#Graphis novels

[wanderingokali]

The main street of the small village of Birjuli, directly leading down to vortex beach.

Continuing to post some of the game's art :3 this was a background for chapter 1.

[e-vay]

Hey first off love ur art second I love ur werehog art and thought u would enjoy the fanfic wars of the heart by@midnightfire1222 their writing is amazing and thought you should read it

@phrog-graphy Thank you so much! I’m so glad you like my werehog art. I find werehogs challenging but one of the most fun things to draw.

It’s so funny you both mention it, I just started reading it yesterday and I am SO HOOKED! I’ve been charmed, entranced!

@blsantos As far as being hesitant to read long fics, I totally get that. Sometimes when I see a large number of chapters it can overwhelm me at first too. However, at least for me, the story is one of those that I haven’t been able to put down since I started! Like I just said, I started it only yesterday and I am now at chapter 38 lol. Also, some of the chapters are really short, so don’t let the number scare you. Besides, I think with most stories once you’ve found something you like, you’re always wanting more anyway!

For those of you who haven’t heard of Wars of the Heart by @midnightfire1222 , it’s a werehog Sonamy story taking place in an alternate universe. If you like DND or fantasy novels, this one is right up your alley. It’s also so hot! 🥵 Just a warning to my younger followers or those with aversion to violence/spice, it’s intended for an older audience. But if that doesn’t bother you, I HIGHLY recommend it!

As always, thank y’all for the fanfic recommendations! I’m always hungry for more sonamy fics so please don’t ever feel too shy to send them my way 😋💖💙

[nick-nocturne]

Having a Content Warning night with Graphi, RoyChiato, and Comet, the writer and director for the upcoming furry visual novel Spark Hearts (that I'm part of)!

[coquelicoq]

First I'd like to say, it's a pretty impressive list of french books to have read in only 12 months! (even for a french speaker ngl).

I'm not super well versed in classic literature, novel wise (tho I liked "le dernier jour d'un condamné" by Hugo, "la promesse de l'aube" by Romain Gary, and as cliché as it may be I adore "le petit prince") but if you like theater ! In classics I’d recommend "Phèdre" and "Iphigénie" by Racine, Molière ("le malade imaginaire" and "les fourberies de scapin" are personal favorites),"Hernani" by Hugo again (♡♡), and for more modern stuff "Rhinocéros" and "la cantatrice chauve" by Ionesco. Oh, and "Huis Clos" by Sartre!

In poetry, first of all I think Villon is a great, and brave choice especially if you have it in old french (one of my all time favorite poem is his, "la ballade des pendus"). Otherwise, Baudelaire, Rimbaud, Verlaine and Apollinaire !

In a bit more modern things, if you liked Queneau I’d say give "Zazie dans le métro" a try – tho the way he plays with vocabulary and spelling in this one can be challenging (but it is very fun). Then "Au bonheur des ogres" and "La fée carabine" by Daniel Pennac (I assume the rest of "La saga malaussène" is good too but I have only read those two so far), "escalier C" by Elvire Murail (this one is a big big big fave of mine ♡♡♡), "mercure"by Amélie Nothomb (she’s super prolific but this is the one I remember really enjoying).

For sci-fi, I realize I am not very up to date with what french literature proposes. It’s been quite some time but I remember enjoying “le cycle des fourmis” and “les thanatonautes” + “l’empire des anges” by Bernard Werber. Also “les lutteurs immobiles” by Serge Brussolo. My mother is a harcore fan of Pierre Bordage, so I will slip his name here too. Then I don’t know if you enjoy reading short stories, but in between some scifi/fantasy/fantastique I can rec “la vieille anglaise et le continent – et autres récits” by Jeanne-A Débats, “notre dame aux écailles” and “le jardin des silences” by Mélanie Fazi, Oh and in … I guess technically fantasy? But bordering historical fiction bc of the realism, “chien du heaume” and the next one “mordre le bouclier” by Justine Niogret are two very good short novels.

