our story is in the, in a similar world. It’s not exactly the same. It’s in a similar world, but it’s not, it doesn’t have any of the materialism and cynicism that you find. So hopefully we can, we can, yeah, I mean, that’s, that’s hopefully we can be part of that change, you know, and it’s not just us, like, like we’ve been saying, it’s about, it’s all, it’s about everybody, you know, we want to make it possible to tell these stories and so that other people can do it as well. All right. So let’s see some of these questions. So, so people are saying, so now the questions are really starting to, to, to kind of, so we’ve got a few super chats, I guess. So God dog, God’s dog exists, meaning wave exists, God’s dog meaning wave when? I don’t know, man, ask, ask the meaning way people, you know, they, they can, they can decide. So the golden thread for Fy Dala said, do you think attention from film studios might return after the books are published? You, you essentially have a script and a beautiful storyboard now. And so, you know, there’s a lot of stuff happening behind the scenes, you know, that you, that we don’t talk about a lot, but that is floating around. So if you look in the chat, you will see that Dirtpoor Robbins is in the chat and Dirtpoor Robbins, Neil deGrade is, and his wife and his group, they’re putting out a movie very soon. We’ll have them on the channel very soon called the Queen of, Queen of the Night, which is going to be a, a kind of fairy tale, black and white fairy tale story. And so we’re all in communication, hoping to create enough buzz around these types of projects. So something like God’s Dog, something like Queen of the Night in order to, to attract, or at least not even attract the actual studios that already exist, but to have enough energy to consolidate talents and people that are, that are around the industry, that are good and bring them together to, to, yeah, to reach that next level. Cause, cause things like Netflix, we can already see that the ideological bent of it is becoming so strong that the, the, the further we go in the future, the more there’ll be room for, for competition and for, and for better stories to say. So, and so hopefully, and so like, for example, Cord, one of the things we’ve been talking about is that at some point Cord would like to be more like an artistic director where we have several projects and he’s working on these different projects and we’re putting out different things. And so there’s a lot of stuff going on, you know, what you see is always the tip of the, of the iceberg. You know, I’ve been talking with Richard Rowland, I was talking to him today and he also has worked on several novels and stories. And so we’re going to take some time to look at them and see how they can fit in this, in this puzzle. But, but yeah, there’s, there’s a lot of possibility. There’s really no, there’s no limit to what we can do. All right. So Michael, Archangel said that the Byzantines really fight giants and it’s just hidden from the pages of history by the NWO. I’m sure they did. I don’t know. I don’t know the story though, but in our comic book, they definitely will be fighting giants. All right. So let’s see what we got here. I’m not really good at this. So Hellboy and St. Christopher crossover. Who knows? Now I have to draw that probably. That would be pretty cool. That would be definitely, that would be cool. It’ll be interesting to see how people react because it’s a, you know, I was thinking about it, Cord, like the first book is super Christian. I mean, when I look at it now, especially also because we, at the beginning of the story, we have this ancient hymn, this ancient hymn of Sanhedrin the Syrian, which is perfect because it talks about monsters coming out of the deep, you know, and the light shining on them and it’s perfect. And there’s like a, there’s one panel in the book, which, oh man, I wish I could show people right now. There’s one panel in the book, which I think is the actual synthesis of the entire story of God’s dog, that it’s at the end of the chant, it says something like, for we have found a savior, and then we hear a dog barking and the bark is like underneath that text. And I was like, man, Cord’s nailing it in terms of like the kind of the hidden symbolism that’s in there. Yeah. Well, it had a lot to do with, you know, listening to a lot of your work and then it was just all there in the screenplay, I think just in the subtext as I read it. So every page, every page that is in this book is pretty much exactly how it kind of appeared in my head the first time I read the screenplay. So it was all just kind of there as I was reading it. That’s super interesting. Yeah. And so what is the, because it’s, what’s interesting is that some of the things are explicitly there in the screenplay. And then some of the elements are really elements that you added, you know, like for example, the design of the sword, like there’s a design of St. George’s sword. And when you showed it to me, I was like, this is so obvious, like you’ve really totally nailed it in terms of making it this fractal symbolism. And so, yeah, so I mean, tell me a little bit about the, that experience of like, of going in and then seeing these images appear to you. I don’t know. It’s hard to explain. It just kind of happens, you know, this is, I mean, you could ask my wife about me trying to explain symbolism and it’s pretty much impossible. It’s, you know, it’s just more something that I see in my mind, but with the sword, just, it was pretty obvious to me that the handle and the pommel of George’s sword was the same as St. Simeon’s pillar with the light at the top and the snake around the pillar. And then at the base of the sword, which is, it’s also another image of the cosmic mountain. And at the base, I put thorns on the top of the scabbard and then below that hang the skins, the garments of skin. It’s basically like the image of everything that I drew. It’s just the image is like, and it was, it was even before that I drew that image of everything. It was implied in the story, like there was smaller versions of it that I had drawn, but when I saw your design for the sword, I was like, man, this guy, this is, I was saying I could not regret, you know, that