"Ser Frederik," A character Azrai created for storytelling that he also uses in photoshoots and partnered promotional material.
"A-A1i5/ Aalis" a key protagonist of Asunderland, an interactive story that engaged thousands of players and over 60 million viewers on TikTok.
"The Nome King," a key antagonist of Asunderland, an interactive story that engaged thousands of players and over 60 million viewers on TikTok.
"Jack," a simple cabin boy whose not-so-simple story unfolded to millions of viewers on TikTok
"Aeleth," The Changeling King. A character originally made as a special guest for Contera, a live themed event run by Felbis Productions.
"Xephyr," A character originally made as a special guest for Marked, a live themed event.
"Xephyr," A character originally made as a special guest for Marked, a live themed event.
"Pan," A character created by Azrai, inspired by Peter Pan, for an original, colaborative gaslamp fantasy story called Second Starfall.
"Ser Frederik," A character Azrai created for storytelling that he also uses in photoshoots and partnered promotional material.
"Aeleth," The Changeling King. A character originally made as a special guest for Bothwell, a live themed event.
"The Ringmaster," A character created by Azrai as a personification of the Internet. (Inspired by concepts of gods as they appear in Neil Gaiman's American Gods.)
"Unnamed Half-Orc," An exercise by Azrai to illustrate an orc character design that begins to depart from harmful stereotypes.
"Flicker," a character created by Azrai for brief storytelling interludes and experimental lighting/makeup exercises.
"Aeleth," The Changeling King. A character originally made as a special guest for Contera, a live themed event run by Felbis Productions.
"Wyllt," An original universe and gender-hopping character created by Azrai, to bring as a special guest in any story.
"Phenex," A character based on a biblical angel who hoped to return to Heaven after their Fall from Grace.

Small Touches

Traditional prosthetics for live play events work best when they are simple, but effective. Complex applications tend to fall apart under the strain of live events. Even "live" digital roleplaying games present their challenges as a makeup may need to be applied far more frequently. When full facial masks are unnecessary or unattainable, Azrai uses devices as simple as a seamless creature ear, a tattoo, a few visible gills, scales or circuits, even nonstandard fangs to communicate as much as possible about a character.

Improvisations on-site 

The fun of live roleplay is that you cannot completely predict what will happen to a character. For a character makeup artist, this means frequently getting resourceful with materials (and considering ideas like what color every creature's blood is). Some of Azrai's favorite jobs have been filling on-site makeup requests for anything from full body lacerations to gouged out eye; using cling wrap, paper towels, baby powder, or whatever else was safe and on-hand.
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makeup & costume design for live play events:

The design requirements for these events depart from what we're familiar with in film, theater, or cosplay. 
Generally speaking, the makeup must be durable, long-wear and sweatproof.
It should be easy to replicate so that creatures, cultures, and characters remain consistent and recognizable. 
Application must be relatively simple and quick, as neither player nor production team can afford hours in the chair.
This means we need as much done before an event as possible.
Pre-painted masks and prosthetics, slip-on creature suits, waterproof materials, flexibility, reusability...
It's a challenging design brief, but well worth the payoff of a richer world.
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More details of immersive event makeup theory can be found in a video Azrai created (filmed pre-transition) on the subject: