#I draw these comics more than my own webcomic at this point

[zaifonart]

Food Delivery.

[midnightechoes]

Five years ago today, She-Ra and the Princesses of Power premiered on Netflix. I had seen a few preview articles about it, and liked what I saw. Those articles mostly focused on She-Ra’s, Adora’s, Glimmer’s, Bow’s, and Catra’s redesigns, and I thought they were fabulous. I loved Adora’s new red jacket and bouffant hair style. Glimmer’s entire redesign was inspired, and I loved that they made Bow black so we could have more diversity in the main cast.

It was She-Ra’s and Catra’s redesigns that caught my eyes the most, though. They made Catra an actual catgirl, and not just in the anime sense where she's just a cute girl with cat ears and maybe a cat tail. She was a full-on furry. It was a brilliant design choice. Honestly it’s no wonder that so many were instantly drawn to her.

And of course, She-Ra herself. I loved her new look, and her huge ass new Sword of Protection. In fact, I loved it so much that I drew this picture of her before the show even came out:

Then the show came out, and needless to say, I fell in love. And honestly, it changed my life.

I know, I know. That sounds very hyperbolic, and to an extent it is, but in a lot of ways, I’m absolutely serious.

Alright, I have to back up a little. Back when I was in college, and for a few years after, a couple of friends and I tried to make a webcomic called The Devil’s Gate. It was minorly successful but eventually floundered. Then I met some people and we tried to make a video game, which also failed. After those few years, I found myself on my own and trying to rework the concept of my webcomic. Making comics, creating stories, those have always been my dream, and I was desperately trying to figure out a story I could make work, something that I believed in. But it never truly got off the ground. By the end of 2015 I had given up on the comic, realizing that after working on it for years in different forms that I needed to step away from it.

I didn’t really know what to do after that. I was still doing my quick daily doodles, but I wasn’t writing, I wasn’t drawing anything of note. I felt emotionally and physically drained of my creativity. I was honestly getting to the point where I thought it might be time for me to give up on trying to be creative or making things all together.

She-Ra and the Princesses of Power came out on November 13, 2018, but despite looking forward to it, I didn’t actually watch it when it came out. It wasn’t until that weekend that I decided to check it out.

I was instantly hooked. I binged through the entire season in two days, and did plenty of crying and cheering. And then rewatched it immediately. I was in love. I was obsessed. It had been a long time since anything grabbed me like SPOP did. I loved the characters. I loved the colorful, sci-fi-fairy tale world of Etheria. I loved how unapologetically feminine it was. And most of all, I loved how queer it was.

I hadn’t done a ton of shipping before SPOP. I’ve been down bad for harlivy for what feels like my whole life, and I was angry when Mika and HG didn’t get together in Warehouse 13, but more often than not I had just been conditioned not to look for queer things in mainstream culture, and even barely in subculture.

That is to say, when I was smashed in the face with Catradora I was surprised how much I glommed onto it immediately. I was absolutely taken with Adora and Catra and their relationship. Both characters were so relatable, and despite not quite being text (although the subtext was so loud and obvious it might as well have been text), it was impossible to not read their feelings for each other as romantic.

It wasn’t just Catradora, even if that was a lot of it. Spinnerella and Netossa being canon from the start was wonderful. How much Glimmer and Bow screamed “BISEXUAL DISASTERS” from the start was adorable. Scorpia’s crush on Catra was as cute as it was sad in its one-sidedness.

I had never really been in a fandom. That is, yeah I’ve liked things, loved things even, but I never found other people to talk about it at length, never found discords just for that thing, never read or wrote fanfic, barely ever drew fanart. 

But, I watched SPOP, and then I watched it again. And then I drew Catra. And then I drew Adora. And then I drew them again. And suddenly I was on AO3, a site I never frequented, reading Catradora fics. And then I had an AO3 account. That December I participated in Catradora Week 2018 (I’d never heard of this kind of thing) and drew two pictures for it and wrote my first fanfic.

By the end of February I had drawn more in the three months since the show had premiered than I had in the previous year. I was working furiously on a long, multi-chapter fanfic, and writing more words than I had in the previous couple of years combined.

I was inspired again.

In the 18 months that SPOP ran for, I drew more than I had in years, I wrote hundreds of thousands of words. I felt so rejuvenated and happy about my creativity and free for the first time in years.

It’s hard to put into words exactly how it felt. I was so close to giving up my art and writing, which honestly, would have been giving up a part of myself. An important part of myself. It’s not overstating that SPOP saved me, or at least my creative spirit.

I also learned about the wonders of being in a fandom and fandom things like fan weeks, big bangs, zines. And I made some wonderful friends that I cherish to this day.

Even as I inevitably moved onto other hyperfixations, my love for She-Ra hasn’t diminished. Plushie Catra and Adora sit next to me on my desk every day. Catradora art still hangs on my wall.

The inspiration that SPOP ignited in me hasn’t died either. It’s carried me through a tremendous level of creativity that I’ve been riding since the premiere. It let me create a ton of fan art for SPOP, and then RWBY and then the Witch From Mercury, and I’ve written a ton of fanfics for RWBY and Supergirl. And perhaps the best, that inspiration has helped me create more OC stuff in the last couple years than I had in a long time.

I owe She-Ra and The Princesses of Power so much. I am so happy that it exists and that it happened when it did. I’ll always cherish it.

And for real, Netflix, SPOP spin-off movies WHEN?!

[ot3]

Hey! The link to your FAQ wasn't working for me so I don't know if this question has been asked before. I really appreciate your perspectives on AI art. Do you happen to have any resources that you read/listened to on intellectual property rights and the issues with it? I just don't really know where to start with it.