it’s you who’s doing this. You beat me to that image of everything, but I’m glad that you did because I kept thinking I have to draw this because I have this image in my head and it’s this cosmic image of everything and it maps onto this pillar and this sword and everything. And then you drew yours and it’s like, okay, good, it’s been done. Now I can let that idea go. Because it’s not, like you said, it’s not like it’s my idea. It’s more, it’s the desire to kind of pull all of these threads together into one, into one, one place, let’s say. All right, so somebody asked how much of the story has changed from what was written 10 years ago? And so with the first book that you’re going to read, very little has changed. Almost, it’s almost exactly the story that, that is, that was there in the original screenplay, except for one detail. Unless I’m wrong, you can tell me if there’s another detail, Cord, but the one detail is in the original screenplay, we introduced the giants as characters much later in the story. So you see these giants, but you don’t interact with them as characters. And the one thing that we decided to do was to introduce them right away in the first book. And so now, so now in the first book, there’s, there are a few scenes where you see them. And then there’s finally a scene where you meet, you know, the important giants that will be there in the rest of the story. And this is something which now we’ve decided to follow through the other books as well. And so once, once we get through the hype of, of, of this, we’re going to go back into the second book that’s already started to be sketched, but we’re going, we’re going to interweave the giants more, let’s say in a fuller way so that they become characters all through the story. And I think it’s, it’s actually quite a, it’s actually quite a good addition because I didn’t tell you this Cord, but several people who read the original, like the full, a few people have read the full comic and many of them have said, oh man, that last scene when we see, they’re like, I want to see more of, of those. I want to see more of them. And they get really excited about that. Good. I felt the same way when I drew it, right, as I finished that last page, it gave, it’s that feeling of, oh, we need more of this. So it’ll be good. Yeah. And I think I remember you writing me and I hadn’t seen the image yet. And you said, you said, I think this is the best character introduced that I’ve done yet. And I was like, when I saw it, I was like, yeah, this is awesome. So that’s going to be great. And so somebody asked me, does St. Simeon bash giants and demons with a pillar? Now, met in a way, you know, but not, we’re definitely not going to see him wielding a pillar in his arms, you know. All right. Someone asked, okay, so this is a good question and this is awesome because, so someone asked why a palindrome for the title. And what’s awesome about the palindrome is that we obviously thought of it as a palindrome, but then cord made it into more than a palindrome. It’s like someone actually gave it said, there’s like an actual technical word for what it is, because it’s like, it’s both a palindrome going left to right, but it also, the G becomes like the, the last G becomes like the top G. And so, so yeah, anyways, but the idea is that this is, you know, when, when Matt’s here in his book and I, in the videos, we talk about the flip, you know, this kind of double inversion thing. So you have to understand that this is what this book is ultimately going to be about. And it’s, it’s about that in many ways. It’s about it even in terms of, one of the things that I’ve said, you might, maybe people haven’t paid attention to this, but one of the things I’ve said is that there’s something about the Ark, which is lowly. There’s something about the Ark, which is not something that is lofty. It’s a, it’s a boat full of animals. And that, for example, the, the Ark that was the, Dante’s comedy was written in a popular Italian. It was written in a popular way. There was like the most accessible to anybody. And there’s something about the comic medium, which I think makes it possible to create something like that. And I’m not saying we’re going to create something as awesome as Dante, but the desire to create something, which goes all the way to the bottom of culture, but is ultimately going to kind of hide in it, in it some of the, the highest mysteries, you could say. And so there’s a meta question about it, which is also, you know, the, the the idea of this kind of popular art form into something more precious. So there’s a lot of stuff going on in the, in the story that are related to this, this palindrome. I don’t know if you have some thoughts on that, Court. Yeah, to me, the palindrome also has that it reflects the margins to the center, you know, and that they’re, they kind of flow in and out of each other from center to margin, et cetera. And so, you know, it’s, it’s, it’s, it’s, it’s, it’s, it’s, it’s, it’s, it’s, et cetera. So even when I saw the title, I thought that it was a, which I think a good title is an encapsulation of a whole story. But the fact that the title was a palindrome just kind of reinforced that for this story. Yeah. And it’s not, and it’s also not something that it’s, it’s a, it’s a pun that has been made before, like we didn’t obviously didn’t make that up. But, but we were trying to kind of go as far as we can into the, the meaning of what that is and into the, because the idea is also that, you know, the dog is the upside down of God. And you, you’ve probably heard if you listen to, if you, if you listen to subversive people, you’ve probably heard them say subversive things about that and kind of make it into a joke. But yeah, so that’s what we’re going to do. But we’re going to turn the joke back, turn the joke back. All right, let’s see what else we got. All right, so let’s see. Okay, so somebody says, is the symbolism explaining book worth buying? How deep is it? And so I’ll be honest with you, like, Mathieu’s article is going to be enough to be, to have it worth being bought. You know, it’s like Mathieu hasn’t published anything since the language of creation and people don’t understand that the language of creation is like an, it’s like