I am probably missing a ton of great titles, but my brain is failing me and I have very few books in french here (*꒦ິ꒳꒦ີ) (most of them stayed, well. In France). But this makes me think I really need to get back into actually reading in french – so I am adding Valérie Perrin to my lists for sure!

omg thank you for these recs!! this is so detailed and specific, i love it. you're reminding me i've read several of these before, like i had forgotten about rhinocéros but we read it in high school and i really loved it! i should reread that and/or read some other ionesco for sure. speaking of absurdist plays, have you read en attendant godot? i've read it in english but i know it was in french originally so i've been thinking about trying that. big fan of french absurdism.

i also read a lot of molière in high school french classes (i remember giving an extremely boring and long-winded presentation (for everyone else; i was super into it) on his plays to my english class for some reason??), which is how i first learned what a cuckold is lol. and of course we read some baudelaire but i really want to revisit him! also omg apollinaire is the calligramme guy, right? those rewired my brain. i will check out more of his stuff for sure. and it's good to have the names of some other heavy hitters so i can expand out to cover more than was included in my formal education obvi. (like i have read zero racine? which seems like an oversight in curriculum, but what do i know.)

i do have villon in old french 😩 or i guess technically middle french is what he was writing in. the reason i've been putting it off is that right after the preface there's a four-page section on "graphie et prononciation" and i was just like hmmmm is this really something i need to be introducing into my life at this formative time. like i'm still sort of coming to terms with modern french spelling and pronunciation and this seems like it might just confuse me. so i might not be quite ready, but it's here for me when i've leveled up lol.

i loved the one book by queneau i've read so far, so i super appreciate getting recs for other works by him. and i read one amélie nothomb a few years ago, but when i went to look at what else i could read by her i got so overwhelmed by the sheer number that i couldn't pick! so it's good to have your suggestion for a particular title 😊 i've not heard of the other people you mentioned but will look into them!

thank you so much for pointing me in some scifi/fantasy directions 👀📝 i will take a look at these authors and titles...

yeah i super recommend changer l'eau des fleurs, and i know valérie perrin has written at least two other novels, so i'm gonna try to get my hands on those! the challenge now is that whenever i try to buy books from overseas my credit card company marks it as fraud and cancels the transaction lol. my grandmother found this us-based company that imports books from france and really wants to get me some more french-language books for christmas, but their selection isn't huge. this gives me lots of ideas though and i'm sure they will have at least some of the books you mentioned! thank you again, you really came through 🥰🥰

[nanowrimo]

30 Covers, 30 Days 2023: Day 16

And here we are with day 16! Put on your headphones for Children's Fiction novel The Mixtape Mystery by SarahZ. This cover was designed by the amazing returning designer, Roshanak Keyghobadi!

The Mixtape Mystery

Thirteen year old Sarah lives a typical life in Hershey, Pennsylvania until her world is turned upside down when she stumbles upon an old, mysterious mixtape in her parents’ attic. This tape, created by her long-lost uncle who disappeared in the 1980’s, isn’t an ordinary recording. It possesses the power to transport her back in time to the vibrant era of her parents’ youth.

With each song on the mixtape, Sarah embarks on a new adventure, reliving her mom's teenage experiences in the ’80’s, even meeting the uncle that until now she never knew she had.

The Mixtape Mystery is an engaging middle-reader novel that combines the magic of time travel, the nostalgia of the 1980’s, and the universal themes of family, friendship and self-discovery.

About the Author

Sarah divides her time between working in the public school system and performing in the wonderfully creative community of Lancaster, PA. She loves the unique perspective of 5th and 6th grade kids as they dance on the cusp of early childhood and adolescence. Sarah writes for them, hoping to offer mirrors and windows to kids about the complex and curious experience of childhood. The Mixtape Mystery is her first NaNoWriMo attempt and is so grateful for the motivation it’s provided!

About the Designer

Roshanak Keyghobadi is an Assistant Professor at the Visual Communications Department, Farmingdale State College - SUNY. She holds a doctoral degree in Art and Art Education from Columbia University and her MFA (Indiana University) and BFA (University of the Arts) are both in Graphic Design. She studied Visual Communication at Tehran University’s College of Fine Art prior to moving to New York. Roshanak conducts lectures, does research and writes regularly about design histories and designers in global context. Her essays have been published in the United States (AIGA Voice, Design Observer) and Iran (Neshan). She was also the managing editor of Graphis publications in New York City. Roshanak’s artworks have been exhibited in museums and galleries nationally and internationally and featured in books and magazines (Fiber art Now) and newspapers (NYTimes). She has been designing book covers for National Novel Writing Month's 30 Covers 30 Days since 2015!

