Corey Aaron Burkes's Blog

These are some odd and unusual days. Trump back in office, missiles attacking Iran and the feeds all worried about World War 3 notwithstanding … it looks like a DesktopEpics Production is beating the odds and having a measure of success. Naturally, at times of crisis. You may have remembered I said things seem to loosen up for me when the world is in bad shape. 9/11 … credit score shot up unusually high. Covid … bought the house, was able to shoot Predawn. World War 3… Rkaydz is averaging is 50-75 views a day. 2800 views since starting May 6th (today is June 25th) and as of this morning 32 subscribers.

To put it in perspective, DesktopEpics forgotten YouTube channel is steady at 19 subscribers and I’m fairly certain that’s friends and family. 70 views since 2021.

Lets be real for a moment: Rkaydz is all about video games. A topic that I happen to know and love passionately. It’s not original material that people don’t know. It’s a billion dollar industry and Rkaydz is just reporting and having fun in it.

Which, of course, was all part of the plan. And it all got fleshed out this year.

But Rkaydz actually started in the late 90’s. It’s mentioned in the Season 1 episode of the Rkaydz Museum here:

In a nutshell, mid-to-late 90’s I did a video game expo / museum concept in Valley Stream New York utilizing a veterans lodge off Merrick Blvd. The idea was to do a micro-comic con but for video games. It was a different time and definitely no social media. Very few people came but it was something wonderful. Wish you could have seen it. No one took pictures (so annoyed).

Also no world crisis — so of course it failed. lol.

Flash forward to February of this year. My wife and I went to the international car show in Atlanta, Georgia. Never had we been to a car show that sucked so bad. Mostly all American cars. Nothing exotic. No concept cars so we walked out and wondered what to do next. “Oh look. There’s a video game expo happening in Augusta!” So we took the two hour trip to a veterans lodge where it was shoulder to shoulder packed with vendors, gaming folks and everyone just having a good time.

This was what Rkaydz was originally supposed to be by in the 90’s. Maybe a bunch of tweaks here and there … but the gathering was the intention.

Now, there are expos and video game events almost everywhere all the time. Personally, I can’t say I approve of the quality. These micro expos are starting to look like a hodgepodge of crap on tables. Just cluttered vendors in order to get vendor-table-fees.

So, I say to my wife … maybe it’s time to bring back Rkaydz and do it with style. I start looking into vendor spaces. Some owned by complete assholes in Dacula and Covington, GA that can kiss my ass. Some in other locations around the state that would be absolutely wonderful to work with.

But when I took a step back and looked at the trajectory, I had to remember my failure in Valley Stream, New York. How only a handful of people came through.

How I only have 71 views on DesktopEpics YouTube Channel.

So I did a hard stop on creating an Rkaydz Expo and made the decision that it was important that we get an audience first.

I needed eyeballs FIRST and then direct them to an eventual expo or event.

So, since Rkaydz was a museum motif anyway, I pitched the idea to Liam Bradbury — my man from the UK that always delivers the best soundtracks — and literally slapped together the first episode of Rkaydz in about a week with the first gaming device I had on hand: the Nintendo Switch OLED

I say “slapped together” because I had the ‘idea’ of what I wanted, but by then it was just sketches on paper.

The key thing is I wanted a classy intro and even more importantly I wanted to put the ‘entertainment’ in from ‘DesktopEpics Entertainment’.

Coincidently, the world of generative AI was improving and fuck everyone who think’s its a problem. To all you ‘AI Slop’ motherfuckers, kiss my scrumptious left nut. I am a supporter of generative AI coming from a whole world of film industry exclusion. I’ve been there. I’ve experienced it since using 16mm film. It’s expensive. There are assholes up and down the rank and file of who you need to work with you. Even during Predawn, I got fucked over so many multiple times I feel like crying when I think back on it.

Generative AI is leveling the playing field. So fuck off.

Having said that, it needs time to improve. There are things I wanted to do (like improve the effects in Predawn) but the industry isn’t there yet. Almost … just not yet.

The intro, except for two gaming consoles, is all AI.