an ABC of what Mathieu thinks. It’s not at all coming any close to his capacity for thinking and symbolic thinking. And so what I’m hoping is that people in this text, which is going to be a text on the relationship between Samson and the cherub and the flaming sword, which is like, just think about that, it sounds awesome. So he’s, so that, just that text is going to be amazing and it’s going to be related to these things in the sword. So I’m hoping that people will be in the story because these things are all kind of in the story. The cherub, the flaming sword, the relationship between, you know, purity and excess. Let’s say the idea of too much purity and too much chaos, you could say all of this is now is being played out in the story. So that is all obviously is going to be awesome in itself. The other thing which is going to be added is I wrote articles on St. Christopher, which were written on the Orthodox art journal. Those articles have, were the most popular that, that have, have we’ve ever written. And if you write, you know, like the dog headed icon of St. Christopher on Google, that’s probably the one of the first, if not the first result that’s going to come up. But I wrote two, two sections of that article, but I never wrote the third one. And the reason why I never wrote the third one is because I felt nobody was ready for the things that I had to say in the third article. But now with everything that’s happened in the past few years with, with Lord of Spirits and all these things that are, that are, that are out there, I feel like now I can finally write that third part of the article, which will be in there. So apart from that, there’ll also be, of course, there’ll be sketches from Cord’s sketchbook, how he developed the ideas. There’ll also be my own sketches that I created, you know, 10 years ago, some of the drawings that for the designs and, and a whole bunch of other good stuff. But yeah, I definitely think it’s worth it. Obviously, if it wasn’t worth it, we also wouldn’t be putting it out. I don’t even know what are there other things that you wanted to put into the, because we haven’t yet put it together, but it’s going to happen very soon. No, no, I just look forward to putting it together. I think that there’s a lot of material to put there with my drawings, your drawings, those articles and that Matthew’s article as well. And there’s a lot of stuff too that we’ll be saving for later because we, when we wrote the screenplay, we wrote something called the, the God’s Dog source book. And the source book was basically going through all the different patterns which were behind the story. And so you could read God’s Dog, just read it in an hour or like, you know, whatever, an hour and a half and, and get the story and find it entertaining. But there’s a lot of other stuff going on behind the scenes in the backgrounds. You know, there are patterns that some people might not see at first, but so we wrote that as at the outset as a, as a kind of source book to kind of help people understand it. And so we’ll be injecting some of that in there as well. And so, so that will be probably be happening. All right. And so someone says, is Matthew writing other things at the moment? Yes, he is writing other things. He’s writing several things kind of at the same time, but he’s also, he’s also setting himself up in a, in a way he’s living, he’s moved away from the city. He’s bought some land, you know, he’s starting to, to do agriculture and farming. And so he’s really taking that route of, let’s say, getting ready for the worst, you could say. And so that’s also something that Matthew is dealing with. Lots of people asking for an animated series. That would be awesome. Like, I think that the style too is perfect for that. You know, I think that would be, that’d be wonderful. You know, I think that definitely, I think at this point, as we kind of see it develop, it would be better as a series and as a movie anyways. Yeah. Definitely. All right. So who did you write this book for? Are the secular folks going to hop on board with this, do you think? And so, like I said, when we wrote it, we submitted it to a secular script scouting agency and it was requested by Hollywood, Hollywood studios. And so the idea is that I think, I think the book is accessible to everybody. And it’s not, it’s, it’s definitely in the Christian world, but it’s not a Christian story in the kind of same way that we think, think that it, like I said, it really is an adventure story with character arcs and, and, and cosmic stakes and all of this. And so I’m hoping that both Christians and secular people will be willing to, to read it, you know. But I think that that might also take a little bit of time. You know, we might need to get our, our street creds down for, for a, for a bit before it really gains the esteem that I think it could have. But I, but I do really think that, that that’s possible. Jess Smiley, my friend, asks, shout out to Jess, by the way, he’s a great illustrator. He’s got, he’s made a lot of kids books and stuff. He asked what tools and materials and methods. So most of the book was drawn completely physically, pencil on paper, and then ink on paper, and then colored by Felipe Cartin, who we should probably mention too. He did such a good job. But then the final 20 pages or so were penciled digitally and then printed and inked physically, just using a brush pen and various pens. Yeah. So that’s why if you go on the, the God’s Dog, on the God’s Dog crowdfunding, you can buy original artwork. You can, you can actually get some of the pages because they’re, they were just drawn on paper, most of them. And so, yeah, and they’re great. I was very lucky. I have the best ones. Gordon was very kind enough to give me the best pages. And so I have those. I’ll probably be putting them up very soon. I just need to have them framed and then I’ll, and I’ll put them up. All right. Someone asked, Christians the way Lord of the Rings is Christian. So this is an interesting question because the thing about Lord of the Rings, which is interesting, but which is also a little strange, is that on the one hand, it’s like this fully cosmic, realized cosmic world that has, you know, all the kind of hierarchies and has