{"id":5730,"date":"2016-05-22T19:30:39","date_gmt":"2016-05-22T19:30:39","guid":{"rendered":"https:\/\/faidutti.com\/blog\/?p=5730"},"modified":"2018-01-04T21:06:17","modified_gmt":"2018-01-04T21:06:17","slug":"paul-mafayon-diamant","status":"publish","type":"post","link":"https:\/\/faidutti.com\/blog\/blog\/2016\/05\/22\/paul-mafayon-diamant\/","title":{"rendered":"Paul Mafayon & Diamant"},"content":{"rendered":"

\"diamant<\/a><\/p>\n

Il est toujours tr\u00e8s amusant pour un auteur de comparer les graphismes et les choix \u00e9ditoriaux qui ont \u00e9t\u00e9 faits pour deux \u00e9ditions d\u2019un m\u00eame jeu. Quand il y a trois \u00e9ditions, comme cela m\u2019\u00e9tait d\u00e9j\u00e0 arriv\u00e9 pour Toc Toc Toc!<\/strong>, dont les versions fran\u00e7aise, am\u00e9ricaine et chinoise ont des illustrations diff\u00e9rentes, c\u2019est encore mieux. Je ne pouvais donc pas r\u00e9sister au plaisir facile d\u2019un article pr\u00e9sentant les graphismes de la nouvelle \u00e9dition fran\u00e7aise de Diamant<\/strong>, qui arrive dans quelques semaines, et ce d\u2019autant plus que cette version du jeu est tr\u00e8s clairement ma pr\u00e9f\u00e9r\u00e9e.<\/p>\n

\"Diamant<\/a><\/p>\n

La premi\u00e8re \u00e9dition de Diamant, con\u00e7u en collaboration avec Alan R. Moon, est parue chez l\u2019\u00e9diteur allemand Schmidt en 2005. Elle \u00e9tait illustr\u00e9e par Claus Stephan, dans une ambiance tr\u00e8s Indiana Jones. Les ventes n\u2019\u00e9taient pas mauvaises, et nous n\u2019avons jamais bien compris pourquoi l\u2019\u00e9diteur l\u2019avait abandonn\u00e9e.<\/p>\n

\"Diamant<\/a><\/p>\n

Pour l\u2019\u00e9dition am\u00e9ricaine, Incan Gold<\/strong>, parue un an plus tard chez Gryphon Games est illustr\u00e9e par Mathias Catrein, les joueurs n\u2019explorent plus une grotte creus\u00e9e dans la roche mais bien, comme l\u2019indique le sous-titre, des ruines incas. L\u2019illustrateur est allemand mais le graphisme, assez r\u00e9aliste, est plus dans le style des jeux d\u2019Outre-Atlantique.<\/p>\n

\"Diamant<\/a><\/p>\n

Avant qu\u2019Incan Gold ne b\u00e9n\u00e9ficie d\u2019une version br\u00e9silienne, il y eut un temps une \u00e9dition pirate br\u00e9silienne, Risco Total<\/strong>, dans laquelle les joueurs explorent une \u00e9pave engloutie. Le nom de l\u2019illustrateur en \u00e9tait tout aussi absent que celui des auteurs. Ce n’est pas bien grave, car il est quand m\u00eame tr\u00e8s valorisant d’\u00eatre copi\u00e9.<\/p>\n

\"karuba\"<\/a>\"relic<\/a> \"takara\"<\/a>\"escape\"<\/a>
\nNon, \u00e7a n\u2019a rien \u00e0 voir avec Diamant – mais cela aurait pu. Explorer des ruines incas, cela se fait quand m\u00eame pas mal dans le jeu de soci\u00e9t\u00e9.<\/span><\/p>\n

\"diamant<\/a><\/p>\n

La nouvelle \u00e9dition fran\u00e7aise, qui arrive cet \u00e9t\u00e9, est illustr\u00e9e par Paul Mafayon. La th\u00e9matique et les \u00e9l\u00e9ments reprennent en grande partie ceux de l\u2019\u00e9dition Schmidt, mais dans un contexte plus contemporain, puisque les aventuriers arrivent dans une jeep vert fluo, plantent des tentes rondes aux couleurs vives et se munissent de torches \u00e9lectriques au look de sabre laser. Les r\u00e9f\u00e9rences graphiques sont Indiana Jones, pour le titrage, mais aussi\u2026 Scooby Doo pour la composition de la couverture (et je ne l\u2019aurais pas devin\u00e9 si Paul ne l\u2019avait pas r\u00e9v\u00e9l\u00e9 dans l’interview qui suit).<\/p>\n