[heres where i cut out a big paragraph of me, once again, bitching about how blog pages don't work on the tumblr app and i think that's fucking stupid]

anyway i dont have any generalized sources on the subject but the tl;dr of it is: intellectual property rights exclusively benefit people who have the resources to pursue sustained litigation. 99% of the time, what IP law is being used for is to reinforce corporate ownership of work that was done by their employees.

the whole disco elysium debacle is a great case study.

The shareholders of ZA/UM accused the trio of, among other things, intending to steal intellectual property (IP) from the company — a curious accusation, considering that the world of the game is based off of a novel written by Kurvitz himself. The case of Disco Elysium illustrates the shortcomings of IP rights as protection for artists. Consequently, it contains a lot of lessons for the labor movement when it comes to the arts, and serves as a reminder that creative workers are, at the end of the day, workers. But this is not just an academic exercise. It’s a human story about the intimate consequences of capitalist exploitation. “I got my soul ripped out of me,” Kurvitz told me over Zoom in April of 2023. “I got my skull cracked open and my brain lifted out of it by a fifty-five-year-old financial criminal.”

another example: alex norris of webcomic name, which you will probably recognize when you see it, has been raising hundreds of thousands of dollars over the past several years to try and keep up with the protracted legal battle over maintaining ownership of his own work.

I have been fighting this case since 2019. It arose out of an agreement to make a boardgame based on my webcomic in 2017 but the publishing company has used this as an opportunity to take all of my intellectual property, and has even claimed ownership of Webcomic Name as a whole. I can't go into more detail here, but the details of the case are publicly available to read online.

Then, in a 2024 update:

I have essentially won the main case based on the decisions made last summer. The Judge has clearly stated that I own my comics, and that the other party has infringed on my copyright. It is not over yet, as there are still a few things that need to happen. Hopefully things will all be wrapped up this year. After 6 years of legal battling, I can’t wait to be free of all of this. Hopefully, this second case will backfire, and they will be sanctioned for filing it. But to get to that point requires a frustratingly large amount of work, time and money.

An interesting thing about both of these two specific instances is that they involve creators who had entire bodies of work produced around the specific IPs that were stolen from them before they even began partnering with corporate entities to produce works. which is insane! you can spend years writing novels, drawing comics, and if a company comes in with enough lawyers they can own those ideas.

this is pretty distinctly different to me than instances of work you do while being employed by a corporate entity being owned by that corporate entity, because at least you know what you're getting into there to some degree, but i still think that's bad too. consider stuff like the owl house and gravity falls, two disney shows made by people who very very clearly did not like working for disney. disney owns their ideas, their characters, their worlds, because that's the price you pay for having an animated show produced.

essentially it's very very clear upon even the slightest examination that intellectual property in no way exists to codify who the creator responsible for specific creative concepts or works is. it exists to turn nebulous things like 'ideas' into market commodities, and to funnel the profits made by the labor of individual artists and writers into corporate bank accounts.

the only person who has ever really benefited from IP law as an individual trying to lay claim to their own work is ken penders, who notoriously won his suit to have ownership of characters and storylines he created. heartbreaking: Worst Person You Know Gets An Unequivocally Deserved Legal W.

The comics continued under Flynn’s direction as if nothing happened, but things started looking grim in late 2012, when Archie suddenly fired its entire legal team. The company had been unable to produce Penders’ work-for-hire contract, which would have given control of his creations to Sega. Penders claimed the contract had never existed. A heavily circulated Tumblr post outlining the case (which has been corroborated as a reliable source by Penders) explains that while Archie did provide a photocopy of a contract allegedly signed by Penders in 1996, Penders claimed that the document was a forgery. That it was neither an original copy nor a contract from the beginning of the writer’s tenure at Archie meant that its validity was questionable. Making things worse, Archie couldn’t produce an original copy of any previous contributor’s contract, meaning that any writer or artist who had worked on the Archie Sonic line could potentially follow in Penders’s footsteps and reclaim their work. “So are you saying prior counsel blew it?” the presiding judge asked Archie counsel Joshua Paul in a May 2013 court session. His reply was unequivocal: “Absolutely, your Honor.”

So yeah. Owning the work you do as an artist is only something that happens when the people trying to profit off of it show unprecedented and staggering level of incompetence in their legal teams.

Then, alongside not owning the concepts and ideas you produce while working with corporate entities, there's the issue of NDA regarding specific pieces you've produced. This causes a LOT of trouble for freelance illustrators/character designers/concept artists, etc. Looking for work is very hard when the past three years of pieces you've drawn can't be added to your portfolio. Some people have password protected pages on their portfolios that they use for NDA work, but I believe the right to do this varies depending on your contract. I'm not 100% sure. In cases where the project you worked on eventually comes out, that's one thing, but there will be instances where the entire project gets canned after all the work is done, but is still under NDA so essentially all of your work has been taken from you, crumpled up into a ball by a studio executive, thrown in the trash can, and legally you are not allowed to go pick it out of the bin and try and flatten it out again.

This has all been pretty art-focused because that's the kind of circles I run in and where a lot of my interests lie but the truth is none of this is even remotely close to as evil IP law gets. I've saved the most egregious for last: The Lakota Language Consortium

The Lakota Language Consortium had promised to preserve the tribe’s native language and had spent years gathering recordings of elders, including Taken Alive’s grandmother, to create a new, standardized Lakota dictionary and textbooks.  But when Taken Alive, 35, asked for copies, he was shocked to learn that the consortium, run by a white man, had copyrighted the language materials, which were based on generations of Lakota tradition. The traditional knowledge gathered from the tribe was now being sold back to it in the form of textbooks.