different, all the different aspects of a traditional mythology, a traditional cosmology, but it’s not Christian. And because of that, it, it was able to be popular because I think if it had been Christian, people would have resisted it and reacted to it. But the gamble we’re making is in a way a bigger gamble. Like the gamble we’re making is that our story is fully in the Christian mythological frame. Like it’s completely in there. So it’s like, it’s, it’s all about, you know, the paradise and the, the giants and the angels and all these things that, and then some elements that we’ve, that are there in the Bible, but that we’ve kind of emphasized, like the garments of skin, for example, and other elements as well. And so this is the gamble we’re making. But I do think in a certain way, it’s so funny to say that, but I think in a certain way, the world is more ready for that now than it was in the time of, of Tolkien. And part of the reason why they’re ready is because of things like Hellboy and, and, and Neil Gaiman’s, you know, like Good Omens and Constantine and all these surprisingly very kind of anti-Christian or subversively, subversive stories using Christian tropes, they’ve set the stage for people to kind of understand stories in that world. Well, and you can just see it in, in the shows that are on TV right now on Netflix. I think that the world is so hungry for enchantment again. And you can, you can feel the longing in certain shows. Like my kids watch this one called Hilda, and it’s all about this sort of fantasy world. But you can feel that the creators, they want to believe so badly in these trolls and fairies, etc. And that’s just one example, you know. And so what if you do start telling stories that are enchanted and rich that from a creative entertainment standpoint, they make you want to believe in something, but it actually is something you can believe in? Yeah, definitely. So someone asked a good question. Someone says, are you concerned that explaining the pattern explicitly will diminish its power in experiencing a story? And so this is really, in a way, this is a risk. And you’re totally right about it. Now, the way that I see it is that we’re explaining it as a jumpstart mechanism. It’s like a way to jumpstart the machine, but there’s definitely a lot of stuff that will remain unexplained and that are unexplained. And if you read it, there’s a lot of stuff that we’re not going to explain to you. So it is just a way to jumpstart the capacity to see the value of it. And also, you know, you guys like here, like let’s be honest, like the people that are here, there’s something like, you’re kind of like the first, you know, the first, what’s that term they use? Like the people that perceive the trend first, right? The first triers or whatever they call them. And so there’s a way in which you’re like, you’re going to be this elite, which understands it more than others. But then if we’re able to make it gather a lot of interest, you know, by the time we have it in like Sunday schools or in schools or like in libraries or in bookstores, then those people won’t have those explanations. They’ll just have the story. Look, hopefully there’ll be enough of the possibility of that story for people to kind of to get it to the level they need to get it, let’s say. Early adopters, yes, that is the term. Thank you, Brian Bob. That’s the right one. All right, let’s see what else we got. Someone says, is it Christian the way Loris is Christian? Kaldor asked that. Yes, that’s actually a really good example. And you know, when I read Loris, I was super excited because I felt like, I felt like even when we wrote God’s Dog 10 years ago, at some point it dawned on me that like nobody was ready for the story, that people just weren’t ready for it. Like there wasn’t enough padding to make it happen. Like, I mean, I mean, I mean, enough padding there for it to land properly, you know, in the culture. But then when I read Loris, I felt like, oh man, this is great. Like this is actually showing me, giving me hope for what’s possible. And then since we’ve started doing it, it’s crazy that Lord of Spirits has appeared since we started doing this. I don’t know if you heard Cord yesterday when I did the discussion with Nicholas Cotar. He was saying, you know, he was sure that we had changed the story because of Lord of Spirits. And I was like, no, it’s just all coming together. Yeah, I did hear that. So that’s pretty amazing. Yeah, so everybody’s excited to be said, to be told that they’re early adopters and trailblazers. But I really think that, look, I’m being totally sincere when I say that this is the future, like not necessarily this book, you know, but what I mean is that the world is being re-enchanted. This is the future. And you know, we need to take place ourselves in it and we need to shine in it because there’s a lot of dark re-enchantment happening at the same time. And so we have to be able to present the best stories and the ones that are the most convincing. And so this story is in a way, it’s a kind of trick. It’s the St. Christopher trick because it presents a lot of, like it presents a lot of darkness at the outset, like a lot of strangeness and a lot of monstrosity. And then it leads people into a surprise, let’s say. So you’ll still have to be patient. The one thing I’m worried about, and I’ll say this publicly, is that, you know, because we talk about it like this, and I’m worried that when people get the book, they’re going to read it and then they’re going to expect like a full epic story. But it’s really just the beginning of the story. Like it’s not just the beginning, but it really is like the first chapter where everything, all the stakes kind of get set up, the characters get set up, you know, we meet all the different elements that are going to play themselves out. And it’s a little bit like a little microcosm, let’s say, of the bigger story. But it’s not the full story. So you’re not going to see, it’s important to understand, you’re not going to see armies of Byzantine soldiers fighting giants yet. There is definitely some conflict, but not that one yet. No, we found a way to work some action into this one too. Yeah, well there is a dragon, the giants are there, there is some