Like anything new, you just have to dive in and work it out as you go. Ten episodes, twice a week, was built on the fly. I called it a season by episode ten because I noticed the audience building and I wanted to take time to assess and make corrections to the show.

All the pundits will tell you taking a break on your growing YouTube channel is a death sentence BUT … being that I was accustomed to not getting views int he first place, it didn’t matter to me. The most important thing to me was creating structure and consistency. I’m of the old school television where there were set numbers of episodes a season, an opening, middle and ending of a show and the concept is working.

Besides, Rkaydz wasn’t completely off-the-air. I wanted to figure out generative AI and got down on Google VEO, Higgsfield AI and Kling to try to bang out a process and a new series that provided video game news (Rkaydz Newswire)…and for better or for worse, it’s taking off.

You gotta understand: at the time of the writing of this journal entry, it is June 25th. The show started May 6th. According to Liam, based on stats he’s been calculating, the show/channel is on track to do big numbers before the end of the year and we’re just getting started. Eyeball gathering is achieving.

Even better, it’s getting me toward this place where I can bring generative AI into a DesktopEpics Production short film space the more I tinker and prototype the flow in newswire.

For the people who have an issue with AI, I simply don’t care how you feel about it. Between ChatGPT to Google VEO, I got more work accomplished by using these sources to fine tune and create ideas than I did spending thousands of dollars hiring, getting fucked over and the stress of dealing with flakey people. Things you pay for either never arrives on time or at all. People, in the big picture of things, suck ass.

Let’s be clear, I DID worked with some really great people. The cast of Predawn and  Self-Rising Flower are irreplaceable. I still work with Liam Bradbury.

But to cherry pick those few out of a tidal wave of other assholes is walking by faith and not by sight — and I’m sorry, I lost too much money and time. Never forget that cocksucker prop maker that took my money and never sent the prop weapons for Predawn. The cunt casting director that forced me to cast the film myself at the start. All the fucks that wanted to I can give a laundry list of assholes that weren’t part of Self-Rising Flower. On and on and on. Money lost and nerves fried.

If I had to shell out money to produce what I did in a month for Rkaydz, the intro alone would have been $5k conservatively: hiring the camera crew, lighting, sound, casting the actors/actresses who may or may not want to come to shoot, renting the space….and you already know I’m closer to $10k.

The intro cost me just a subscription to Kling: $60 and my iPhone.

…and an audience is growing.

So … yeah. The math is mathin’.

Edit: A few hours later …

Later in the day, I’ve been feeling I may have given the impression that I am now against working with people on future film projects. Reading this blog post, you can get that absolute feeling.

I’m just against working with assholes — and I have tactics to weed the scum out these days and a plan-b generative AI if all else fails.

As a matter of fact, there is a coming project that requires a regular cast of actors. I’m learning the generative AI can be used as a secondary tool — a handy ILM, if you will.

But working with actors, voiceover actors, sound recording, lighting is not off the table whatsoever. Humans are essential.

I just have to make sure the RIGHT humans work with me.

Yeah, you’re saying that’s always how it’s been.

You obviously don’t work in the film industry.

This is exactly why most every project hires the same people they worked with before, because you sorta-kinda have to weed them out by working with them in the first place.

Since there’s an over-abundance of fools out there, it’s a warm and fuzzy feeling I have knowing generative AI is there to fill in the deficiencies.

The post Rkaydz – The Resurrection of an Idea appeared first on DesktopEpics Entertainment.

I skipped last week’s journal entry, and for good reason—I was writing. Not just the Self-Rising Flower novel, but also two other story concepts that came to me over the past couple of weeks.

Actual writing.

Not talking about writing. Not posting online about writing. Just doing the work. Paying the dues.

I remember an online acquaintance who claimed to be an author. She posted multiple times a day about her life, random thoughts, and writing process. A nonstop stream of updates flooding my timeline. Eventually, I asked her when did she have the time to do any writing for her books. She said she could “multitask.” Years passed, and nothing ever came out.

This is the problem today—people think marketing means posting constantly, even when they have nothing to show for it. And for some industries, that makes sense. If you’re a chef, artist, or DIY creator, showing your process keeps people engaged. But writing? Writing is different.

I can’t justify pouring energy into blog posts and social media content under the guise of “building an audience” when that energy should be going into the book or script itself. There are tradeoffs, of course—I don’t cultivate followers, but I finish my work — and it always seems like i’m putting something new out.

Plenty of people will argue against my way of thinking, but I prefer to let my work speak for itself.

So no, you won’t catch me making skits, pulling stunts, or performing like a circus act online just to hawk a book. The worst you’ll see from me is posting about how much of a stupid f*cking idiot Trump is and how his entire administration should be removed and burned.

But even that, I try to keep to a minimum.

Meanwhile, Self-Rising Flower is progressing well, and I’ve blueprinted two new stories. Not to mention Cellphone Problem is actively in production.

More work. Less bullsh*t.

Back to it.

The post More Work, Less Bullsh*t appeared first on DesktopEpics Entertainment.

Welcome to the second entry in my writing development journal, where I’ll document the process of adapting our podcast, Self-Rising Flower, into a novel. Whether you’re a seasoned writer or just beginning to explore storytelling, I hope this journal inspires and offers insights into the creative journey.

My Writing Process

When I begin a story, it starts with rumination. I sit with the idea for a while, asking myself: What do I want the reader or audience to feel when it begins? When it ends? From there, I begin crafting a synopsis or treatment, often starting with: “The film starts with…” or something similar. It doesn’t need to be rigid; the goal is to capture the broad strokes of the story.

Once I’ve run through a few iterations of the plot, including key points I feel are critical, I create a blueprint that aligns with the medium. If it’s a film, I don’t box myself in with traditional “acts.” Instead, I focus on the situation and how to tell a fluent, engaging story. For novels, I break the blueprint into chapters: Chapter One, this happens; Chapter Two, that happens, and so on. This process helps me stick to the path I’ve laid out, minimizing the temptation to constantly rewrite and extend the project unnecessarily.

Blueprinting is crucial. Once the story’s skeleton is finalized, you stick to it and finish the whole thing. People often evolve stories mid-way, but this can prolong the process endlessly. You’ll always find a reason to add to a story without finishing the original draft. It’s fine to allow evolution, but major changes should be saved for sequels. Develop the story, finalize the blueprint, and stick to it.

This is especially for those people that have been saying ‘I’m been thinking about writing a book one day’ and haven’t dropped a sentence yet. Do it already.

Character Development

Some writers prefer to build complex characters first, with detailed backstories and motivations. While this is valid, my approach differs. I like to develop characters based on the situations they face. Life teaches us that we often don’t truly know who we are until confronted with a challenge we’ve never faced before.

Here’s an example: Imagine a character jumps out of a plane without a parachute. How do they survive? This scenario forces you to explore their ingenuity, courage, or desperation. Perhaps they’re a drama character with no special skills. What’s their mental state? How does their backstory inform their choices? By focusing on the moment, you naturally uncover traits and layers that make the character compelling. This exercise forces you to think and create out of your comfort zone.

I also borrow traits from people I know. Maybe someone in real life is lazy but has a sharp wit. Putting that trait into a high-stakes scenario generates fascinating possibilities. Letting characters breathe and interact naturally in these situations allows me to build their arcs authentically. This method guided much of the dialogue and character dynamics in Self-Rising Flower. For example, Aniyah’s unfiltered common sense emerged organically through her interactions.

Writing Against Your Values

When it comes to storytelling, you must be ready to write against your personal values. Authenticity often requires exploring perspectives and situations you don’t connect with. I can name countless topics I don’t personally like or understand, but the challenge lies in writing them with genuine respect and without being a dick.

My short story, The Trash We Carry, was an exercise in this. It required me to write about people and experiences outside my comfort zone, but doing so broadened my perspective and taught me a lot. Writing stories about things you don’t connect with helps you grow as a storyteller and deepens your ability to create larger, more inclusive narratives. Otherwise, your writing just comes off as someone who doesn’t understand a people or culture and the hate can be heard/felt in the text — unless it’s in context of a specific character, of course.

Self-Rising Flower and Revisiting Choices

The original six parts of Self-Rising Flower are hardcoded now publically listened to around the planet, and while the story worked well, there was an early element I regret removing: Aniyah’s father.