When you're in defense of IP law, this is what you're siding with. This is the rational endpoint of IP and it is neither a fluke nor an example of the concept being twisted against its original design. Art, culture, language, it belongs to whoever is most capable of turning it into a product. The economic incentives of producing and distributing arts and culture demand this is how things be.

Meya says his work is a vital tool in preserving the Lakota language, which did not previously have a standardized written form. He estimated that there are fewer than 1,500 fluent Lakota speakers left and that over the last decade and a half, the organization has helped add 50 to 100 more. “Just because money is involved in it does not inherently make it an evil thing,” Meya said in a recent interview with NBC News. Most of the products his organizations make are free, he said, but the cost of printing textbooks has to come from somewhere. “That tends to be sometimes part of the rhetoric, ‘Oh, there’s money involved. It must be, you know, part of the overall colonization effort.’ Well, you know, that’s just not realistic.”

Artists looking to force their way into the class of people who gets protected by these laws are not looking out for their community. They are not protecting anything but their own perceived financial interests. Intellectual property will never, ever benefit the most marginalized members of creative communities and anyone who tries to convince you otherwise is huffing some serious copium.

Frankly, I don't believe anyone can or should 'own' things like Ideas or Specific Aesthetic Flairs. But even if you do believe in that, IP law isn't the framework for handling it.

[genericpuff]

Hey quick question.

How do you know if you should make a webcomic? I have this story idea that’s been floating around in the back of my head that I think could work well for a comic series. But the problem is I’m mainly used to writing screenplays and more traditional writing.

What I’m saying is, how can I tell if making a webcomic is worth it or if I should stick in my comfort zone?

I mean, there's no definitive right answer when it comes to "knowing" if you should make a webcomic. It really just comes down to you. Do you really like the medium? Do you feel your story has to be told within that medium to achieve its goals?

Same thing goes for whether or not it's "worth it", it really comes down to how you define that. For some people, simply posting their comics online to a few readers each week is worth it. For others, if it doesn't get into print or publishing or whatever have you, it might not be quite so justifiable to keep up with. Neither is better or worse than the other, both reasons are valid because it ultimately comes down to what we as individuals are trying to accomplish and what we define as "worth it" on a personal level.

I actually live on both sides of the spectrum right now because with Rekindled, posting it on Tumblr and getting all the great feedback and company through the audience it's gained makes it worth it. But that worth was defined by my expectations going in - I wasn't making Rekindled for money (legally I can't), I wasn't making it to get an Originals deal or anything of the sort, I was just making it because I found myself deadset on going through with it after months of it living in my head rent free, and so what I've gotten out of it as a result is very much worth it, all I was really looking for was maybe some other readers who would enjoy reading a transformative 'foe fiction' from a former LO fan and I've found those readers in spades simply due to the demand.

Time Gate, on the other hand, was something that I wanted for years to be a 'successful' project, defined more by actual tangible growth and gain. Because I came up with it as a kid, for a long time it was my "magnum opus" project, the thing that I wanted to see get turned into books and an anime and a video game and all those sorts of things as 'proof' of how good it was. Of course, I know now years later that those expectations were WAY too high and it resulted in me feeling incredibly depressed over it for ages. It made it hard to work on and even though I did have some readers, I didn't see it as "worth it" because my expectations were a lot higher than that of Rekindled's going in. But that was simply a matter of experience at that point, because I had been making original comics for so long, when I went into Rekindled I knew a lot more what I was capable of, what I wasn't capable of, and what boundaries I was willing to put down for myself. Even still, I do still want to return to Time Gate some day and when I do, I want to still treat it like a series I want to get off the ground as an actual published piece of work - it's just that this time around, I actually know how to make those steps and be proactive in my approach (and I know where to keep my expectations) which is certainly a perspective and skillset I didn't have when I was 15 LMAO

I will say, realistically speaking, it is a lot harder to pursue webcomics as a writer, because the reality of this medium is that most people who go into it are artists who learn how to write to make a webcomic, not the other way around. Unless you're willing to learn how to draw - which is a whole other skillset that requires years of work and patience - you're likely going to have to seek someone to collaborate with and - I cannot stress this enough - it's not going to be someone you simply find on reddit who's willing to work for free. Again, many of us as artists went into webcomics with a project already in mind, so most artists are already working on their own passion projects, trying to convince someone else to work on yours is just not realistic or fair. I'm fortunate enough to have @banshriek along for the production of Rekindled and even then I still pay for their contributions out of pocket, they're as invested in an LO rewrite project as I am (and thus they're given a lot of room to make suggestions in both the set designs and the writing), and I still had to carry the first 20ish episodes on my own before they joined along, i.e. I would still be making Rekindled if they weren't onboard, but having them is a massive help that's taken the comic to a whole other level in its artistic production.

