Greetings, travelers! We have an interesting treat for you today! We’re going to be talking to someone mysterious, whose book is filled with intrigue and parables. It’s always interesting seeing folks expand their minds and think outside of what we might think is normal, and that’s exactly what we’re going to get today. Read on to learn more about No Originality and The Ole Antmythopeia!
Tellest: Greetings to the entity known as No Originality! It’s a curious name that I’m looking forward to knowing more about, because your project that we’re going to be talking about feels so wildly unique and interesting, I feel like you predate anyone that would want to tell the kind of tale you’ve told. Then again, we know what Twain says: “There is no such thing as an original idea.”
In any case, I’m looking forward to talking to you, and trying to understand what’s going on in that head of yours. Thank you for sharing some of your time. I’m sure you’re incredible busy, as this project, The Ole Antmythopoeia, is one unlike most have ever seen.
No Originality: Thanks for having me! This is exciting, I must admit. I’ve a lot to say yet alot I can’t say all at the same time, haha. The name “No Originality” is but one of many pseudonyms that I’m using to author my many wonder tales about the ants and their perplexing belief system. Said pseudonyms are intentionally “ironic”, as it alludes to the uniqueness of the prose I’m crafting. This is all a part of the meta-narrative that I’m crafting for my upcoming parts. It’ll make more sense as I continue to self-publish my works.
Also, shout-out to the legendary Mark Twain! He, amongst many others, has been an influence on my craft.
T: In each of these interviews, I like to start with a foundational question first. Usually, it’s about what author might have inspired the interview subject, but in your case, since you’re sort of a mixed media artist, I wonder if there’s someone else that you have in mind that started you on your creative journey. I know that you expressed gratitude to Akira Toriyama, but somehow, I feel like it’s not just one person that contributed to everything that makes you and the Antmythopoeia what you are.
NO: Outstanding question! I’ve never thought of myself as a mixed media artist, although I appreciate the term. Recently, I’ve come to the realization that I’m a metafiction writer—neither a fiction writer nor a non-fiction writer. I’m a young millennial who was born in 1992. As a result, my influences span a multitude of different mediums and genres. Akira Toriyama (RIP) was the first storyteller to break me out of the humdrum of expecting every cartoon to be formulaic or routine. I’ve been fortunate to see the rise of the World Wide Web and the world’s gradual transition from the analog era to the digital era. These experiences have shaped my perceptions.
Over the past few decades, I’ve encountered an innumerable amount of storytellers that have spoken to my psyche in a meaningful way. I’ll list a few of my favorites, aside from Toriyama-sama: Tetsuya Nomura, Fredrich Nietzsche, Bryan Lee O’Malley, Suda 51, Terry Brooks, Bernardo Kastrup, Robert Greene, JRR Tolkien, Christopher Nolan, Mitsutoshi Shimabukuro, Hideo Kojima, Nassim Nicholas Taleb and ONE.
T: You seem to derive a lot of influence and inspiration from across the board! I am curious to dig a little deeper though. When it comes to inspiration in general, do you feel like you’re more emulative of the work that preceded you, or is it more ephemeral? Are you hearing these creators speak out loud to you across their mediums, or is it more like hushed whispers, and you’re taking those wisps of creativity and injecting them into your work?
NO: Great question! I’d definitely say that I’m more ephemeral than emulative. For the longest time, I used to beat myself up over not being as skilled of a storyteller as my idols. A lack of self-confidence and personal insight held me back from doing what I’m doing now. Since I was 12 years old, I always wanted to tell a tale like no other; a story that could stand toe to toe with my storytelling inspirators. I started off wanting to emulate, yet my mind wasn’t liking what I was outputting. Eventually, I gave up on writing by the time I graduated high school because I was convinced that if I couldn’t replicate the type of storytelling that was inspiring me in the first place, then I must not have the talent.
Thankfully, later life experiences and overcoming hardships disproved my younger self’s naive assumptions. When I was in the midst of grappling with my existential crisis back in 2023, I stopped caring about replicating my idols. As far as I was concerned, I was going to create whatever I felt like creating, and if others deemed my writing or storytelling style to be either trash or trite, then so be it. I started writing for myself as my own audience. It was then that I realized the futility of trying to emulate someone who isn’t you. Your uniqueness defines how you create. There can only ever be one JRR Tolkien. There can only ever be one Hideo Kojima. And once I figured that out, my psyche was free to do what it was always naturally inclined toward expressing.