Initially, he played a subtle background role, offering advice to Aniyah as she helped Erika build Erika D’s.

I removed him after taking advice that questioned the inclusion of father figures in a single mother’s success story. However, looking back, I feel the absence of a father character feeds into the tired narrative of absent, deadbeat dads. Aniyah’s father was meant to provide balance—present in her life, offering guidance, but disconnected from Erika due to their complicated relationship.

Adding him back creates a richer dynamic. His involvement with Aniyah, contrasted by his reluctance to connect with Bryson (her brother and Erika’s son), introduces a flaw that deepens his character and heightens the tension. It’s storytelling unfiltered—messy, real, and layered.

Structuring the Novel

The first six chapters of the novel will follow the audio drama, with added depth for side characters and expanded scenes. This ensures readers who enjoyed the podcast will feel familiar while discovering new elements.

Chapters 7-12 will expand the story beyond the audio drama’s conclusion. This part of the blueprint focuses on Erika’s journey after the wedding and the significant time shift that follows. Fortunately, I wrote much of this a year ago, so tightening it now feels more like sculpting than creating.

The novel begins with a prologue that sets up the events before the audio drama’s first episode, showing Erika at her overnight job as she starts feeling destined for something more. The prologue and parts of Chapter One are already complete, and I aim to finish the first six chapters by the end of February. The key is to avoid editing as I go, staying true to the story’s core while layering in the details that make it richer.

This journal entry captures my approach to writing Self-Rising Flower as a novel. It’s about sticking to the blueprint, breathing life into characters through their situations, and revisiting decisions to create a more honest, engaging story.

The post Self-Rising Flower – From Podcast to Novel – Part 2 appeared first on DesktopEpics Entertainment.

Welcome to the first entry in my writing development journal, where I’ll document the process of adapting our podcast, Self-Rising Flower, into a novel. Whether you’re a seasoned writer or just beginning to explore storytelling, I hope this journal inspires and offers insights into the creative journey.

Why Adapt the Podcast to a Novel?

When we created Self-Rising Flower, it was always about telling the story of Erika Daniels, a struggling single mother, and her two remarkable children, Aniyah and Bryson rising from one way of living and thinking to becoming a thriving business owner. The podcast format allowed us to explore their world and bring their journey to life in an intimate and emotionally engaging way.

However, the six episodes we produced barely scratched the surface of the story I originally wanted to tell. The podcast ended just as the challenges and triumphs of Erika’s rise truly began. Writing the novel gives me the chance to dive deeper into the lives of these characters, share the full arc of their struggles, and bring closure to a story that means a lot to me.

The Podcast’s Legacy

First, I want to extend my heartfelt thanks to the talented cast and crew of the podcast:

Ashley JohnsonIzzy MillerNoah WattsLillie Mae JonesAsia SlaterDamian HillLianna Perry FountainJessica OatesSariya BurkesDonna BurkesLiam BradburyJerina EnglesPeter (MackSter) McKenzieJohnathon D. SwanCaleb RigginsDominque M. StewartTheresa Matos

Their brilliant performances and talents gave life to the whole show and the world they inhabit. Their music and voices shaped how I envision these characters in the novel, and I’m deeply grateful for their contributions.

For those who loved the podcast, the novel will be a continuation and expansion of what we started. And yes, while this novel takes precedence, I haven’t ruled out the possibility of bringing everyone back together to complete the podcast’s story someday. Until then, this novel will serve as the definitive way to experience Self-Rising Flower in its entirety.

Why Start This Journal?

This journal is for writers, storytellers, and anyone curious about the creative process. As I work on the novelization, I’ll share insights into:

Adapting an existing work into a new format.Balancing the challenge of continuing a half-written story.Navigating the writing process, from outlining to editing to publishing.

Even though half the novel is already “written” thanks to the podcast, the journey of reimagining the story in a literary format comes with its own set of challenges and discoveries. I want to bring you along for every step of the way.

What You Can Expect

In this journal, you’ll find:

Behind-the-scenes glimpses into how I develop characters, themes, and settings.Practical advice for outlining, editing, and publishing your own work.Reflections on the creative process, mistakes I’ve made, and lessons I’ve learned.