\"scoobydoo\"<\/a>\"indiana-jones\"<\/a>
\nLes personnages et le titrage.<\/em><\/span><\/p>\n

Paul Mafayon a en effet bien voulu r\u00e9pondre \u00e0 quelques question sur son travail d\u2019illustrateur de Diamant.<\/p>\n

\u2022 Qu\u2019est-ce qui diff\u00e9rencie l\u2019illustration de jeux de soci\u00e9t\u00e9 d\u2019autres travaux d\u2019illustration, dans le livre, la BD ou le jeu video ? Est-ce plus facile ? Plus amusant ? Plus libre ?<\/em><\/p>\n

Les attraits de l’illustration de jeux de\u00a0soci\u00e9t\u00e9\u00a0sont nombreux. Les productions sont courtes, ce qui permet de changer\u00a0r\u00e9guli\u00e8rement\u00a0d’univers ou\u00a0de style,\u00a0on y jouit d’une grande libert\u00e9 et on suit les projets, la plupart du temps, du\u00a0d\u00e9but\u00a0a la fin. Cela change agr\u00e9ablement du monde du\u00a0jeu\u00a0vid\u00e9o\u00a0des grands studios, o\u00f9 les productions peuvent durer des ann\u00e9es et o\u00f9 les\u00a0\u00e9quipes\u00a0marketing sont\u00a0tr\u00e8s\u00a0voire trop nombreuses,\u00a0d’o\u00f9 une\u00a0grande versatilit\u00e9 dans leurs directives, et o\u00f9 souvent on ne travaille que sur une partie\u00a0tr\u00e8s\u00a0restreinte du projet, sans aucune\u00a0vue d’ensemble du jeu.<\/span>
\nDans le jeu de soci\u00e9t\u00e9, les enjeux \u00e9conomiques sont moindres, ce qui explique peut\u00a0\u00eatre\u00a0que\u00a0les\u00a0\u00e9diteurs\u00a0soient\u00a0moins\u00a0frileux. L\u2019exploration de nouvelles pistes les effraie moins. Quand le\u00a0co\u00fbt\u00a0de la production d\u2019un jeu\u00a0vid\u00e9o\u00a0peut\u00a0d\u00e9passer\u00a0all\u00e8grement\u00a0les 50 millions d’euros, la tentation de r\u00e9utiliser sans cesse des recettes ayant\u00a0d\u00e9j\u00e0\u00a0fait leur preuve est\u00a0quasiment irr\u00e9sistible.<\/span>
\n\u00c9videment\u00a0je parle des gros studios, car on peut retrouver tout les plaisirs de la\u00a0cr\u00e9ation\u00a0graphique du jeu de\u00a0soci\u00e9t\u00e9\u00a0dans les\u00a0petits\u00a0studios\u00a0de d\u00e9veloppement ind\u00e9pendant. Petites\u00a0\u00e9quipes, grande libert\u00e9….<\/span><\/p>\n

\"diamant<\/a>
\nPremi\u00e8re \u00e9bauche de Paul pour la couverture de Diamant.<\/em>
\n<\/span><\/p>\n

\u2022 Es-tu joueur de jeux de soci\u00e9t\u00e9 ? Si oui, joues-tu aux jeux avant de les illustrer ? Apr\u00e8s ?<\/em><\/p>\n

Je\u00a0joue\u00a0tr\u00e8s\u00a0peu aux jeux de\u00a0soci\u00e9t\u00e9, pas par manque de gout, mais par manque de temps. En revanche je joue a tout les jeux que j’illustre,\u00a0le contraire\u00a0serait impensable. Diamant est le premier jeu auquel j’avais\u00a0d\u00e9j\u00e0\u00a0jou\u00e9 avant de travailler dessus. Cela ne m’aide pourtant pas plus que cela dans le processus\u00a0cr\u00e9atif. Le style graphique, le rendu, le choix des ambiances color\u00e9es, on peut penser que tout cela et\u00a0tr\u00e8s\u00a0li\u00e9 a\u00a0l\u2019exp\u00e9rience\u00a0de jeu, mais pas vraiment. Les briefs des\u00a0\u00e9diteurs sont\u00a0en g\u00e9n\u00e9ral tr\u00e8s\u00a0bien faits – c\u2019est leur m\u00e9tier – et s\u2019ils\u00a0me\u00a0disent\u00a0ce\u00a0que le joueur doit ressentir devant telle image, ainsi que la nature de la cible (famille, hardcore gamer…), je n\u2019ai pas besoin d\u2019en savoir beaucoup plus pour travailler.<\/span><\/p>\n