action. But yeah, it’s going to be like a progressive, it’s going to be a story where it scales up, you know, and then the different elements are just getting bigger as the story goes. All right, and so go for it. The youngest age that the book would be appropriate for. I did my best to, I mean, let me put it another way. There’s a little bit of, you know, kind of blood sword action, but I try to stay away from anything too gory or too graphic. So I don’t think that it would be inappropriate for, what do you think, Jonathan? I think 10 year old. Like honestly, I think this could be read by 10 year olds. I think that under 10 years old, people, the kids might not find it interesting, let’s say. But I think starting at 10 years old, like when you have that capacity to tell the story. But there’s definitely nothing, I don’t think there’s anything inappropriate about the story. And there’s nothing they haven’t seen watching their cartoons or whatever. But there’s also other things for more kind of seasoned readers that are there in the background and happening at the same time. All right, so Santa Claus exists, God’s dog, Christmas special anyone. This is Andrew Komarami for two dollars. And so it’s funny that you say that because one of the future projects or one of the projects that I have that I’ve actually started writing a while ago, but that I kind of pause when I could see that God’s dog wasn’t yet going anywhere, is actually a kind of mythological version of the story of Saint Nicholas, where we bring, where we merge Saint Nicholas and Santa Claus together. And so that, if this goes well, like if this moves, like these types of stories are going to start flowing, that’s for sure. So if you see questions in the chat court, go for it. I’m just kind of scrolling here. Holly Fisher asks if I’m overwhelmed by the drawing yet to come. No, but I would like to be in a position to where it just doesn’t take so long because there’s a lot of drawing and I put a lot of effort into it and I love doing it. So no, I’m not overwhelmed by it. It’s just a matter of how well we do and what the future holds. Yeah, and it’s also, I think that one of the things that has made it overwhelming is also the fact that you were doing this, but you also had so many other things going on at the same time. So it’s like the weight of having a full-time job and having a new family with very young children. All of that just kind of adds to the weight of having to put a book like this out. But if we’re able to get rid of some of these obstacles with the crowdfunding, then I think, then it’s like, I mean, I don’t know if you can imagine it, like in a way this is my life, but like you wake up in the morning and it’s like, you’re just going to do the things that you love to do and you’re just going to sit there and you’re going to be able to have your mind free to think about the next panels and the next books and other exciting projects. So hoping we get there. Right now we’re doing okay. I think it’s like the third day, is it? And we’re at what, like 70,000, I think. Yeah, 75. So the higher we go, the more the more freedom it’s going to afford us. Because like I said, I’ve said a few times, I’m not taking any money on this myself. All of the profits we get are going to go to make sure that we can keep doing this, you know, and that means, Cord obviously means, Mathieu definitely needs to get paid. But for me, like with you guys, you know, with the Patreon and the t-shirt sales and everything, for now I’m fine. Like I don’t need more money. I’m just more excited about getting this. Like let’s do this. That’s what I’m excited about. All right, so let’s see what we got here. So someone asked, how closely does God’s dog follow the golden legend? And so there are some elements of the golden legend which are going to be implied, but they’re not going to be too present. There are a lot of things that are going to appear in the story as even like single panel things, which are going to refer to a whole bunch of stuff as the story goes along. And we hope that some people will be able to catch them. M asks, my artistic inspirations. I answered that before, but really quickly, Jeff Smith who created Bone and Mike Mignola. Those are the big ones. And then of course, there are lots more, but they’re kind of my two big guys. And it’s great because both of those artists, they have a kind of, especially Mignola, there’s something about his art which is not, I wouldn’t say that it’s iconic, but there’s something medieval. It feels like in Mignola’s work, there’s like a somewhat of an adaptation of medieval aesthetics into the comic world. And so that makes that influence very appropriate, you know, for what we’re doing. So yeah, definitely. So until like for now, it’s looking great. And the coloring too is awesome. So Philip Cartin, how do you pronounce Cartin? Is that how you pronounce his name? Yeah, I’m not sure. I think it’s Cartin, but I don’t know the pronunciation. Yeah, he’s been doing great. And he’s amazing. Yeah. So we also kind of, we kind of pointed him towards Mignola’s, that type of coloring, like a more tonal, moody coloring. And he’s been great. And I’ve had some professional artists point out how diverse the coloring is too. How he really takes advantages of the moods of the scenes, but also even the time of day where the scenes are. And there’s also a relationship, you know, between the time of day and the moods of the scene. And so he’s able to really kind of gather that into some really, some, there are some scenes that are almost like three colors, you know, and it’s like these intense contrasts. And then there are other scenes, but they’re just this like glowing, fully glowing daylight, you know, with all the details and all of it going at the same time. So it’s pretty exciting to have someone doing color that is so versatile. Yeah. Josh the Mover says, does Mane character grow beard? It kind of comes and goes is the best way to understand that, isn’t it? Not in the book, in this book, but in the full story, you’ll see beards come and go. That’s for sure. All right, so quick question. Sorry, go for it. I was gonna say someone wrote, have you thought of getting in touch with Ethan Van Sciver? This is Creeper Weirdo. It would