Each week, I’ll post an update documenting my progress, challenges, and breakthroughs. You can follow along on Medium, Substack, and Vocal.Media. Or just read it here on the site (desktopepics.com).

The Road to Publication

Once the novel is finished, the plan is to publish it as both a paperback and an ebook through Amazon. This will make it accessible to a wide audience while giving readers the option to enjoy it in their preferred format.

I’ll also be documenting the process of preparing the novel for publication, including formatting, cover design, and even the challenges of self-publishing. You’ll get an inside look at how a book goes from podcast audio drama to manuscript to finished product.

Stay tuned for updates on the publication timeline and sneak peeks of the cover design — which isn’t too much of a sneak because we already know it’s going to be the existing podcast poster:

Looking Ahead

Finally, I want to thank all the listeners who supported Self-Rising Flower during its podcast days. Literally from around the PLANET: Israel, Nigeria, All over the UK, Australia and so many other countries! Your encouragement and enthusiasm for the story have been a constant source of inspiration. I hope you’ll join me as we embark on this new chapter together.

I invite you to follow this journey as it unfolds. Feel free to share your thoughts, ask questions, or even tell me about your own creative projects—I’d love to hear from you.

The post Self-Rising Flower – From Podcast to Novel – Part 1 appeared first on DesktopEpics Entertainment.

Lessons from a Life of Building, Not Just Consuming

For the longest time, I was the person who said, “I have an idea!” Whether it was to friends, family, or anyone who’d listen, my next step was always to ask, “What do you think?”

But here’s the thing: when you tell the wrong people your ideas, and the wrong people can be close friends and family …. they hand you their limits.

My mother, for example, was quick to remind me to “be realistic.”

Friends would poke holes in my plans based on their own fears.

Some even weaponized their conservative values, dismissing ideas like a film about werewolves or vampires as something I “shouldn’t” pursue.

And then there were those who’d simply shrug, offering no encouragement at all. But talk about buying the next pair of Jordans or talk about taking a vacation to someplace expensive, it’s all good.

Looking back, I see those conversations stole something from me. Shit. They stole a lot, come to think of it.

Not because these people were malicious, but because they weren’t builders. They just weren’t dreamers. They were just consumers.

It’s been a few years now that I stopped asking for permission to explore an idea or seeking advice from people who don’t build anything.

When I cut those conversations out of my life, something incredible happened: I started producing, and I haven’t stopped.

Breaking Free from the Noise

Especially when it comes to my mother, I’ve learned that silence is my greatest tool.

When I don’t share my plans, I don’t get the negativity, the doubt, or the unsolicited advice. The irony? When she eventually discovers what I’ve accomplished, she’s “surprised.” But you know who’s not surprised? The people who’ve believed in me all along—the ones who understand what it means to create, fail, and try again.

This isn’t to say my ideas should have some sort of checks and balances. I think of my wife, Donna. She wasn’t always onboard with every concept that I spit out, but overtime, she’s gotten to the point that I’ve ever asked of anyone else when they hear an idea from me. She’ll say “Why not? Give it a shot.” She has seen my results and learned to on the right side of history. lol.

Yes, my family and friends do a lot of traveling, shopping, and posting Instagram-worthy moments. But none of them are out here building. I can’t ask them about producing short films, publishing novels, developing business infrastructures, and navigating the complexities of something as intense as Y Combinator’s Startup School. They are too busy taking the next trip to Dubai, Paris, etc. etc. Very nice. Very expensive. Which, as I’ll continue to say, is all good. They can do them.

As I will most definitely do me.

The difference is, I don’t spend my time telling them to NOT go on a trip or shoot discouraging advice.