\u2022 Y a-t-il un jeu que tu aurais voulu illustrer ?<\/em><\/p>\n

Il n’y a pas de jeu en particulier qui me fasse de\u00a0l\u2019\u0153il\u00a0actuellement. En revanche j’adorerais\u00a0travailler dans un univers graphique a la Metal Slug ou Advance Wars Dual Strike pour un jeu de soci\u00e9t\u00e9 (oui je suis vieux, j’ai donc de vieilles\u00a0r\u00e9f\u00e9rences, pas question de citer\u00a0Boom Beach quand on peut citer la source d’inspiration originelle). Si un\u00a0\u00e9diteur\u00a0a \u00e7a dans les cartons je suis son homme !<\/span><\/p>\n

\"diamant<\/a>\"diamant<\/a><\/p>\n

\u2022 Comment as-tu abord\u00e9 le travail sur Diamant ? As-tu regard\u00e9 les illustrations des \u00e9ditions pr\u00e9c\u00e9dentes ? T’en es-tu inspir\u00e9 ?<\/em><\/p>\n

Oui, j’ai regard\u00e9 ce qui avait\u00a0\u00e9tait\u00a0fait avant, et en\u00a0d\u00e9tail, ne serait-ce que pour ne pas faire la\u00a0m\u00eame\u00a0chose sans m’en rendre compte. Quand\u00a0je\u00a0regarde\u00a0une illustration, j’ai naturellement pleins de remarques qui me passent par la t\u00eate :\u00a0\u201cj\u2019aurais mis plus de\u00a0v\u00e9g\u00e9tation” “\u00e7a manque d’ombres\u00a0port\u00e9es, de relief”. Apr\u00e8s une\u00a0premi\u00e8re\u00a0phase d’analyse, j\u2019identifie tout ce qui peut\u00a0\u00eatre\u00a0am\u00e9lior\u00e9. Une fois que la direction globale\u00a0est\u00a0choisie, je ne reviens plus sur l’ancienne version, le but\u00a0est\u00a0de l’oublier, de prendre de la distance pour laisser libre court a\u00a0la\u00a0cr\u00e9ation.<\/span><\/p>\n

\"diamant<\/a>\"diamant<\/a><\/p>\n

\u2022 On est plut\u00f4t habitu\u00e9 \u00e0 situer la th\u00e9matique \u00ab\u00a0exploration \u00bb dans un univers un peu vieillot, voire ringard. Pour Diamant, les clins d\u2019\u0153il sont tr\u00e8s contemporains, avec une sorte de sabre laser et des tentes Quechua aux couleurs vives. Pourquoi ? Est-ce une id\u00e9e \u00e0 toi ou une demande de l\u2019\u00e9diteur ?<\/em><\/p>\n

Ce choix la est une id\u00e9e a moi, qui m\u2019est venue en regardant l’ancienne version. <\/span>
\nJe me suis dit, que des tentes en toile blanche de nos jours… c’est introuvable, et l’id\u00e9e reste quand\u00a0m\u00eame\u00a0de faire en sorte que les joueurs\u00a0s’identifient le plus possible aux personnages du jeu. En mettant en\u00a0sc\u00e8ne\u00a0des objets plus contemporains, on facilite l’immersion. <\/span>
\nEn\u00a0r\u00e8gle\u00a0g\u00e9n\u00e9rale, dans le processus\u00a0cr\u00e9atif, je pense que c’est une bonne chose de toujours\u00a0r\u00e9fl\u00e9chir\u00a0a la\u00a0mani\u00e8re\u00a0de rajouter\u00a0un\u00a0peu\u00a0de\u00a0modernisme (sauf bien s\u00fbr si cela va a l’encontre du\u00a0th\u00e8me). Naturellement, au moment de dessiner un objet ou un personnage, on est assailli de clich\u00e9s. Dans le brief, les\u00a0personnages devaient avancer dans le noir munis de torches, mais qui utilise encore des bouts de bois enflamm\u00e9s ? \u00a0Mon inspiration\u00a0c\u2019\u00e9tait\u00a0plus “Nature et D\u00e9couvertes” et “Decathlon” que le mus\u00e9e colonial.<\/span>
\nDe plus, mon style graphique est\u00a0connu pour\u00a0\u00eatre\u00a0color\u00e9 et\u00a0plut\u00f4t\u00a0satur\u00e9. J’aime tellement les couleurs qu\u2019il m\u2019est presque impossible de faire autrement.<\/span><\/p>\n