really help with your reach. Look him up on Twitter. Yes, I am someone in contact with Ethan Van Sciver, but I think he’s a very busy man. He reached out to me like three years ago or two years ago to be on his channel. And then, then he kind of vanished. Then he reappears again and he’s like, yo, I can’t believe I dropped this and I’d like to do it again. And so, yeah, so if you know, if you guys tweet to him, like tweet to Ethan and say, we really want you to talk to the God’s Dog people. I got a message from him maybe about a week ago. I sent him a copy of the book for him to look at, but he hasn’t gotten back to me. So I’m hoping that happens. That’d be cool. What are you gonna say, Kord? Just Andrew K’s question about using this to bridge folklore to Christianity like Ivan the Wolf. And to me, a really good outcome of this project and whatever comes from it would be more people doing something like that. I’ve always had this dream of like, someone opens an animation studio just because they want to do like a beautiful rendition of The Princess and the Frog, you know, and just make that folklore and just bring old rich folklore back to life. And I think that this is sort of a gateway to things like that happening. And I would be really happy about that. Definitely. Like, it’s interesting, because if you look at some of the big IPs that have come out or these big properties that have come out in the past several years, you know, if you think of things, something like Disney did this series, I forget what it was called, but it was like all the princesses and all these folkloric characters kind of interacting with each other. There was that play in that movie Into the Woods that was like this dive into fairy tales and everything. But it’s all so subversive. It’s all about twisting and turning and flipping it upside down. And so I think that what we’re trying to do is to show people a way to, without ignoring that, without being naive, but to kind of take that thing and flip it back. And I think what Kord is saying would be awesome for people to kind of make very powerful and beautiful versions of our folkloric stories and even subtle ones, like very subtle and profound ones without falling in, without feeling like they have to make all the characters, let’s say, surprising, you know, in that kind of way and make it all twisty and stuff. Or make it steampunk or something. Yeah, exactly. Or some kind of weird play on it. All right. So it’s Saint George and the Dragon, but the prince is Saint George. Wow, we’re so awesome. It’s like, okay, yes, yeah, whatever, dude. We got it. We got that story, you know. And there are like all those types of stories. We got them. Now let’s tell the real story in a way that’s powerful and exciting. All right. And so Ronwood499 says, will there be a translation coming out? I wonder how the Far East would like it given their use of Christian symbolism and animation-oriented culture. I’m definitely open to anything. I just, I think we just have to go through things one step at a time is really the way to see this. So we’ll also see what happens. Like I think that, you know, as we get an excitement around it and if people can generate excitement and kind of get their friends to read it, get people in their church to read it, you know, all of this, if we can generate excitement, then we will also have offers which will appear with that excitement. You know, distribution authors, offers for translation because it’s obviously something which would be very difficult to manage on our own at some point. And so hopefully we can have enough power to kind of enter into distribution discussions with people without having to give up our creative rights or having to give up, you know, control over these characters and over the story. So, right. So Hamilton Provencha, it’s 15 one? I don’t know about that. It’s pretty precious. We’ll think about it, but those are ideas. Like those are good ideas. You know, those are good ideas. Someone says a teaser for book two. Oh, that’s an interesting idea. That’s an interesting idea. That’s an interesting idea, actually. So let’s see. It also depends on how much work we can get done before we print it, but that could be a funny little idea of having a four page, like a little, just a little fold up of what’s coming. Good call. Lucas Viera suggests that. Blue Herring says more writing from material. Yeah, we’d love that. I would love that. That’s for sure. So and the Saint Christopher print, that’s why I’m saying like, I’m not going to offer that to anybody else. And I’m actually that carving I’m going to keep for myself. I decided not to sell it. It was in a show in New York a few months ago. And I haven’t gotten it back yet from New York. But as soon as I get it back, it’s going to go in my office. I’m not going to sell that. I actually own none of my carvings, by the way, but this one I’ve decided to keep. And so when you get that print, then it means you you’ll have a you’ll have a pretty exclusive thing because I’m not going to sell it. And I’m never going to sell the print again after this crowdfunding. Yeah, so Ron Wood says, yeah, says 100k gold sketches from book two. Yeah, that’s what we’re thinking. Yeah. So, you know, Gagne, who, by the way, I know is you if you want to know, I know is the guy who’s been really helping me with understanding crypto and NFT and is helping me with my Facebook ads. And so he’s been doing an amazing job. I just I’m just really happy to to have him around and to be to be working with them. He runs a marketing company. He does he does great work. But are we planning to have interviews? I’ve definitely I would love to. But for now, like the crowdfunding is still two months. And so I really wanted to focus on the actual thing that we can do with you guys and with the people that are already following me and the fans and, you know, all of that to start off with. And then, you know, starting like next week, I’ll start sending press releases and try to to get into contact with other people that would be willing to talk about it. So definitely that’s probably going to be coming if we can get the attention of people. And so if you know of people that would be willing to interview us, if you have it, if if you know of