But that doesn't mean it's hopeless! There's a lot of interest right now in webnovels and writing comic scripts is still a completely viable way to get into the comics industry if you're really interested in doing so (fun fact: before I was making comics, I wrote fanfiction! This is probably not shocking to hear all things considered LMAO) There's a reason Webtoons owns Wattpad now, webnovels are a no-brainer when it comes to adaptations to visual mediums, and webcomics have become part of that environment by extension. So at the very least, if you want to get your story out there, there are loads of ways to do it that don't require you to make a comic - but if you really want to make one, there are ways to get into that industry through writing in other ways such as pitching scripts to comic publishers and/or going indie with webnovels. Ultimately, if many of us webcomic creators stopped drawing our works, we'd still be coming up with stories to write, because that's what's really at the heart of these sorts of projects. So even if you can't get into comics right away due to lack of visual artistry, that doesn't mean it's off the table forever ( ´ ∀ `)ノ～ ♡

Sorry, that was a lot of rambling but I hope it helps ! Remember to keep your goals and expectations manageable, and most of all, write lots! You'll be doing it anyways regardless of whether or not you get into comics, so whatever value you see in getting into comics is up to you to determine! You don't have to know right away, it might be something you'll find along the way or have to adjust as you get more experience, but don't stop yourself from getting creative and messing around until you find out what works! You won't know if it was worth leaving your comfort zone until you try it <3

Good luck! (•̀ᴗ•́)و

[beesmygod]

when the cursed princess club does it it's good because it suits the story perfectly, at any point any of the people working on it could google what a possum looks like and improve their portrayal of them, but the way they are drawn right now is already perfect, why "fix" that? I love when the characters do actions and you see the little sound effect of the character doing it, it works so well in there. Also you can see the art has been evolving through time For me I think when that kind of things don't work at all in that type of webcomics is in the a) licensed ones, b) the ones that you know could try to do better and do nothing

one of my favorite panels in CPC is an establishing shot of a hospital that the club is doing volunteer work at (god, long story). you know its a hospital because there's a big red cross outside on the building BREAKING THE GENEVA CONVENTION!!!! god i think i need to actually go find it. the first time i read it i just flew past it because i was invested in the story.

someone actually pointed this panel out and thats when i really looked at it

no windows. no doors. set on a patch of vertical gradient. first of all, this is hysterical. i love this. second, this is the perfect amount of effort required to convey information to a willing audience. i didnt even fucking notice this was taking place in jigsaw's torture hospital while reading it. the art has, at all points, been the bare minimum required to tell a good story. this scene did not require lavish realism or detail because it's a cartoon universe where silly things happen in service of a good joke. i have never been confused about where an event is taking place because the information i need is successfully conveyed to me through the most recognizable icons and things. red cross and building. got it.

i think the sincerity of the work also shines through. this is hard to describe, but there is a large contingent of comics in genres that they believe will make them money either because webtoons the company trends toward financially rewarding it or the perception that those audiences are more willing to spend money to create never-ending streams of emotionally empty sludge. their lack of investment in anything other than clout/$ results in a vapid, hollow shell of a comic with an attractive exterior. but a quick glance through the work exposes the author's lack of investment in their own creation.

the willingness of cpc to draw things fucked up and weird sometimes is charming. its actually taking some risks in going against the aesthetic grain of the sea of webtoons comprised of mostly the same few pre-generated assets. its not like cpc DOESNT use assets, but the light touch and geocities ass fire in the fire place just endears me to it more.

its just Right.

[jellazticious]

“You can’t rush art”

I think everybody can recall the quote from Toy Story 2. From the most satisfying part of the movie where we see a montage of Woody getting restored by a toy maker. It’s one of my favourites too, I absolutely loved looking at the different procedures used to fix a single toy. The toymaker’s precision and care were found mesmerizing by everyone. As a multi-hatted artist, one that can draw, sculpt, animate, and write, I can say that it’s spot on that there’s so much to do for a single piece of work. HOOO boy, you should see how me and Beefy are organizing Cursed to Charm, there’s so much.

For the upcoming webcomic, we design characters, give each and every one of them their stand-alone story, design different clothes, create the map, draw renders and posters, polish scripts for the episodes, plan to program the comic’s own website, make the backgrounds eventually, etc. To people who aren’t artists or take art for granted, to them, art is stroking a paper using a pen and BAM instant masterpiece. No no, it’s more than that.

Another thing I’d like to say about the comic is that the progress is very slow yet very fruitful because of the time taken. Me and my co-author came up with the idea at late November, which makes the comic four months old now. However, with all that time passed, we have already finalized the list of nine episodes of season one. We have also written seven out of nine summaries from that season before actually writing the dialogue in detail. We have a rough four seasons worth of story progression in the span of four months. Nyeh, excuse the little ramble about CtC, I’m just giving insight of how much should be done for the production of anything which leads us to the next point.

Art production in general.

Movies, animation, shows, video games, books, comics etc etc

All of these are part of art, some people would deny because it isn’t sophisticated like they’re lead to believe art is supposed to be. Art is literally just creation man, can’t get any simpler than that 😩 if you made something, then you made something woohoo! Congratulations you made art, cooking included. It came free with your fucking humanity.

Anyway, just like the webcomic, every single one of these listed also have a set of different procedures that will piece together the final output.

Let’s take Disney movies as a specific example, I want to talk about something real quick.

So one time, I was watching Tarzan with my parents and we stuck around for the end credits. My mom pointed out the animators are divided into sections and there’s so much names on them. There are different teams of animators for each character and these teams are divided in two for the storyboarders and the clean up artists. When the credits rolled a bit more, it showed that the background artists and colorists also have their own sections too. There’s so much people working on different body parts of a movie. I got the habit of reading end credits of every movie I watch, animated or live action, then I would compare the credits of old and new movies. Boy, let me tell you that the work space on old movies are FILLED compared to newer movies. One thing I noticed about Disney movies although, is that the old movies have more sections compared to new ones. The major difference of old Disney and new Disney are the length of the credits and the time gap of the movies. I’m really not trusting the way new movies have way shorter end credits while the publish time of new movies are getting narrower and narrower. Before the 2000s, movies usually come out twice a year and sometimes there’s a two-year hiatus before the next batch of movies are published. Now there’s at least two or three movies that publish yearly while also releasing a bunch of shows in the middle of it. I really don’t understand business talk with the way it sacrifices quality over quantity. Like I get having money is great and all but what’s the use of hoarding it? Especially when there’s so much news of people about to be in poverty and mass layoffs. Why should companies earn money if they’re not going to redistribute it back to the economy at all? This is a little off topic but I want to point it out that people in the 80s used to buy whole houses by being a janitor but nowadays people could barely afford a one room apartment even with three jobs. The Simpsons is an example of this because it was set in the 90s and the family is constantly reminded of how “poor” they are. They even created an episode that talks about the same job that supported people’s fathers will no longer support you nowadays (Poorhouse Rock ep22 s33). It’s fishy and I’m salty about it especially because I hear so much people complaining about how they’re not being given a chance to work. Anywho! Let’s go back to art.