The Ole Antmythopoeia is an amalgamation of every piece of insight that I took from an innumerable amount of creators across many mediums. If you enjoy similar storytellers like I do, then you’ll see the influence. I chose my pseudonym, No Originality, for a reason after all. Shout-out to Mark Twain again.
T: Knowing what you know now, would you recommend other writers trying to bring about their favorite author or storyteller’s writing into their own tales, or would you say forging your own path is what makes art so personal?
NO: Forge your own path for sure! What you choose to create will inevitably be influenced by stories of the past. It really is impossible to tell something without it being inspired by someone else. Rather than copying a particular writer’s style of writing in the hope that it’ll become a major hit, it’s more appropriate to just tell what’s on your mind in a way that feels natural to you. Not everyone is going to like how you word a sentence or describe something. And that’s okay. Write the stories that you want to write for yourself first and foremost. Afterwards, make it available to the public in whatever means you deem fit. All of us have no idea what new thing will capture our attention or turn us off until we experience it. Instead of chasing some idealized form of the perfect story, it’s best to just put out what you’ve created and see what sticks. You’ll be surprised at who ends up loving what you’ve written. It’s happening to me already, haha.
T: The Ole Antmythopoeia is a wildly different book than most people are going to ever pick up. For one, it’s presented in several different styles, beginning with something that feels almost like religious text, before moving into the realm of speculative fiction, with a healthy dose of comic art in between. How did you determine how to compose your story, and were there any nerves or anxiety about blending everything?
NO: The Ole Antmythopoeia is what I’d like to call a “happy accident.” Haha, allow me to clarify. I was born with high-functioning autism or Asperger’s syndrome, in addition to an unusual form of ADHD that makes me more impulsive yet more attentive than most. Being undiagnosed for most of my life led to unfathomable hardships. Video games helped me make sense of my reality from an early age, literally. Supplementing my digital escapism with films, books, comics and the like led to me formulating a personal belief system in the absence of any faith or religion. I had difficulty expressing this in a creative sense; no one medium could scratch that need. As such, I struggled to find a vocation or craft. I’ve no patience for drawing, despite having the talent. I found literature to be boring, despite its impact on the world. And as far as motion pictures or animation was concerned, I lacked the drive to socialize and “play the game” that one would need to make it in a place like Hollywood or YouTube.
I eventually left home at age 20, signed my life away to the United States Air Force and traveled the world for several years in search of “myself.” I failed and turned to mediocrity as a source of comfort. That, however, ended up being an almost fatal mistake.
Fast forward to my later adult years and I was on the verge of experiencing a mental breakdown. At the age of 30, I had an inkling to do “something”, to get these wild ideas about the nature of reality out of my head. And so, I went on Fiverr and commissioned an artist to produce an illustration of an invisible man in a green hoodie wearing street clothes whilst standing next to a Carolina dog with red headphones.
At that moment, to paraphrase Tolkien, the tale “grew in the telling.” I started writing and crafting a myth to tell myself, to heal my fractured psyche—a mythology and a belief system that I could believe in. What started out as a self-help book (now called the BETA in the book) that I wanted to sell for passive income eventually became a spiritual and philosophical belief system that I’m possessed to tell by any means. Naranathism has one goal and one goal only: master Nihilism itself. To turn the supposed doctrine of meaninglessness into a doctrine of meaningfulness. To do that requires formulating something unseen and unheard of. Something that can only be done once and can never be done again.
The result is what you see before you. Two years of solitude, meditation, observation of history and current internet discourse birthed The Ole Antmythopoeia. The first part of four parts. The beginning of a wonder tale about how a lowly ant became an axiom.
T: I see a lot of different series quantifiers involved in The Ole Antmythopeia: an incomplete trilogy, part one of two, the first of four parts… Is that just the nature of doing something that’s almost like a spiritual stream of consciousness? Or is it a play on the fact that it is what it is, and that might mean different levels of interpretation?
NO: Dope question! I’d have to say that my approach to my ant mythology does feel like a spiritual stream of consciousness. Because of the complexity of both my thought process and ideas, these various series quantifiers both hint at and reaffirm the interpretive nature of The Ole Antmythopoeia. The next parts in the legendarium of the ants, which I call Miscellaneous, will showcase just how deep the proverbial rabbit hole goes. Matter of fact, one of the goals of The Old Antmythopoeia will be to help the readers grasp The Ole Antmythopoeia in ways that wouldn’t come to mind upon a first read. This was a tricky question to answer, haha.
T: On a side note, it’s clear that this has been a driving force for you, especially since earlier on, perhaps other things didn’t quite scratch that itch for you. When it comes to life after the Antmythopeia, where are you going to look for a creative outlet? Do you think it’s served its purpose, and you’ll begin looking to do things that might be more traditional? Or are you going to continue working in that same sort of gravitational field, and explore more personal meaning?
NO: Haha, I’ve only just begun! This subgenre of metafiction that I’m working on, called Remix Fiction, needs further elaboration and expansion in order for it to be a viable form of self-expression. The Ole Antmythopoeia is the beginning of something groundbreaking, I feel. For decades, I’ve been in search of a vocation that could allow me to express my uniqueness. A craft that could help me make sense of existence. Early on, I knew this vocation would be in the realm of storytelling, rather than, say, something like the sciences or humanities.
Knowing I’ll only live once has incentivized me to pursue something worthy of magnificence. Feeling like an outsider all my life, I needed something that could reflect my inner essence as a sentient individual. A measly 9-5 job wasn’t going to cut it. Out of sheer dumb luck, I stumbled upon such an endeavor at my lowest point in life so far. I’m now possessed to tell this strange tale of divine madness in a way that can help bring back myth to the world.
Mark Twain had a famous quote, that I’ll paraphrase here, “The two most important days in your life are the day you are born and the day you find out why”. If I wanted to do something traditional, I’d have done it already. No, this here, this belief system I’m formulating, is what I’m here to do.
T: You’ve mentioned that you had the sort of revelation you needed to create your sacred texts, but was there any sign of it on the periphery of your being earlier in your life? Did you have some of these notions sort of scratching at the back of your brain since before you knew what you were crafting?
NO: Yes! Ever since I was a kid, I’ve always felt like I was meant to do something specific. Figuring out what that specific thing was has more or less defined my life’s journey up to the present moment. I call that period of my life The Inauthentic Journey, in part because of how I attempted to emulate everyone outside of myself in a foolish attempt to achieve personal contentment and fulfillment. Trial and error in that endeavor was a necessary part of my self-discovery. Having nailed down the means in which I intend to realize the specific thing at the onset of my thirties feels poetic and fitting. I’m at the cusp of a new journey to tell my strange tale of divine madness before I go night night, which I’ve come to call The Authentic Journey. A useful tactic one can use to make their life make more sense is to apply Joseph Campbell’s Hero’s Journey model to one’s own life as a kind of roadmap. That, I’ve discovered, can really make a difference in making sense of the suffering we all go through.
T: I feel like your book could very much appeal to your more introspective gamer-types, as there are a lot of game-related terms and notions. Even when introduced to Roswell, there are some fun easter eggs for retro games and the people who enjoyed them. Does this directly speak to you as a person, or did you have someone else in mind as you were developing The Ole Antmythopoeia?
NO: Absolutely! I realized early on in the writing process (around March of 2023 to be exact) that I needed a simple way to convey my complex and, frankly, batshit crazy ideas. I once heard a saying that “if you can’t explain something simply, then you don’t understand it yourself.”
That phrase has forever resonated with me. Using said phrase as a foundation for how I should tell my stories, I came up with a clever way to express my worldview. In the same ways that video games have taught me the game of life, I’d construct my prose and book composition in a manner that mimics a video game. Alot of the terms and phrases that readers will come across (in particular, lovers of video games), are intentionally video game related because it’s how I’ve come to understand certain aspects of reality.
Utilizing allegory, similes and analogies in this manner was the conclusion I’d reached once I started to really get into the creative process. Based on some early impressions I’ve received from random acquaintances who I’ve shared pieces of my prose with over the last year or so, I feel confident that I succeeded in that regard.
T: Some of my favorite games are the ones that bend your mind, maybe after it hooks you into all night sessions and things like that. I’m thinking Metal Gear Solid 2, Inscryption, and Eternal Darkness: Sanity’s Requiem, to name of few. In the same vein, your book can be pretty trippy and lead to a lot of wild introspection. I’m curious how you react when it comes to other things that sort of break the mold and intend to catch people off guard. Knowing how you tend to tackle your own writing, do you feel like you can “catch the art” through those uncanny experiences? Does it amplify your experience, or take you out of them?
NO: You too huh, haha! Those games you listed, Eternal Darkness in particular, are what makes video games so special. There’s a video on YouTube by a guy called Max Derrat whose most popular video is about the final codec conversation between Raiden and the Patriots in Metal Gear Solid 2; specifically, a conversation about disinformation and the human inability to determine what is and what isn’t fake news. Wild that a game like that predicted what we’re all experiencing as a species right now in the 2020s. Watching that conversation as an adult hit me with a sense of awe and wonder, which I couldn’t grasp as a kid back in 2001.