channels that you that talk about comics or popular culture or Christian culture that you think are, you know, that are big enough, that are worth the the attention, then, yeah, reach out to them, tell them about what we’re doing, you know, so that if they ever do get an email from me, they’ll already have heard the buzz a little bit. Jane Simpson, yes, I think a 13 year old would like this book. Definitely, I think so too. Yeah. Golden Thread for five dollars says James Poulos’ upcoming book release should prove instructive for execution with respect to NFTs. I don’t know who that is. I will look at, I’ll look that up. I’m kind of lucky because I have some good people around me that are now that are kind of interested in crypto and all that stuff. So I did a, I actually did an interview with Vin Armani, which I haven’t put out yet, which is going to come out yet. Yesterday I was on Robert Breedlove’s Meaning of Money podcast, which will probably come out soon. And so it’s like all of a sudden I’m more surrounded by crypto stuff. So yeah. So now there’s a lot of questions. Yeah, they’re rolling in. They’re rolling in. So how large are the St. Christopher prints? They’re the size of the comics. We don’t want, first of all we don’t want them folded. We want them to be flat and then, and we want the packing to be simple so that it’s already so expensive. It’s like I, when I started looking into the shipping, I couldn’t believe how expensive the shipping was. And I, a lot of people in Europe especially are disappointed to look at the $25 shipping tag, but I really looked into it and I looked at what everybody else is doing. And that’s really the standard. So if we don’t want to lose money, we don’t have a choice, but so we don’t want to add on top of that other crazy stuff, which would be nuts. So I’m hoping like, I know people in Europe, like, you know, if you, the book is too expensive for you at this point, you can get the PDF at least, you can read the PDF, you know, and who knows, maybe in a year or so it’ll be on Amazon and you can buy it there, but there’s no, we don’t know, like we don’t know how that’s gonna play out. It might be, it probably may be a different edition, who knows. Right now we’re focusing on what we’re doing right now. Ron Wood says, 200k goal, also maybe some idea sketches for a Saint Nicholas Santa storyline. Yeah, I already have some sketches of that. I don’t know if, I don’t know if Court has seen them himself, but that’d be cool. It’s a great, because in the idea of the Saint Nicholas, so I’m, why am I giving you my ideas? Someone’s gonna steal it from you, but that’s what, I don’t care. I got enough, I got so many ideas, it doesn’t matter. So like the idea of the Saint Nicholas story is the idea that we merge the Scandinavian imagery with Saint Nicholas, and so we have a Greek kind of Christian character with a Scandinavian character, and then we go really into like the intense stuff, which is that, you know, there’s a really controversial character in the Saint Nicholas lore who’s called Swarthy Pete or Dark Pete or Black Pete, and so like my idea was to make him an actual Ethiopian person who was kidnapped by the Scandinavians, and so there’ll be this whole Ethiopian thread, because you know I love, you guys know I love Ethiopian Christianity, so like this whole Ethiopian thread would have been in this story of Saint Nicholas like in a Scandinavian setting, you know, becoming Santa Claus, so anyways, that’s the idea. So yeah, I mean I would love to tell that story. It’s also, I think, an epic story, not as epic as this one, but epic as well. Yes, the original artwork is hand drawn, so we’re offering pencil pages and inked pages, so at different tiers. Yeah, and so this is the chance to like own a piece of history, I’m telling you. Like this is gonna be, I’m telling you, like I really believe though this is like the outset of something that’s gonna change, like we’re at the crux, and we’ve been seeing it, like I said, it’s not just me, it’s the whole Jordan Peterson thing, you know, this whole kind of weird slew of 20-something year olds that are suddenly going to church, that are suddenly being curious about their Christian roots, you know, all of this is happening, you know, and and so this is part of it, like we also need stories, and so you know, I do think that yeah, I don’t want to toot my own horn any more than that, but I think that it’s definitely a good investment to buy Cordes Art right now. Chris Pearlberg asked a good question, does graphic novels have a particular strength for telling this story? And to me it does, because as I was saying to Jonathan earlier, when the symbolism for me, it’s about images, they kind of map onto each other, so like Saint Simeon’s pillar visually maps onto Saint George’s sword, and visually maps onto the hill of the Garden of Eden, and Jonathan’s image of everything, and there are a few places in this book where I took advantage of that, and kind of visually compared images of some of those things to kind of hit that on the nose, that they were symbolically linked, I guess you would say. Yeah, that’s what’s amazing about a graphic novel, is that you can create a kind of visual poetry by creating rhymes, you can create visual rhymes, like I’ve talked about this in terms of church architecture, where in a traditional Orthodox church you’ll have all these different icons up on the walls, and in the way they rhyme with each other, and so you have let’s say an image of Christ as a child in the eastern wall in the apse with the mother of God there, then on the western wall you’ll have an image of Mary who is dying on her deathbed, and so it’s like that type of, so it’s like the raising of the sun, the setting of the sun, all this imagery, so in a graphic novel you can do the same thing, which is that you can create rhymes of images, and so like I think it’s awesome, and I think Cord really has an intuition for it, and you can see it when you’re going through the book, like that’s what I’m saying, you can just read it and not get any of it, but if you pay attention you’ll notice that there’s already these rhymes, and these rhymes will increase in crescendo as we move into the next books, because some of the the rhymes that are there