I’m just spitballing my thoughts here but somehow they’re connecting either way. All I’m trying to say is that for the people who care so much about the quality of art, it’s noticeable that they get downgraded, not just by the look but by the way they’re written.

Example.

Clone High.

Jesus Christ, the new show is a nightmare and an insult to the original Clone High. The difference is clear with this one. The original Clone High was heavy satire of every single high school trope used in shows and movies. Every single character was meant to have one personality and that personality is the butt of the joke. The original did not care about making the characters appealing because the appeal is found in the way they interact, they clash so much and a lot of them are idiots. The writing is funny because the dialogue flows so easily unlike the renewal. The renewed Clone High takes itself too seriously and it tries too hard to be relevant. It’s funny to me that fans can draw the original’s art style more accurately than the animators hired. What’s even more frustrating is that concept art was released from the art head and the concept art looked way better than what they decided on the final designs. Other than the art style that tries to be marketable, the writing is insufferable with the way they try to be “relatable” without understanding why the original jokes were funny to begin with.

Now we’re all familiar with this cheap tactic of using the title of successful franchises to grab clicks and views. It’s every live action Disney film, it happened to Scooby Doo, Marvel shows, FNAF, some Cartoon Network shows, Megamind, and now even Kung Fu Panda. Basically MILKING. It would have been better if the productions TRIED to understand the original’s intentions which they forgot about. They ended up being disappointing at best and soulless at worst. I won’t be explaining much cuz I’ve already reached the minimum word count lmao. I’m just rambling here, I better not see anyone interrogate me in asks or replies. ANYWAY, I’m gonna get to the point real quick.

Back to the quote at the start of the post, people tend to forget that. Art is a skill, not a button people press and it gives you pretty pictures or videos. Art is a job and an effort. While art is subjective and it differs from person to person, one thing for certain is that art that is made ingenuinely will never be better than art that is made because the artist loves art. This is why the Tom & Jerry reboots with the lineless art style even if they had a storyboard artist who understood the cartoon wackiness (which were discarded for a “cleaner” and faster style). This is why it’s so frustrating to see concept art of movies which have more appeal than the final 3d models. This is why FNAF Security Breach was nearly unplayable.

Because they all rushed art.

They rushed in favour of what is marketable, no matter how unappealing it is. Everything could have been better, some final products are good, but all of them could have been better. As good as what were released pre 2010s when production had a passion. You can’t spell heart without art.

I’m just really passionate about art in any form since it’s everything that created me too. I will not be here at this point in time if it weren’t for me learning that there’s so much beauty in the world if you could just squint and appreciate why that’s so. I’m defined by my works and it only hurts and infuriates me that people who have the ability and accessibility to create better art than I do waste it for their personal gain or selfish intentions. Everyone could be a better person because of art just as it did to me. Again, it came to us the moment we’re born, art isn’t just a pretty picture, it’s everything we create out of love, passion, time, and effort.

But really, to the wise words of Chef Saltbaker, “like any good bake, heart and soul is the secret ingredient”

You can’t rush art.

[iraprince]

do u have any advice for those that want to run a quest?

it feels a LEETLE silly answering this when all my own are currently on hiatus bc i got busy (SORRY TO CALLIST0 READERS LOL) BUT!!! yes i do. i have only ever run quests/interactive comics on the site questden, so i guess as a baseline this will kind of all be geared towards that, but i think most of this should translate to any hosting situation

you have to be cool with your plots branching and mutating in unexpected ways, and you have to be willing to play ball with your readers. quests are a collaboration between the author and the audience. it often feels a lot like gming a tabletop campaign (and that's the origin!! questden, specifically, was originally an offshoot of /tg/.) -- we've all had or heard about bad GMs who view their position as that of a narrative dictator who exists to punish and prod a captive group of players thru their own personal novel, but a good GM is interested in telling stories as a group. u have final say and have to stay true to the important stuff abt ur story, but if u get mad or frustrated when ur readers want to explore something "off topic" or aren't following the threads of ur narrative the way u expected them to, u don't actually want to run a quest, u just want to make a webcomic w mandatory comments. (the flip side of this is: consider if the story u want to make is the right one for an interactive quest. if it is REALLY important to u that the plot beats of a story go a certain way, maybe save it for a medium where u have more control!)

keep it loose and fast. the art does not matter. i am rly guilty of not following this one, but i still think it's really important! one of the things i like best about quests is the barrier to entry is very low and you SHOULD be able to start and maintain one very quickly. if i were better at keeping my art scrabbly and sketchy and loose, my stuff would not go on hiatus as often as it does. draw fast! it's NICE if the art is gorgeous to look at and definitely will draw readers, but it's way better if the art is simple enough that you can update frequently and without much stress. the quality of ur writing + character building, and whether u are telling a story that's engaging and that ur readers feel meaningfully involved in, is 100000x more important than the art.