The Advice That Changed Everything

If you’re reading this and feeling stuck—the first thing I would advise you to do is look at your circle of influence. Take a moment, stop and ask if the people around you are giving you good advice that fits your path or good advice that fits their path. Are you tied down by opinions and advice from people who aren’t living the kind of life you want—let me share what’s worked for me:

Stop asking for permission. Fuck them. Fuck them all. Explore every idea. Even if it fails, you’ll be further ahead than the person who never tried.Seek advice only from builders. If someone isn’t actively producing, creating, or building something meaningful, their perspective will not apply to you. They might be playing it safe. Even if they owned a business before and it crashed and burned…. or they spent and lost money working on a film … it absolutely doesn’t mean YOU will. I said it before, I wrote it into Self-Rising Flower, “Life is prescribed to us individually” – life and meds for one person will not affect or work for you.Understand failure for what it is: proof you’re trying. None of my setbacks have ever been a reason to stop. In fact, coming out the gate with my first finished short film and being selected for film festivals is from my private film school of previous failures. Producing this forthcoming animation is a masterclass of what I did wrong prior.What Happens When You Don’t Try

Over 25 years ago, I was in a rough place in New York mentally and emotionally, and thought about moving to California to break into the film industry. I didn’t know anyone there, but something in me said to go. Instead, I shared my idea with a friend (Natalie), who spent hours convincing me it wouldn’t work. I let her talk me out of it, and I never went.

To this day, that moment haunts me—not because I didn’t try, but because I’ll never know what might’ve been.

Anything untried is a guaranteed failure. The fear of the unknown is nothing compared to the regret of never exploring it. Let me tell you: I have a whole Titanic boat load of regret of untried ideas. Especially when you see some of them produced/developed over time and making actually money.

Does It Get Lonely?

Sometimes, I wonder if I miss having more family and friends around. But then I think about my wife and my kids—my legacy. They’re who matter most.

And when I consider the life I’m building for them and for myself, the loss of a few relationships feels like a small price to pay for the freedom to pursue my dreams. Let me tell you: Predawn put me in so much debt, it’s laughable. I swear to you…I don’t regret a goddamn dime I still owe. Not one. No more than the friends and family traveling to distant countries and needing to work multiple shifts to pay it off. No regrets. They are living their life.

I just wish most of them understood I was living mine.

Fuck ’em.

To anyone reading this: don’t let others steer your life.

Be bold enough to dream and brave enough to try. The life you want is waiting for you to create it—one idea, one step, one leap of faith at a time.

The post The Death of Asking for Permission appeared first on DesktopEpics Entertainment.

It’s truly incredible how a single story can resonate so powerfully, transcending borders and touching hearts worldwide. Since the last episode of Self-Rising Flower aired in July 2024, the show hasn’t just been quietly remembered; it’s been alive and thriving, finding new listeners every day. The journey has been nothing short of phenomenal, and I couldn’t be prouder to share the story behind these numbers, the impact, and what’s next.

Heard Around the Globe

Looking at the geolocation data, it’s heartwarming to see the global embrace of Self-Rising Flower. The United States has been a stronghold, contributing 88.31% of total downloads. Yet, the magic isn’t confined to one country. Across the Atlantic, the United Kingdom shows its love with 3.28% of the downloads, while Germany and Canada each add another 2.05% to the mix. Even countries like Argentina have joined the fold, highlighting the universal appeal of the story.

These numbers are more than just statistics. They’re a testament to the power of storytelling. They’re proof that the themes and emotions of Self-Rising Flower are universal—connecting people from all walks of life, no matter where they’re listening.

Always On, No Matter the Hour

One of the most surprising insights comes from the time-of-day data. Downloads trickle in at all hours—from midnight to early morning—a clear sign of a global audience listening in their respective time zones. For instance, there’s activity at 3 AM and even 4 AM. This around-the-clock engagement underscores the commitment of our listeners and the unique way in which the story has become a part of their lives.

Whether it’s someone in Germany listening during their morning coffee or a night owl in the United States bingeing episodes after midnight, it’s clear that Self-Rising Flower has become a meaningful companion in their daily routines.

Strong Performance, Episode After Episode

Since its release, Self-Rising Flower has achieved over 1,037 downloads. That’s not just a number; it’s a measure of the show’s ongoing relevance. Even months after the final episode aired, listeners continue to discover, share, and cherish the story.

This consistent performance reflects a deep connection with the characters and themes. It’s a reminder that great stories don’t fade—they live on in the hearts of those who hear them.