in the first books will now repeat in further books, and there’ll be this play of imagery that’s going to happen, so I’m really excited about that. To me, like graphic novels have a lot of potential in terms of symbolic storytelling, and there are very few people that have been able to use it, and the people that have, let’s say like Alan Moore for example, like he’s definitely been able to use that, but just for very subversive means, right, he’s definitely the anti-God’s dog, and he also has this list, like his Constantine character, right, from Swamp Thing is exactly what we’re dealing with, it’s like this Christian lore, Christian mythological world that he lives in, but it’s completely dark and completely cynical and completely nihilistic, but we’re going to set up a world like that that isn’t nihilistic. Right, right. Someone asked if I had seen the Green Monk book, The Blood of the Martyrs, and I did right as I started drawing this book. Literally have it on my desk right now. That’s so good. Yeah, I’ve got it on that bookshelf over there, and when it came out, I bought it immediately, and I thought if I could do anything close to how great this book looks, I would be very happy, so yeah, it was an influence for sure. Yeah, yeah. I’d like to meet him, the artist, I don’t know if there’s a way to talk to him, like I really… I think I know some people who know some people who could get in touch with him. Yeah, let’s get him on the channel. I’d like that, that’d be cool. All right, let’s see what we got here. So that Saint Nicholas story sounds amazing. Something I have not yet figured out draws me to Saint Nicholas and Saint Christopher. That’s good. They’re great saints. They’re good saints to have now, for sure. So Sword Master X, in some of the preview panels, like not everybody’s seen these preview panels, but patrons of mine have seen these previews, says, we see the adventuring party singing hymns. Do the particular psalms reveal parts of the story? So that particular hymn is the story. That hymn encapsulates pretty much what the story is about, but like I said, the way that Chord did it makes it even more about what the story is because you see this barking dog, which is interrupting the hymn at the same time, which we had put in the screenplay, but when we wrote the screenplay, we didn’t have the actual hymn. We just had the idea that there would be singing a hymn, but we didn’t have the actual hymn. And I don’t remember who it is that decided on this. If it was myself or Metzier, was it you, Chord? I don’t remember who it was. No, it was probably me. Yeah, so it’s probably me who decided on the hymn, but it was just so perfect. It just really has all the story in it. So yeah, that is Saint Ephraim. Can you go anything wrong with Saint Ephraim the Syrian? He basically wrote, he’s behind my image of everything, and the whole image of paradise comes from him. So yeah. Yeah. All right. And so I don’t know, I think we’ve probably, it’s up to you, but I think we’re good. We’ve been going for about an hour and a half. To me, that’s a pretty good stream. I’m not a three hour streamer. So guys, I would just say, go back, God’s dog. There are plenty of ways to do it. There has been some confusion with the add-ons at the outset, but now if you want to add anything on, you can do it right from the first page. You can just get whatever you, if you already bought things, you can now go back and buy other things. From the outset, you can also buy packages of books to save on shipping. I’ve reduced shipping on three or four books because I know it’s frustrating to buy one book and have to pay the total shipping for each one. And so yeah, so there are different ways to do it. We’re really excited about where we’re going. We’re excited about where it is, but we still, obviously we know it’s going to slow down now, but we need everybody that is excited about this to keep the hype up so that we can continue on. And yeah, why not make it to a hundred thousand or two hundred thousand? I think by now a hundred thousand, like I just, I feel pretty confident we’re going to make it at least there, but why not two hundred thousand? And then, and then, and then just, just, yeah, then turn on the faucet and just start, start pumping out culture. So thanks anybody. So, Court, is there anything you wanted to tell people before we go? Just I’m very grateful. Thank you. I mean, I’m grateful for the opportunity to work on something that I think is really important and I’m just shocked and very thankful for all the support that we’ve got so far. And it’s, there’s something too about like this idea of synchronicity and all of these elements kind of coming together at the same time, you know, in a certain way, if you think like, it’s, it seems so odd when I, when I consider that, you know, I wanted to work with you based on two pages that I saw on your website. And, but it’s like, I don’t think we could have had a better artist in the situation. Like, Mathieu also couldn’t believe it. Mathieu kept saying, Mathieu kept telling me, this is exactly what I saw in my mind. Like, I don’t know, where’s Court, how is it that Court is nailing it in terms of the characters, their movements, you know, their dynamic. And so, yeah, so we’re really excited about that. And, you know, all the, all this kind of excitement about Lord of Spirits and about giants again and about, you know, monsters, all of this is there. So, you know, like 10 years ago, most people didn’t even know about all these time traditions, but now it’s like, it’s kind of coming out and it’s back out there. So, everybody thanks you for your time. Go, go, if you haven’t yet backed it, go back it. We’re really, excited to see where we go with this. And so, thanks everybody. And yeah, stay tuned for more videos. I am putting out another video probably tomorrow, which is now going to be, you know, I’ve talked about Saint Christopher just a little bit here and there, but now I’m actually putting out like a half an hour video where I’m going to really dive into the symbolism of Saint Christopher himself, you know, kind of based on the articles that I wrote, but a few more things in there as well. So, stay tuned for that everybody. And so, bye-bye. See you soon. Thanks guys.