[thelabpress]

The Rise of Digital Graphic Novel Publishing: Revolutionizing Storytelling in the Digital Age

In recent years, the graphic novel industry has seen a significant shift with the rise of digital graphic novel publishing. What was once predominantly a print-dominated medium has embraced the digital revolution, allowing creators and readers to experience storytelling in new, dynamic ways. This evolution has not only expanded the reach of graphic novels but has also redefined the art of narrative illustration.

The Evolution of Graphic Novels in the Digital Space

Traditionally, graphic novels have been associated with physical books, appreciated for their tangible artistry and detailed illustrations. However, as digital platforms have grown, so too has the demand for digital formats of graphic novels. With the rise of e-readers, tablets, and smartphones, readers can now enjoy these visual stories from anywhere in the world, at any time, and often at a lower cost.

Digital graphic novel publishing refers to the process of creating, distributing, and reading graphic novels through online platforms. This shift has opened new opportunities for independent creators to share their work globally, bypassing traditional publishing barriers. Digital platforms like ComiXology, Webtoon, and Tapas have become popular venues where both emerging and established artists can present their work directly to an engaged audience.

Key Benefits of Digital Graphic Novel Publishing

Accessibility and Convenience Digital publishing makes graphic novels easily accessible to a global audience. Whether you’re in New York or a remote village in Asia, as long as you have an internet connection, you can access your favorite novels instantly. No longer bound by the limitations of print distribution, creators can now reach audiences far beyond their local or national markets.

Cost-Effectiveness For both creators and readers, digital graphic novels are often more affordable than printed versions. Creators save on printing, shipping, and storage costs, while readers enjoy the convenience of purchasing or subscribing to digital platforms at a lower price point.

Interactive and Enhanced Features Unlike traditional print formats, digital graphic novels have the potential to include multimedia elements such as sound effects, animations, and hyperlinks, enhancing the storytelling experience. Some digital platforms allow for real-time reader feedback, fostering a more interactive and engaging community.

Environmental Impact Going digital reduces the need for paper, printing chemicals, and transportation, making it a more environmentally friendly option. As the world moves towards sustainable practices, digital publishing aligns with the eco-consciousness of modern consumers.

Challenges in the Digital Space

Despite its advantages, Distinctive Graphic Novel Publishing does come with challenges. One of the main concerns is digital piracy, where works are illegally copied and shared, leading to potential revenue loss for creators. Another challenge is visibility; with so many digital platforms available, creators must work harder to stand out in an increasingly saturated market.

Additionally, some traditionalists argue that the tactile experience of holding a printed graphic novel is irreplaceable. The sensory elements, such as the feel of the paper and the experience of flipping through physical pages, are still deeply cherished by many readers.

The Future of Digital Graphic Novels

The future of digital graphic novel publishing looks promising as technology continues to advance. Innovations like augmented reality (AR) and virtual reality (VR) may soon offer even more immersive storytelling experiences. With the ongoing development of digital tools for artists, creators will be able to experiment with new techniques and styles, pushing the boundaries of the medium even further.

Furthermore, the global nature of the internet means that more diverse voices are emerging in the graphic novel space. Creators from different cultural backgrounds can share their stories with the world, contributing to a richer and more varied storytelling landscape.

Conclusion

Digital graphic novel publishing is not just a trend but a transformative force in the literary and entertainment worlds. As more creators and readers embrace the digital format, the medium is likely to continue growing and evolving. By making stories more accessible, cost-effective, and interactive, digital platforms are democratizing the world of graphic novels and ensuring that the art of visual storytelling thrives in the digital age.

Whether you're a seasoned artist or an avid reader, the rise of digital graphic novels offers an exciting new frontier in the world of creative expression.

[botchfrivarg]

One (I think) big reason most people want big phones is that most people (around the world) use their phones purely as content consuming devices. To watch shows, youtube, movies, look at photos, read a story, etc, with maybe the exception of photo-/video-graphy almost nobody uses their phones to create, so a soft keyboard is fine (if you want to write a novel get a laptop/chromebook), and the screen real estate is paramount! On top of that these larger phones allow for larger batteries (also a premium in this day and age), and it becomes clear why most people go for the bigger phones. I think in a world that wouldn't have this focus on content consumption smaller phones would be a lot more marketable.