\"diamant<\/a><\/p>\n

\u2022 Pour toi, le personnage au premier plan sur la couverture est-il un homme ou une femme ? Y a-t-il une id\u00e9e pr\u00e9cise derri\u00e8re chacun des cinq personnages ?<\/em><\/p>\n

Le personnage au premier plan… je pr\u00e9f\u00e8re ne pas trancher, comme \u00e7a pas de guerre des sexes sur la couverture. Deux femmes, deux hommes et un personnage ind\u00e9fini.<\/span>
\nIl y a en revanche une id\u00e9e bien pr\u00e9cise derri\u00e8re chaque personnage, et surtout derri\u00e8re le groupe. Je voulais faire ressentir l’ambiance que l’on peut retrouver dans les vieux \u00e9pisodes de Scooby Doo, un m\u00e9lange de peur, de courage, mais aussi dans le jeu de convoitise. J’ai donc repris le code couleur du Scooby gang; le personnage au premier plan, c’est Sammy (vert et marron) juste a cot\u00e9 on a V\u00e9ra (orange et rouge) vient Fred (jaune blanc bleu) puis Scooby Doo (marron) et enfin Daphn\u00e9 ( orange violet et vert).<\/span><\/p>\n

\u2022 Par ailleurs, Iello m’a envoy\u00e9 tes images pour Welcome to the Dungeon<\/strong>, mais je pense citer un ou deux autres jeux que tu as illustr\u00e9s, notamment Loony Quest<\/strong>. Y en a-t-il un dont tu voudrais que je parle ?<\/em><\/p>\n

Ben je n’ai pas d’autre jeux de sortis en fait, je suis assez nouveau dans le milieu\u2026. Il y a Bunny Kingdom<\/strong> et Chawai <\/strong>qui sortent en fin d’ann\u00e9e je crois… mais tu peux parler de tout ceux que tu veux, je n\u2019ai pas de pr\u00e9f\u00e9rence.<\/span><\/p>\n

\"welcome<\/a>\"bigkahuna\"<\/a>
\nDeux illustrations de Paul pour des jeux qui devraient sortir d’ici \u00e0 la fin de l’ann\u00e9e, Welcome Back to the Dungeon, la suite de Welcome to the Dungeon<\/strong>, et Chawai<\/strong>, un petit jeu de cartes dont je suis l’auteur, un peu dans le style de Stupide Vautour.
\n<\/span><\/em><\/p>\n

Diamant<\/strong><\/span>
\n Un jeu de Bruno Faidutti & Alan R. Moon<\/span>
\n Illustr\u00e9 par Paul Mafayon<\/a>
\n3 \u00e0 8 joueurs \u2013 20 minutes<\/span>
\nPubli\u00e9 par Iello<\/a> (2016)
\nLudovox<\/a>\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span>Tric Trac<\/a>\u00a0\u00a0\u00a0 Boardgamegeek<\/a><\/span><\/p>\n

\n

\"diamant<\/a><\/p>\n

It\u2019s always fun for a game designer to compare the graphics and editorial choices in two different editions of the same game. It\u2019s even more fun when there are three completely different editions, something I had so far experienced only once, with Knock Knock!,<\/strong> whose French, US and Chinese editions have different graphics. Of coure, I could not resist posting an article about presenting the gorgeous art in the new French edition of Diamant<\/strong>, which will hit the shelves in the coming weeks, especially when it is, by far, my favorite of the three versions.<\/em><\/p>\n

\"Diamant<\/a><\/p>\n

The first edition of Diamant, a game designed with Alan R. Moon, was published in 2005 by the German publisher Schmidt, with art by Claus Stephan. It didn\u2019t sell that bad, and we never really understood why the publisher discontinued it.<\/em><\/p>\n