Experiences such as the fear-based mechanic in Eternal Darkness or the Calendar system in the Persona series have something in common: the ability to replicate the human experience of emotions into a playable form.
There’s a book called The Science of Storytelling by Will Storr that elaborates on why certain stories hit home for us, while others are best used as firewood on a good day. Our need to understand each other as social animals tends to draw us towards stories that feel like lessons on how to deal with other human beings, versus the average CGI blockbuster that feels bland and out-of-touch. Adding personal experiences into your story, be it a game or a song, hits harder than an experience you’re not as familiar with.
Reading that book helped me realize why the works of Hideo Kojima or Christopher Nolan reach the acclaim that their works have garnered. Finding creative and innovative ways to touch on issues and challenges every person on the planet inevitably has to contend with takes courage. Putting a little bit of your own experiences into a tale of fiction (e.g. working a dead-end job at a gas station in a setting similar to Star Trek and not deviating from said dead-end job for the entire story) can easily separate an average storyteller from a unique storyteller.
I appreciate those uncanny storytelling experiences, because life feels uncanny. It isn’t straightforward or routine. Far from it. It’s madness personified, lol.
T: Life throws zigs and zags our way all the time, so it’s only fitting that some of the media that entertain us the most are the ones that subvert expectations. Still, it has to be done right. You’re certainly writing things that speak to the truth of people, but there’s obviously a fictional element to your story as well. What would you say is the thing that separates a boring twist from an exciting surprise?
NO: Oh, that’s easy. If the twist is cliché, then it’s lame. Pure and simple. What gets tricky is determining what is and what isn’t a cliché. A useful method that I’ve applied to my writing to avoid using typical clichés comes from an infamous criticism of the anime industry that the legendary Hayao Miyazaki had made back in the 2010s. Finding the direct quote is tricky, so I’ll just sum up what Miyazaki-san had said which sparked some controversy. If a storyteller ONLY consumes popular media (films, comics, etc.) and then attempts to create a story themselves, chances are that the result will be something boring, unoriginal or trite. On the flipside, a storyteller who lives and values life itself AND references said life when crafting a tale, will have something more compelling and interesting to tell.
Miyazaki’s criticism of modern-day anime summed up why I gave up on writing as a teenager. I had limited life experience, and thus, had nothing interesting or insightful to talk about. Not knowing this fact was the precise reason for why younger me was writing generic, run of the mill crap.
After becoming an adult, I started growing curious about the lives of my favorite storytellers and began learning the why behind the best stories that kept me going in life. Good storytelling (and art) is a result of a creator’s need to make sense of their life experiences (and suffering)—a kind of therapeutic experience, if that makes sense. Realizing that was what helped me craft what I’m crafting now. Stories that focus on the superficial are a dime a dozen on bookshelves. Stories that contain personal insights from the life experience of the storyteller, however, stand the test of time.
JRR Tolkien began writing his legendary mythopoeia as a means of recovering psychologically from the horrors of WWI. He wrote stories to heal his psyche, without ever intending for those stories to become public. After C.S. Lewis convinced him to get his writing published…well, the rest is history. I believe that example sums up my answer.
T: As much as your book feels like a trippy game-inspired sort of fantasy / sci-fi adventure, it also feels sort of like a handbook for how to live one’s life, and a bit like an explanation for how life is. It’s all told through the lens of gamer-friendly experiences and lingo. How did you find the balance between telling a story, and telling allegories that might speak to what people are going through?
NO: Excellent question! That fact that you’ve asked me to elaborate on that puts my mind at ease. I designed The Ole Antmythopoeia to be the first of four “religious texts” that elaborates on Naranathism. Similar to the Testaments and the Bhagavad Gita, The Ole Antmythopoeia mimics those holy texts by giving you fables and historical accounts in a manner that’s meant to resonate with you on a deeper level. Because of the times that we live in, I needed to tell these ideas and insights in a familiar yet bizarre way. Think of The Ole and future books as a series of “children’s books for adults.”
Using myself as a test subject, I am writing these wonder tales for an audience who is either struggling with mental illnesses, neurodivergent conditions, or who are struggling with Nihilism in a similar manner that I once did. Young men, between the ages of 17 to 35, are whom I have in mind. Yet, surprisingly, I’ve found that a few females that I’ve shared some of my work with have been overwhelmingly positive about what they’ve seen. My writing, it seems, might have general appeal beyond my targeted demographic.