Though this is pure speculation, and I could be wrong.

Nothing makes me more viscerally sympathetic to the "corporations decide what products people are going to want regardless of what people actually want" argument than the fact that all phones are giant tablets with no buttons. No one is making anything else, so everyone "has" to want one of those.

Except.

I really did care about this issue, so I looked into the details, and that's exactly backwards. When Motorola killed the Droid line of phones with slide-out keyboards, I went and read an interview with the product director. And he was like "yeah, I loved that feature, I really liked those phones, but we just couldn't get people to buy them."

And similarly, I'm always upset that no one is making reasonable-sized (under five inches) phones any more. But the thing is, when they do make those they can't sell them. For a long time Apple hung on with the mini line, which was the only thing that ever tempted me to do business with Apple. But they're discontinuing it because they just can't sell enough of them to justify keeping that line open—even though they have a total monopoly on the market for "small decent-quality smartphones".

These are both cases where the corporations keep trying to create demand for exactly the products I want. And it doesn't take because people authentically, organically, do not want them.

[kdpinterior]

A copyright page is traditionally found at the beginning of a book and is used to identify copyright ownership, printing information, and publisher contact information. A book's copyright page often also serves as a place to dedicate the book. Although not required, it is always recommended to include a copyright page for the book as it provides the reader with important information about the parties involved in creating the book. Let's see an example of a copyright page and how to create a copyright page. A free copyright page template is included at the end of this article to help you easily make a copyright page for your book. Also, note that the author's work is copyrighted from the moment it is written. This means that the author owns the copyright in the book, whether or not it contains copyrighted pages. Before we get into all the elements of a copyright page, let's look at an example copyright page for Periwinkle Smith AND THE BIG PINK SPOT. What Is a copyright page Template KDP? A copyright page aims to inform readers that a book isn't in the public domain. You own the intellectual property under copyright. No one may reproduce your book without your consent. Additionally, this website has information that will be useful to merchants, librarians, booksellers, and distributors. The copyright page is located in the front matter on the verso of the title page. For more information, see my essay on front matter and rear matter. Several components on a copyright page have different functions. To enable customers to acquire additional books from the author or publisher, traditionally published novels sometimes include much publisher information. Instead, self-published authors frequently link to their author's websites. Is a Copyright Page Necessary? Yes, a copyright page is necessary if you wish to give your book an additional measure of protection, whether it is fiction or nonfiction, a bestseller, or a book that only sells 20 copies. Your book is still protected by copyright even if you don't have a copyright page. It is not strictly necessary to copyright your book on a specific page. Copyright protection begins the moment you start writing. However, without the copyright page, it might be more challenging to demonstrate your ownership in a court of law. A copyright page identifies you as the owner while discouraging plagiarism. A "No Trespassing" sign comes to mind. You are still not permitted to trespass without it. However, the movement supports the concept. How To Create a Book Copyright Page Template KDP What Does a Copyright Page Include? Technically, a copyright page only needs to include the rights reserved notice and the copyright notice. The other components, though, might provide readers with additional information about you as a writer, printing specifics, or legal disclaimers that eventually matter to someone. I'm aware it seems absurd. But do not fret. Below, I'll go over each of the 15 components of a copyright page and give an example. How To Create a Book Copyright Page Template KDP 1. A copyright notice This is your opportunity, as the author, to take ownership of your work and declare to the world that it is yours. The copyright notice is divided into three sections: The word "Copyright" with the glyph for copyright. Name of the copyright holder: The copyright notices for the author and illustrator are typically listed in that order. Depending on your agreement with your illustrator, they might or might not have a copyright. It is sufficient to state "Copyright 2022 [author's name]" if copyright has been granted to the author because this covers both text and graphics. Author copyright might be listed under your name, while illustrator copyright is listed under your company name if copyright was assigned to your business. Author copyright might be listed under your name, while illustrator copyright is listed under your company name if copyright was assigned to your business.