\"Diamant<\/a><\/p>\n

The Us edition, Incan Gold<\/strong>, was published one year later by Gryphon Games. The art by Mathias Catrin tells a slightly different story, since the players are not exploring caves but, as told in the\u00a0 catch phrase, Incan ruins. The artist is German, but the graphic style looks very American to me.<\/em><\/p>\n

\"Diamant<\/a><\/p>\n

Before Incan Gold was sold in Brazil, there was a pirate local edition with another setting – a sunken ship. Neither the illustrator nor the autours are named. Anyway, being plagiarized is very gratifying.<\/em><\/p>\n

\"karuba\"<\/a> \"takara\"<\/a><\/p>\n

Well, none of these pictures has anything to do with Diamant, but they could have. Exploring Incan ruins and Lost Temples is something rather usual in boardgames. <\/em><\/p>\n

\"diamant<\/a><\/p>\n

The new French edition, which will hit the shelves in the next few weeks, sports new art by Paul Mafayon. The setting and storyline are very similar with those une the Schmidt edition, but in a more modern setting. Explorers arrive in a bright green SUV,\u00a0 install a camp made of modern dome tents and carry electrical torches, not wooden ones, when exploring the caves. As for the graphic references, the title font obviously refers to Indiana Jones and the cover composition to\u2026. Scooby Doo – I would not have guessed the latter if Paul had not told me in the interview below.
\n<\/em><\/p>\n

\"scoobydoo\"<\/a>\"indiana-jones\"<\/a>Characters and font.<\/span><\/p>\n

I\u2019ve asked Paul a few questions about his work on Diamant. Here are his answers.<\/em><\/p>\n

\u2022 What makes boardgame illustration different from video game, comics or book illustration? Do you find it easier, or more fun, or more freeform?<\/p>\n

There are many things to like in illustrating boardgames. It\u2019s a short term job, which gives opportunities to jump from one universe to another, or even from one style to another, regularly. The artist is more free, more autonomous, and can usually follow a job from the start to finish. It\u2019s a really nice change from big studios video games, where the work on a project can last for years, with too many different marketing teams whose direction can lack consistency, and in which an artist usually works on a very small part of the project, with no idea of the big picture. <\/em><\/span>
\nMoney stakes are lower in boardgames, which might explain why publishers are less timorous. They are not afraid to try new styles, and to let the illustrator loose. In video games, with development costs over 50 millions dollars, they cannot resist the temptation to recycle always the same old recipes. Of course, this is mostly true of big studios. With small indie video-game, an artist can have the same creativity, and the same fun, as in boardgames. The smaller the team, the greater the freedom.<\/span> <\/em><\/p>\n

\"diamant<\/a>
\nPaul’s first draft for the Diamant cover.
\n<\/span><\/p>\n

\u2022 Do you play boardgames ? If you do, do you play a game before starting to work on its illustrations ? Do you play it afterwards ?<\/p>\n

I seldom play boardgames, not that I don\u2019t like them, but I don\u2019t have the time. On the other hand, I play all the games I illustrate – not doing it would feel strange. Diamant is the first game I had already played before having to work on it, but I don\u2019t think it helps much in the creative process. One could think that the graphic style or the color palette are linked to the game experience, but that\u2019s not really the case. Publishers know their job, and give detailed briefs of what they want. If they tell me what the players are supposed to feel when looking at a picture, and what is the target audience (families, hardcore gamers\u2026), I don\u2019t need much more to start working.<\/em><\/span><\/p>\n

\u2022 Is there a game you would have liked to illustrate ?<\/p>\n

There\u2019s no specific game I\u2019m much excited about at the moment. On the other hand, I would love to work on a boardgame with a graphic setting \u00e0 la Metal Slug or Advance Wars Dual Strike – yes, I know my references are old, but why talk of Boom Beach when I know the original sources. If a publisher has something like this in the pipe, just call me !<\/em><\/span><\/p>\n

\"diamant<\/a>\"diamant<\/a><\/p>\n

\u2022 How did you take on the work on Diamant? Did you look at the older versions of the game? Have-you been inspired by them?<\/p>\n

Yes, I looked at all the details of the older editions, if only to be sure I won\u2019t unintentionally do the same thing. When I look at a picture, I first think\u00a0 \u00ab\u00a0I would have put more vegetation here\u00a0\u00bb, \u00ab\u00a0it lacks shadows and reliefs\u00a0\u00bb, etc. Then I analyze the picture, and identify what I can do better. Once I know where I\u2019m heading to, I don\u2019t go back to the old picture, I try to forget it, to distance myself from it to be more creative.<\/em><\/span><\/p>\n