The times that we live in are dominated by uncertainty and randomness. So much noise, be it physical or digital, can drive a person mad. My hope is to offer some “food for thought” to anyone who feels like the world or setting that they’re living in is a scene pulled from a work of fiction.
T: Your book is a pretty tremendous collection of text and images, and obviously the notion is that you’re supposed to dive into all of it to really get a sense for how it should make you feel and think. But if you were to challenge yourself to dial it down to a sentence or two for the lay man, what would be the mantra that you would create? What are the words that people who want to live the Ole Antmythopeia way are meant to live by?
NO: Fortune favors those who don’t give up.
T: There is a sequel that you reference in your book that is said to be accessible by decoding the first book. Is that a legitimate claim, or just an easter egg to send people scrambling back through the book?
NO: Both actually! The Old Antmythopoeia, that I’ve just finished writing, depends heavily on how much of The Ole Antmythopoeia has been read and fathomed by the observer. The second half of The Coin-Flip Duology is best described as a meta requel and will absolutely mess with the minds of the readers.
Similar to how certain myths can have different versions yet convey the same points, The Old Antmythopoeia will not only push the story forward into some wild territory (namely parts Three and parts Four), but it’ll also give context and further clarity to The Ole Antmythopoeia.
If I pull this off correctly, current and future readers will be going back and forth between the two books, learning new insights while formulating new connections along the way.
There’s a reason why certain books are read once and then set aside to never be looked at again, while others have rereads that shatter what was previously understood about them. My goal is to have my tomes in the latter category and not the former, similar to religious texts.
T: This might be stepping into weird territory, and I apologize if I’m crossing a line, but since you are seeing these as religious texts, of sorts, have you considered the next steps of possibly bringing people who agree with these notions together? In this day and age, with technology at our fingertips, the church or temple could just be a forum or a subreddit where like-minded people could express similar beliefs.
NO: Nope. Naranathism is a special kind of belief system meant for a unique type of individual that is rarely seen—an individual that Fredrich Nietzsche calls the Free Spirit. I need to stress this. Naranathism is a form of nihilism; specifically, a form of active nihilism—the kind of nihilism that most can’t stomach to live with.
This’ll sound crazy but bear with me. For a person to be considered a Naranathist, they’d have to behave like Sheogorath from the Elder Scrolls series. I’m not sure most individuals could live like that.
T: For those unaware, Sheogorath is the Daedric Prince of Madness. He embodies unpredictability and, at times, utter insanity. He’s as if the Joker had celestial powers.
To your point, you can’t exactly get away with that in large doses. But what would be the positive elements of Naranathism that you could prescribe to people in more feasible quantities?
NO: I had an epiphany as I was finalizing The Ole Antmythopoeia, and this realization is what helped me distinguish Naranathism (“Nihilism”) from Nihilism. A passive Nihilist has a defeatist attitude; the foolish belief in a doctrine that claims that because life isn’t straightforward and obvious, it’s meaningless. And because of said meaninglessness, life should be null and void.
An active Nihilist that adheres to the doctrine of Naranathism, however, sees things differently. To the Naranathist, life is a metaphysical video game that’s meant to be enjoyed for the fulfillment of the play itself. Unless you’re high on psychedelics, you’re usually not playing a video game with the expectation that completing said game will somehow enact actual world peace in the real world and end global warming. Rather, you’re playing said video game because it’s fun as hell; the act of play is the reward.
If a passive Nihilist were to come up to a Naranathist in a vain attempt to convince them that life is meaningless, the Naranathist would simply reply back with the saying, “chillax dude, it’s just a video game. Don’t take it too seriously,” before going back to doing whatever it is that they were doing.
Approaching life as a Naranathist changes one’s perspective. You’ll start to perceive your reality as if it were a “digital playspace”. Challenges become opportunities to level up, conflict and setbacks become RPG random encounters and acts of magnificence become Trophies or Achievements. Playing video games no longer becomes an escapist exercise, but rather, a religious experience.
I could go on, but then I wouldn’t have anything left to write stories about, haha. I hope that helped answer your question and clarify the previous one.
T: The Ole Antmythopoeia is a grand collaboration. You had a robust team working with you on this book, and it shows in its variety, its expertise, and in the passion that seems to drip off the pages. In your experience, did you seek people out when you needed them for something particular within the book, or were you more looking to collaborate with people based on what you found while exploring? Did you think, “This person has some great content, I wonder how I can get them involved in my growing world”?