on the more nitty gritty side: try to have a hook in each update. one of the most common reasons suggestions die off is readers being unsure of what they're supposed to do next. sure, too much spoonfeeding could end up feeling like railroading, and you don't have to end every single update by getting right in their faces and yelling "WHAT DO YOU DO NEXT??", but when you finish an update try to take a second to put yourself in a reader's shoes and see if there's an obvious next step. is there a course of action to decide on/debate, are there clear questions they can ask an npc, etc -- i can't think of a great way to describe it, but you want to avoid ending an update on a note where the player character and readers are basically sitting there looking at each other like "um... okay. that's that, then." some ppl even just end all their updates w multiple choice options, which is a super simple way to keep things moving if it fits the style of what ur doing. if you don't want it to be that overt but you still can't think of a way for there to be a clear hook, you can at least try to leave a little nudge in the narration that invites the readers to try to tie whatever they've just done/learned back into the pc's main goals/motivations or current tasks. (on this subject, VERY useful for your main character to have a very specific goal or end destination that everyone is on the same page abt. it's harder for your plot to lose momentum if you can always point at what your readers are supposed to be moving toward!)

finally: KEEP UPDATING EVEN IF YOU GET VERY FEW/NO SUGGESTIONS. it's a niche genre. questden is a small website. it's hard to get people to read something new, especially if it's in a new and unfamiliar format (and especially especially when it's on a website that looks like a chanboard lmao). picking up readers takes a long time, and a lot of people lurk without suggesting (ESPECIALLY if it's a difficult/plot-important decision, and also especially in the opposite, if it's a very obvious next step and someone else has already commented what most ppl would say). it's very tempting to want to wait for more suggestions bc u "only" have one or two, and then that wait becomes stagnation, and then you're frustrated and u end up dropping the quest bc "nobody cares." instead u just have to push thru!!!! u only have two suggestions and u wish u had more? maybe next update u'll get more. u have NO suggestions and u feel like that means ur quest is dead in the water? NOPE! the solution is to update again, bc maybe ppl with latch on more and have something to say in the next scene. the more u update ur quest, the more u'll be able to talk abt it (and maybe get more readers), and specifically in the case of questden the more ur thread will be bumped to the front page. think abt how many times you've seen ppl talking abt a webcomic or a book and thought "i need to check that out eventually...." but it takes months for you to actually do it. 99.9999% of the time, ppl need to see something MULTIPLE TIMES before they check it out!! most readers do not come from clicking something the very first time they see it!! i know it can feel lonely and discouraging, but u owe it to ur art and the stories u want to tell to keep trying, even if engagement is very low at first, otherwise you're killing it before it's even had a chance. like, get shameless about it. ask your buddies to comment on your quest. but give that horse a few really good whacks before you decide it's dead!! i think that's my main thoughts. if you have any more specific questions i'm happy to help if i can! but also i think you'll learn the most by just jumping in and fucking around. quests are easy to pick up and easy to drop, and imo do really well as a playground where u test different ways to draw and tell stories, so might as well just get messy.

[roseofhybrids]

i put a microphone near your face

how are you feeling after that md stuff huh

Well, the fact that it'll be the end of the series makes it a bit bittersweet, but it had to end at some point. If the story can be told in 8 episodes then so be it. 8 is a lot more than what I had a little over a year ago when I first decided to watch it

I've been invested in quite a few projects that I've never seen get a conclusion to (mostly webcomics, so so many unfinished webcomics). Which is probably where I got the patience to wait as long as I do for these sorts of things. It's easy to wait a few months for an episode to air after waiting multiple years for things that never came to be

Having an ending is much better than the limbo of always being stuck somewhere in the middle, just being left to wonder forever what was meant to happen. So I'm overjoyed that we'll get to see this story get a proper ending

But it is still bittersweet. The show will end, and for a lot of people that means the fandom ending too. I don't believe that's the case, no matter how old something is or how long it's been over for, I see no reason to stop getting as invested as one does with a brand-new piece of media. But still, not everyone can stick around forever. So I'm preparing myself for people to move on. It's sad, but as inevitable as the show itself ending. No matter how long-lasting a fandom, members will move on to other things eventually. Personally, I don't see myself stopping the fan art any time soon. I've never had a reaction to a show like this before. I've gotten really invested in things the same way before, but all those instances it eventually died down after a few weeks and I could stop binge-watching/reading the thing over and over and just be normal about it.

Murder Drones on the other hand. It's been well over a year at this point. I managed to pull my shit together after two weeks like I usually do, but a fraction of the intensity lingered. Now I'm here, with 109 post tagged "murder drones fanart" and 623 just tagged "murder drones" according to the Tumblr archive

I still get giddy rewatching the episodes, still have a long ever-growing list of drawing ideas, still think about the little robots on a daily basis. So yeah, I think I might just be stuck like this the same way I'm stuck forever liking animals, ghosts, and roller coasters. Eventually I'll have to get back to drawing my own characters and one day make my own comics and such. But as things stand, I can see myself still drawing MD art for years. One can only hope I can balance the two out

So yeah, how I'm feeling, Excitement for another episode and finally seeing how this all ends. Dread for the inevitable change, not looking forward to that part, (the joys of living with an anxiety disorder am I right fellas? c'est la vie, c'est la mort) and just a touch of nausea, because this is a lot of excitement after just waking up

so anyhow, gunna go watch the trailer on repeat a couple times and then see if I can't calm myself down a bit afterward

[kosmicdream]

The FATE of FEAST FOR A KING

.. and Nasty Red Dogs… 

And some other miscellaneous thoughts about comics, writing, and time.... AND ENDINGS...