You must identify your illustrator as the copyright owner if your contract does not explicitly provide you with ownership of the work.  Always adhere to the terms of your contract when using illustration copyright to ensure accuracy. The publishing year is: Not the year the book was written but the year it was released. Two copyright years may be mentioned if this is the book's first publication.  2. Reserved rights Anyone who reads your copyright page knows that you have the right to replicate the work thanks to the words "All rights reserved." It is acceptable to include these terms, but if you want to be more specific, you may use the phrase below. 3. Contact details How would you like to be contacted after that? It is imperative to mention this. By providing your contact details, someone can get you to ask for permission to duplicate the work partially. If they want to purchase the rights to publish the book in another nation, they will use it to contact you. They cannot request these privileges or permissions if they can't get in touch with you—which might be cash taken from your pocket! 4. LCCN and P-CIP data CIP (Cataloging-in-Publication) (Cataloging-in-Publication) Any book you want to obtain in a library must have data or a Library of Congress Control Number (LCCN). Each book in the Library of Congress's cataloged holdings is given this identifying number. Additionally, libraries use this number to place orders for and track down books. For every book, traditional publishers submit CIP Data. Unfortunately, self-publishers are unable to obtain CIP data. Instead, they are getting a P-CIP number. However, simple. See my post What is CIP Data, P-CIP Data, and How to Get P-CIP Data for details on obtaining P-CIP data. 5. ISBN Every book has an ISBN, and listing it on a copyright page is a good idea. But you're not required to list only one. It is entirely okay to mention all of those ISBNs on the same copyright page if you have various editions of your book (for instance, a hardcover and a paperback, or one published through IngramSpark and one through KDP), saving you from having to make separate copyright pages for each book. Just be sure to make it clear which edition each ISBN refers to before listing them. For instance: ISBN hardcover ISBN for paperback Kindle ISBN Check to visit my article How to Buy an ISBN, When to Buy an ISBN, and What ISBN Means for additional details on what an ISBN is. 6. The book's edition When a book's edition is listed, readers can determine whether this is the first time it has been published or if there have been previous versions. The phrase "First Edition" or "Third Edition" can be used, or you can be a little more specific and use terminology like "First Edition: March 2022" or "First Hardcover Edition: March 2022." There are rarely second editions of picture books and novels because they don't frequently change. This language is, therefore, wholly optional. Nevertheless, listing an edition is helpful to let your readers know when content was last updated in nonfiction that needs to be kept current. 7. location for printing People want to know where a book was printed, even if it is not necessary to list the nation where it was published. Spell out the complete name of the country if it was printed there: Printed in the United States of America. 8. Key for a printer What print run a book is on is revealed by the printer's key, sometimes referred to as the number string or the number line. If you're printing books, this is your chance to announce how many times the book has been published. Every time a print is made, the lowest number is eliminated. For instance, if a string of numbers reads "10 9 8 7 6 5 4," you are on the fourth print run. Please note that starting with ten on the left presupposes your copyright page text is positioned to the left. Your copyright text should read as follows if it is

centered: 1 3 5 7 9 10 8 6 4 2 This makes it possible to uniformly remove numbers from the left and right, keeping the text in the middle. Since there are no print runs for print-on-demand books, the number string is not used. How To Create a Book Copyright Page Template KDP 9. References You are not required to provide credit to your book's editor or designer. However, if you choose to do so, the copyright page is the best area to include an acknowledgment. This is also an excellent area to include additional credits, such as a gratitude list for everyone who offered assistance during the book-writing process (researchers, beta readers, and friends who had a heavy hand in the book creation.) 10. Permissions and copyrights of third parties This is the spot to say anything in your book inspired by a third party and offer credit. Give the necessary credit where it is due, whether for the font used, the cover image, inside images, a passage from another book, or anything else. 11. Disclosure Readers identify too readily with characters in books. Therefore, including a disclaimer, particularly in a longer work of fiction, is advisable. The following disclaimer language is possible: This is a fictional piece. Any similarity to real people, alive or dead, actual events, or real places is coincidental. Similar phrasing is suggested for nonfiction or memoir. The most OK language depends on the subject and can be found in other works in your genre. 12. Dedication The copyright page frequently includes dedications from the author and illustrator. They may be positioned at the top, bottom, or on a separate page from the copyright page. In a book, dedications are optional and only at the author's discretion.