Devices and Platforms: How We Listen

Today, there are so many ways to consume content, and Self-Rising Flower has met its audience wherever they are. Data from listening devices and apps paints a picture of diverse habits:

Listening Devices: Smartphones dominate the landscape, but desktops and tablets also make notable appearances. It’s clear that listeners are enjoying the story on-the-go, at home, or even at work.Apps and OS: The diversity extends to listening apps and operating systems. Platforms like Spotify, Apple Podcasts, and Google Podcasts have played key roles (until Google Shut down their podcasts) in ensuring accessibility and convenience.

These insights not only highlight how technology connects us but also how it shapes the way we experience stories.

A New Chapter: The Self-Rising Flower Novel

While the final episode wrapped up the series in July, the story of Self-Rising Flower is far from over. I’m happy to announce that a novel is in the works! This book will get into the storyline I originally wanted to convey and unanswered questions left after Episode 6, bringing a richer and deeper understanding of the characters and their journeys.

Mark your calendars: the Self-Rising Flower novel is slated for release in July 2025. It’s been an incredible experience revisiting the world of these characters and weaving together a narrative that does justice to their arcs.

Gratitude and Looking Ahead

It’s impossible to reflect on this journey without expressing my profound gratitude to our listeners and the cast and crew of Self-Rising Flower. To everyone who has downloaded an episode, shared the podcast, or simply listened and enjoyed—thank you. Your support has been the driving force behind this journey.

As we look ahead, the future feels bright. The novel is just one step in continuing the legacy of Self-Rising Flower. Who knows what’s next? Additional stories? A possible adaptation? The possibilities are endless.

For now, I’ll leave you with this: great stories don’t end. They evolve, adapt, and find new ways to inspire. And thanks to you, Self-Rising Flower is a shining example of that truth.

Listen on:

 

   

The post Self-Rising Flower: A Journey of Global Resonance appeared first on DesktopEpics Entertainment.

From Solo Project to Collaborative Animation

There comes a moment in every independent filmmaker’s journey when they realize that sometimes the best way forward is to step back. For me, that moment arrived during the development of my latest indie short film, “Cellphone Problem.” The animation industry has evolved dramatically, and while I’ve always loved bringing stories to life through animation, I’ve discovered that my true strength lies in building and organizing projects rather than handling every frame myself.

A New Direction for Independent Animation

The independent filmmaking landscape is shifting. Gone are the days when creators needed to wear every hat in the production process. While many indie short films still emerge from solo creators, there’s a growing trend toward collaborative approaches, even in independent animation. This realization hit home as I found myself consistently held back by the gap between my vision and my animation capabilities.

“Cellphone Problem” marks a pivotal shift in my approach to independent filmmaking. Instead of struggling alone with the animation process, I’m assembling a team of four skilled animators through Upwork.com. Each animator will bring their unique style to different characters in the story, creating a rich tapestry of artistic perspectives while maintaining the narrative cohesion that makes indie short films so compelling.

Why “Cellphone Problem”?

You might wonder why I chose this particular story for such a significant transition. The answer lies in its structure. “Cellphone Problem” offers the perfect testing ground for this new collaborative approach. With its limited scenery, it provides an ideal framework for coordinating multiple animators without overwhelming complexity.

The story itself is a commentary on our modern relationship with mobile devices, told through four distinct characters in an interview setting. Each character brings their own quirks and mannerisms to the table, making them perfect vehicles for showcasing different animation styles while maintaining the overall narrative thread.

Building the Dream Team

The shift from solo creator to independent filmmaker leading a team hasn’t been without its challenges. For weeks, I’ve been reviewing animators, looking for the right combination of talent and collaborative spirit. The goal isn’t just to find skilled artists – it’s about finding people who can contribute to the greater vision while receiving full credit for their work.

Returning to the project is master musician Liam Bradbury, whose previous collaborations have demonstrated the value of bringing specialized talent to independent productions. His involvement reinforces the project’s commitment to quality in every aspect, from visuals to sound.

Smart Resource Management in Independent Animation

One of the key decisions in this production involved character rigs. While custom rigs might seem like the ideal choice, I opted to utilize freely available resources like Malcolm 2.0 from AnimSchool, along with some purchased rigs. This decision keeps costs manageable while maintaining professional quality – a crucial balance for independent filmmakers working on indie short films.

The Benefits of Delegation

This new approach offers an unexpected bonus: with animation duties distributed among team members, I can focus more attention on editing another project, “The Social Challenge.” It’s a perfect example of how delegating tasks can multiply productivity in independent filmmaking.

Looking Ahead: From “Cellphone Problem” to “Cliffhanger”

“Cellphone Problem” isn’t just a standalone project – it’s a proof of concept for future collaborations. Once we’ve worked out the kinks in this relatively straightforward production, the team will tackle more ambitious projects, starting with “Cliffhanger,” a film that was originally conceived as a solo effort but now holds even greater potential as a collaborative work.

The Evolution of Independent Filmmaking

This transition represents more than just a change in production method – it’s a reflection of how independent filmmaking continues to evolve. While the indie spirit remains rooted in creative freedom and personal vision, the means of achieving that vision can adapt and grow. By embracing collaboration while maintaining creative control, independent filmmakers can push their projects to new heights.

Conclusion: Embracing Change in Animation Production

The decision to shift from solo animation to team leadership wasn’t easy, but it represents a mature understanding of how to best serve the story. “Cellphone Problem” marks the beginning of this new chapter in my journey as an independent filmmaker, where success is measured not by how much I can do alone, but by how effectively I can bring together talented individuals to create something greater than the sum of its parts.

As we move into production after the new year, I’m excited to see how this collaborative approach will enhance not just this project, but the future of independent animation in my portfolio. Sometimes, the best way to grow as a creator is to recognize when it’s time to share the load and trust in the power of collective creativity.

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Why It’s Time to Go In-House

I’ve been thinking a lot about how I approach casting for my projects, and honestly, it’s time for a shift. Moving forward, I plan to handle all casting in-house through a system we develop and manage on DesktopEpics. Why? Because when I take the lead in casting, it works—and not just for my projects, but for the talent too.

I’ve been fortunate to cast incredible people in my early projects, and many of them have gone on to do amazing things—Broadway, major motion pictures, television, even award-winning performances. It’s genuinely one of the most rewarding aspects of what I do. But here’s the catch: when I rely on others to cast for me, or I end up choosing based on favors or someone else’s recommendation, things don’t always align the way I need them to.

The solution? Build my own system.

The Plan

The idea is simple: create an internal casting platform on DesktopEpics. This will allow me to tap into a talent pool of people I’ve already worked with and build upon it with new faces. Here’s how it will work:

Start With the Familiar
The first step is reaching out to cast members from previous projects. These talented individuals will be invited to register on the platform for free. It’s a no-pressure opportunity for them to stay in the loop and for me to keep track of their availability for future projects.Grow Organically
Over time, as I discover more incredible talent—whether through chance encounters, auditions, or recommendations—they’ll be invited to self-register. This keeps the talent pool growing and ensures I can always call on the right person for the right role, even if the project isn’t immediate.Go Beyond Visual
This isn’t just for film and video projects. Audio work, voice acting, and other creative roles will also draw from this pool. Every project I work on from now on will use this system to find talent.The Challenges

Of course, the big hurdle will be getting people to use the system initially. Drawing talent to something new isn’t easy, but I believe the relationships I’ve already built will make a strong starting point. From there, word of mouth and the quality of the projects we produce will help attract more people.

Why Not Use Backstage or Similar Platforms?

Platforms like Backstage were a great resource when I was starting out, and I’m grateful for them. Casting directly through my own system ensures that the process reflects the unique needs of my projects and my vision. When I meet someone incredible, even if there’s no immediate role for them, they’re part of my creative universe when the right opportunity comes along.

Moving Forward

This system is still in its early days, but I’m excited about the possibilities. It’s a way to take control of one of the most important aspects of any project while building something that will support both my work and the talented people I’m lucky enough to collaborate with.

If you’ve worked with me before, stay tuned—I’ll be reaching out soon about registering. And if we haven’t worked together yet but you’d like to, keep an eye out for when the system goes live. I’m always looking for the next brilliant voice or performance.

Here’s to building something bigger, better, and truly unique.

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