============= 

As I’m approaching 10 years on FFAK and NRD is currently 5, I’ve been reflecting a lot on How far this journey with comics has taken me and how far I still have yet to go. For those unaware, my first webcomic was actually Eggshells, which started in 2011, but i only started posting pages publicly in 2013. It too is unfinished, but its planned for 7 chapters. (I’m currently working on chapter 5, which probably will come out early next year.) I have 9 ongoing comics I’m working on. NINE!! 3 of those are FFAK related. (FFAK, After Dinner Treat, and the prequel series “Help.”) It is so many comics though. And beyond that! I have two other stories I’ve been working on for the past few years in secret, one being Nice Blue Cats, which I might still draw as a comic someday.. As well as a series of “one shots” that is meant to be its own collection. Slugmom and “The Teacher & The Fairy” are part of these one shot collections. Which, uh, it was designed to help me practice writing short stories. Which TT&TF is now going to be three parts long, and roughly 300 pages. So I guess that’s short enough…? Ha.. laughs… Anyway, as I was saying.. Sometimes I’m sure, readers might wonder. “Do you ever feel overwhelmed, with so many projects Kosmic?” Yeah dude. I sure fucking do. I got 9 of them! That’s more than a full pokemon team of projects that are potentially a decade + of work. A couple of them already are a decade old/older at this point. (Praeymoon is actually one of my oldest-lasting projects, even tho its first chapter only finally released in 2023.. I first attempted to draw ch1 back in 2016, but was unable to finish it and scrapped the “full color” angle i was trying then. ) All my current ongoing comic projects are as follows: Feast for a King, Nasty Red Dogs, Eggshells, The Teacher & the Fairy, Replacer, The Eyes of Miasma, FFAK: After Dinner Treat, FFAK: Help, are all written. The only one which isnt fully written is Praeymoon, which I don’t mind because the way that story is organized is almost more of a sandbox-fantasy world of mini stories. I’ll be honest, if you havent heard of Replacer or The Eyes of Miasma, I don’t blame you- its not that i don’t like those stories. They just kind of are the “most neglected” comics yet I’m also kind of amazed they exist at all, like I DONT know how I found the time to draw over 100 pages for both of them. They also have fully written outlines and all things considered, are probably only going to be under 400-500 pages in length. But that’s still a decent amount of work there. Its been ten years since I more or less started making webcomics… and as I plan, and try to calculate all my projects for the next 10 years, my main priority at the moment is well.. Finishing all of these fucking stories one way or another. Its hard! I don’t know if I can as I put way too much on my plate. But at the same time like.. Whatever. I could easily drop most of them, if I felt inclined to - but I don’t. They are my library of work, and I’ve sort of made an artist oath to myself that I will see as many of them to the end as I can. I’m excited that three are very close to its end. (Nasty Red Dogs, The Teacher & the Fairy, and Eggshells.) After that well.. I’ll see what I can cross off my list next once I get there.. That’s still going to take years to get those done. But hopefully not too many. 

[Spoilers for potential LENGTHS of FFAK/NRD.. And other things.. I speak very transparently about writing and working on comics here AND including my thoughts on ENDINGS.. You’ve been warned]

I’m comfortable enough sharing that the fairy comic is 3 parts, Eggshells is 7 chapters, but when it comes to FFAK/NRD.. Its much harder to give an estimate, or if sharing those things will only be disappointing or annoying to hear about.. If you have ever been around me for more than 10 minutes, i am constantly talk about the “length left” on these projects a lot anyway. At night, i count them in my head. In the day, I write little lists as if I’ve forgotten the names of them.. They are MY LIST.

 But for those who do not know and wish to, NRD is likely going to end with 10 chapters. I have extended this in the past, so it could still change.. but it only really has gotten “longer” due to pacing of scenes rather than the actual content. And Honestly, it was paced out specifically to avoid this next chapter. Not that I didn’t want to draw it, its because i was Scared to do it.. Why? Because there’s cars I have to draw in it. And dogs. I have drawn those things before, at least once or twice. But I do not enjoy drawing cars or dogs. Dogs are okay now, but i hate that they have legs. Dont give me references, i have those. Its just how my brain is, with those fuckign legs and how there’s four of them. I know practice makes perfect. Or do-able. I have drawn amost 1000 pages of NRD, i dont remember how they bend and i’ve forgiven myself for knowing there’s just some things god cannot do, which is to give kosmic the ability to look at a dog leg and understand. Anyway. Because of this reason, somehow, finishing NRD with it only possibly being 4 more chapters, still feels harder than finishing ALL of FFAK - which (drumroll) might be .. only around 10 or 12 chapters left. Yes, you heard me- for the second AND third arc. 10 or 12 more. Will that also change? Probably!!!!!! Like, yes… its been 9 years and I’ve completed a lot more than just 10 chapters of comics in that time.. But wrapping up a story is way harder and I dont know what that’s like..yet! But i feel still confident that i will. I mean, i don’t really have any other choice than to experience it. I used to recoil and fall apart just emotionally contemplating finishing FFAK. my FUCKING baby. My joy. You mean that has to end?? NEVER. My attachment to it and the characters was incomparable to anything else I had done, and in my mind ever WILL make… (and that is still true.) But.. I’m okay with that now and I actually look forward to seeing how it could end up. Even if its bad! 