[khakilike]

Primer, Thomas Krajewski & Jennifer Muro and Gretel Lusky

[nonetoon]

I’m working on a short comic script right now and I feel like I format my scripts like a gremlin creature

[wanderingokali]

Gotta show off the snazzy new title screen illustration in full :3c

Bonus:

[koyamapress]

Thanks to the Ontario Media Development Corporation’s Book Fund, Fall sees us return to the site of the debut of TRIO MAGNUS: Equally Superior (our first ever book): Japan! We will be in Japan as a part of the TCAF contingent and will be attending both the Kaigai Manga Festa / Tokyo International Comic Festival and C.A.T. — Comic Art Tokyo Festival. Stay tuned for a full report of our adventures in early December as we round out our anniversary year!

Kaigai Manga Festa / Tokyo International Comic Festival 23 November 2017 | 11AM-4PM at Tokyo Big Site, Tokyo, Japan Check out the Kaigai page for further details

C.A.T. — Comic Art Tokyo Festival 25 November 2017 | 11AM-8PM at Temple University, Tokyo, Japan Check out the Facebook event page for further details

Kickass Annie by the Kickass Annie creator Aaron Leighton!

[flying-glory]

Watch co-creator and artist Kevin Paul Shaw Broden in action as he works on inking a panel of page 30 of the FLYING GLORY AND THE HOUNDS OF GLORY online Graphic Novel "The Gift".

[nanowrimo]

30 Covers 30 Days: Day 1

Every November, during National Novel Writing Month, thirty professional designers volunteer to create book cover art inspired by novels being written by aspiring authors from around the globe. Why? To encourage new, diverse voices, and help build a more creative world.  

30 Covers, 30 Days is presented in partnership with designer and author Debbie Millman. I’ve been seeing these covers come in, and boy am I excited to finally get to share them! So here we go:

Wild Talent

A novel by NaNoWriMo Participant Jack Lawrence:

Untested investigative journalist (and stoner college student) Marianne Palinski accepts a heinous first assignment: to track down and write a story on Dr. Richard Vasquez, the ex-professor who went bonkers on LSD and fled the university with a small group of student disciples in order to commune with the spirits of Cassadaga, Florida—the psychic capital of the world. Correspondent Palinski's first move is to enlist as navigator/spirit guide one Colleen White, her downstairs neighbor (and dealer) and a possessor of so-called "wild talents"... including but not limited to acid-induced telekinesis. And it gets weirder! Competing for the first public Vasquez interview is the musclebound head of the ghost hunting reality TV show Freakiest Findings. To what depraved gonzo depths will Marianne and Colleen have to sink in order to break the story first?

Cover Design by Michael Braley

Michael Braley, Creative Director of Braley Design has 25+ years of experience in brand, print, book, package and poster design. His work has been recognized internationally and is in the permanent collections of the San Francisco Museum of Modern Art, the Chicago Athenaeum Museum of Architecture and Design, The Denver Art Museum and the Museum fur Kunst und Gewerbe in Hamburg, Germany. Most recently, his poster designs have been exhibited in the International Biennale of Graphic Design: Moscow, Ecuador Poster Bienal: Bolivia, Graphis, and Communication Arts.

Be sure to visit his website, and follow him on Instagram!

We’ve also made a post on the forums, so drop by to see the cover in higher resolution and leave some feedback/start a discussion!

[thatgeekwiththeclipons]

What I bought from Laughing Ogre and Play It! Games, Movies & Music ^_^

From Laughing Ogre:

All 8 volumes of Buddha by legendary mangaka Osamu Tezuka (creator Astro Boy, Kimba the White Lion, Unico, Black Jack, and many others)

The Compete Crumb Comics Volume 3 and 8, celebrating the career of legendary underground artist Robert Crumb

True Stories Volume 2 and 3 by Derf Backderf, these days probably best known for the graphi novel My Friend Dahmer, about the teen years of notorious serial killer, Jeffery Dahmer, whom Derf went to high school with, a movie adaptation came out in 2017

The Adventures of Nilson Groundthumper and Hermy by Stan Sakai, the creator of one of my favorite comics Usagi Yojimbo, these stories originally appeared in the 1980s anthology comic Albedo Anthropomorphics and Critters (which Usagi Yojimbo also originated before getting his own series)

The 5 original issues of the 1998 comic 300 by Frank Miller and Lynn Varley (both also worked on The Dark Knight Returns and Ronin), I also have the hardcover graphic novel that makes all the pages panoramic

From Play It! Games, Movies & Music:

Blu-Ray copy of the 2007 action film 300 in a hardcover book packaging with pictures and behind the scenes info