NO: As my project continued to grow in ambition and complexity, I took the initiative to reach out to and collaborate with individuals with unique skill sets to help me bring my vision to life. As such, I’d say it was a little bit of both my need to have something done while also discovering someone cool with an interesting portfolio on freelance sites like Fiverr.
One thing about my belief system (that the ants fervently believe in) is the importance of collaboration. No one person in human history has ever achieved anything by themselves, not even Leonardo da Vinci (who himself needed a wealthy patron or two to help him fund his artistic vision).
Not every collaboration ended on good terms, be it because of miscommunication or unreliability. Regardless, I give credit where credit is due, always. We’re all in this world together as homo sapiens, and we’re social by design. Might as well help each other out, make life suck less, and achieve our highest high. Haha, and why not? You only live life once as the unique entity that you are at present. That, in essence, is one of the most important tenets of Naranathism.
T: Let’s take a step back and look at things from a different perspective. We’ve talked about how compelling it is to invent a religion for ants, and to explore a set of beliefs in a constructive, positive way. But what do you experience that may be on the flip side of that coin? Have you had any people who are vehemently opposed to entertaining the idea of a strange new religion or belief system being crafted?
NO: Not yet, lol. That’ll probably change once The Ole Antmythopoeia starts gaining more exposure and I release the next parts in Miscellaneous. As far as a polarizing response is concerned, I’m pretty confident it’ll have the same reaction as Pastafarianism did in the 2000s.
T: A growing and noble creed, that.
If and when those responses inevitably come, do you think you’ll take it in stride, and be playful with your responses? Or will there be some somber feelings of protection that you have around your system of beliefs?
NO: Oh, I’ll definitely be playful and witty with any and all criticisms, haha. Matter of fact, I’ll probably be trolling in my responses. Part of the reason why is inherent in the belief system itself.
If an active nihilist decides to perceive life as a metaphysical video game where you only have one life and permadeath is guaranteed, you’re not going to take it as seriously as most would. Rather, you’ll be too busy trying to get the most out of your play session, so to speak.
Similar to my answer for the question where you asked me what are some of the positive aspects of Naranathism, an adequate response to criticism or a hostile reaction to the belief system is to not take it seriously. Hell, not even responding at all is better. Allow me to illustrate my point.
When you play a game like GTA, for instance, you’re usually not bothered by an NPC’s negative reaction to how you’re playing the game. Usually because you’ve probably wasted that NPC already, lol.
There’s a reason why the term divine madness is an important part of the belief system.
T: While there’s a tremendous amount of information crammed into your book, you’re still a bit of a mystery. If someone wanted to learn more about you or your projects, where would you direct them to go?
NO: Nowhere, lol. And that’s the point. I’m mirroring my anonymity after my favorite graffiti artist of all time, Banksy. He lets his art do the talking and showcasing for him. As a teenager, I wanted to be just like him. Now, as a metafiction writer, I’m doing just that.
Aside from that point, I do have another reason which I’ll quote from the film “Batman Begins.” When asked by Alfred on a plane heading to Gotham City about why he is choosing a bat as his crime fighting symbol, Bruce Wayne says, and I paraphrase, “People need dramatic examples to shake them out of apathy and I can’t do that as Bruce Wayne. As a man of flesh and blood I can be ignored, I can be destroyed. But as a symbol…as a symbol, I can be incorruptible. I can be everlasting.”
That quote, above all else, is why I conceal my identity. And, most importantly, why I do what I do now.
T: Thank you for spending the time to dive into a lot of things that make you, well, you, and to explain more about The Ole Antmythopeia! It’s always great to see passionate creators construct these impressive things, and you’ve certainly been working hard to build a solid foundation and everything that’s come after.
NO: Thank you so much for this interview! It was a pleasure and a fulfilling experience! I’m glad you enjoyed my strange tale of divine madness. And please, look forward to The Old Antmythopoeia! It’ll be divided into three smaller books over the next few years before I combine them all into the full book. This’ll keep the wait time to a minimum, haha.
T: I’d like to thank No Originality one more time for sharing their time with us. As you’ll no doubt have seen through the interview and by looking at the material associated with The Ole Antmythopoeia, there is a lot of work that goes into a project like this. I feel lucky to have been able to carve out some time with this great creator, and I hope you enjoyed the read. If you did, perhaps check out No Originality’s awesome, infinitely interpretive debut, The Ole Antmythopoeia on Amazon today!
Michael DeAngelo
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