\"diamant<\/a>\"diamant<\/a><\/p>\n

\u2022 The graphic setting of exploration games usually looks a bit old fashioned. Your version of Diamant is deliberately, with an electric torch looking like a laser saber, and bright color tents. Why ? Is this your idea or the publisher\u2019s one ?<\/p>\n

It was my idea after looking at the older editions. I thought that white canvas ridge tents are nowhere to be found nowadays. If we want the game to be immersive, the players to identify with the characters, we have to use more actual items.\u2028As a general rule, I think that, when it doesn\u2019t go against the theme, trying to modernize the setting always foster creativity. When one starts to draw an item or a character, old clich\u00e9s always jump to mind. The publisher\u2019s brief had characters walking into the dark carrying burning torches – but who still uses wooden torches nowadays ?<\/em><\/span>
\nFurthermore, my graphic style always use bright and saturated colors – I can\u2019t help it, I love colors.<\/em><\/span><\/p>\n

\"diamant<\/a><\/p>\n

\u2022 Is the foreground character leading the company into the cave a man or a woman ? Is-there a specific intent or story behind each one of the five characters ?<\/p>\n

The foreground character\u2026. I\u2019d rather not settle the issue. Two women, two men and one ambiguous character. <\/em><\/span>
\nThere is however a precise idea behind every character, and most of all behind the group. I wanted to recreate the mood in the old episodes of Scooby Doo, a mix of fear and bravery, with the added dimension of greed. That\u2019s why I used the color code of the Scooby gang. The leading character is Shaggy (green and brown), then comes Velma (red and orange), Fred in yellow, white and blue,\u00a0 Scooby Doo (brown) and last comes Daphne (orange, purple and green).<\/em><\/span><\/p>\n

\u2022 Iello sent me some pictures of Welcome to the Dungeon<\/strong>, but I\u2019d like to mention one or two other games you\u2019ve illustrated, like Loony Quest<\/strong>. Is there one you would like to mention ?<\/p>\n

Well, I\u2019m relatively new to boardgames, and I\u2019ve not that many published games yet. I think Bunny Kingdom<\/strong> and Chawai<\/strong> are due to the end of the year, but you can mention any game you want, I\u2019ve no preference.<\/span> <\/em><\/p>\n

\"Highmountain\"<\/a> \"Looney<\/a>
\nTwo characters by Paul Mafayon, for the Word of Warcraft<\/strong> card game and for Loony Quest.<\/strong><\/span><\/p>\n

Diamant<\/strong><\/span>
\nA game by Bruno Faidutti & Alan R. Moon<\/span>
\nGraphics by Paul Mafayon<\/a>
\n3 to 8 players \u2013 20 minutes<\/span>
\nPublished by Iello<\/a> (2016)<\/span>
\n Boardgamegeek<\/a><\/span><\/p>\n

\"chawai\"<\/a>
\nChawai<\/strong>, another game of mine illustrated by Paul Mafayon, playtested at the Ludopathic Gathering by two other game illustrators, Christine Deschamps and Maeva Kosmic.<\/span><\/p>\n

\n","protected":false},"excerpt":{"rendered":"

Il est toujours tr\u00e8s amusant pour un auteur de comparer les graphismes et les choix \u00e9ditoriaux qui ont \u00e9t\u00e9 faits pour deux \u00e9ditions d\u2019un m\u00eame jeu. Quand il y a trois \u00e9ditions, comme cela m\u2019\u00e9tait d\u00e9j\u00e0 arriv\u00e9 pour Toc Toc … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[77,417],"tags":[63,397,348,342,403,396],"class_list":["post-5730","post","type-post","status-publish","format-standard","hentry","category-diamant-incan-gold","category-illustrateurs-illustrators","tag-alan-r-moon","tag-chawai","tag-diamant-incan-gold","tag-iello","tag-game-illustration","tag-paul-mafayon"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p2HNOP-1uq","_links":{"self":[{"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/posts\/5730","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/comments?post=5730"}],"version-history":[{"count":16,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/posts\/5730\/revisions"}],"predecessor-version":[{"id":9055,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/posts\/5730\/revisions\/9055"}],"wp:attachment":[{"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/media?parent=5730"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/categories?post=5730"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/tags?post=5730"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}