Its kind of weird to say, I just don’t really think it will be.. super good? Like.. it could be? I don’t know how readers will react. I dont even know how I feel about the whole thing.. I have felt so many feelings about this comic already, now I’m kind of.. Past it in a new stage. Zen like peace almost. There’s just.. so much that I wanted to PUT in FFAK and so much i could STILL put in. But I kind of just am okay with what i wrote, does that even make sense? The whole comic has felt like such a fluke to me, from the very start. And I managed to accidentally make so many great things in it I don’t actually understand sometimes. And my dreams for the comic has been nearly limitless. I couldn’t possibly contain all the feelings I’ve had over this story over the many years I have been making it, and all the incredible narrative outcomes I could see the characters going in.. the possibilities, the parallels.. The anime music videos..  I would NOT compare my writing style to GRRM, I haven’t read his books. but I can’t help but feel a bit like a weird baby version of him with the amount of cast members I have to push around and draw.. And I want to be clear. If FFAK was written as a book, it wouldn’t happen. I cannot write books. I do not think writing books is easier/faster than making comics, but sometimes it is hard to have to draw everyone. Point is, I understand the reality of a long-term comic project now, I have numbers and logs to prove it  and my range. And I’m fairly consistent, even in my low days. So.. in recent years my writing style has.. has changed to accommodate.. Those.. General Realities i’ve observed in myself. 

That’s why the second arc excites me. It has a lot of uhh, urgency that underlies it. You might have already noticed a change in the tone in chapter 16, which I’ve been working on for almost a year now. (I mean, I’ve been working on the written version for.. LOL.. much longer.) Maybe you haven’t! It could all just be from my own POV with how differently i feel that I delegate time to characters now. I did not start “writing” FFAK until chapter 10, and then i did not really start WRITING writing ffak until about.. Honestly, i want to say as late as 2019. It TOOK SO LONG you guys. I dont even know how many fucking thousands of pages of madness word documents I’ve got, with revision after revision and trying to list, contain, every possibly plotline… character backstory.. Blah blah blah.. Ive cut it down so much its impressive only to me. I don’t remember my lore anymore , and i love it. My readers probably know my lore better, and I don’t love it. Except when it benefits me. Then Its good. I would not describe myself as a RUTHLESS cut THROAT author, im actually too way sentimental to really let go of anyone. That’s why it took me so long to kill off Rock, but also because I wanted spoon to look really sexy and evil and that’s hard to do sometimes when I cant remember what half side he is. And when he was flipping around, I had to actually make a paper doll for him so i could TRY .. TRY to draw his arm on the correct side. Sometimes I didn’t. I just let it go if the drawing is good enough and i let it be a fun game for the readers to catch. But anyway, That’s why characters like Aeschylus are still around. Now that time has passed, I kind of regret it. Rome was right.. I dont need Aeschylus here and I’m mad he brought his friend Randall too. That being said, they’re some of my favorite characters in this arc even if they’re totally useless. In general, i have tried my best to not repeat all my writing sins and all my regrets of arc 1. I would not have been able to do this without the help of NRD to help get me to see that I can get attached and motivated to write new stories. When I hit my writing block in 2016/2017, it almost broke FFAK. FFAK still continued, but it also didn’t. But i was patient, and i worked through it.. And now I look forward to the ends of my comics, not because I want them to end but I’m very deeply excited for all the new opportunities my imagination to go to. I don’t know what that will be like. I don’t know how long it will still take me to get there, but I have it on [digital] paper and it does feel good to see that. Its affirming. I feel like i have a clear mission and I feel strong enough to really do it and commit to it. The second arc has barely started but in my heart I’ve made peace with the ending, whatever it might actually result as. 

Plus if I finish it and its so bad, I’m sure that will be inspiring in itself! People might actually write fanfics!! I think a lot of readers are NOT going to enjoy the ships, for one. The MEAN greedy part of me hopes they don’t. That’s the most ruthless part of my writing to me is the ship choices. Oh! My evil mind. I mean theres no possible way to please everyone, or even myself, but there is a possible way to displease a lot of people. Including myself. So that’s kind of the route I find myself drawn to. Why? Because it gets me out of the hole of like.. I dunno, being stuck. 

I used to write out a lot of big posts but over the years, I’ve kinda stopped. Mostly bc they were honestly really repetitive..or about lore that didn’t truly matter too much… That hasn’t really changed. This post is more or less “im still working on it, everyone! Just hang tight! Wow it’ll be a crazy wild ride” but it also is something I wanted to write to myself as words of encouragement. This has been a tough year. Like so tough that its hard to think about. But its very nice to feel like, i guess, my drive for my stories hasn’t gone anywhere. If anything, i really feel like i’ve gone through the mourning and ego death of “not being able to write a thing how you want” and now I’ve made total peace with it. Its just gonna be what it is, and I like that actually. When my life is tough, my comics at the moment serve as a place of hope for me - and assurance that I can survive through tough years. That’s the message they have ultimately given me, finished or not. And… I honestly don’t think of FFAK or NRD as my masterpieces or anything, but i know they might very well be the only stories people will know of when they think of me. If they think of me! So I wanna do a complete job with those. Rest assured, it’ll get there. I cant make big promises about all the comics I work on… even the bonus comics for FFAK, but at least those main two are my main priorities. That has not changed. THE FIRE is still in me. Even if FFAK took a like.. Mental.. 5 year hiatus its back baby. 

I’m about 30 pages in to my 50 page script for chapter 16, so I guess it’ll be around 300-400 pages more before its done. Things are picking up speed! So it could be less. I am also preparing for the monster that is the 7th nasty red dogs chapter. I cannot stress ENOUGH that this next chapter, I have put off since chapter 4. Yes, I’ve actually buffed the story out to be longer than it intended, just to avoid drawing it. I even put a horse guy in there, I never draw horses because those ALSO have legs but they’re worse than dog legs. And, its not that i didn’t want to draw this part of the comic! But I didn’t think i could do it. It intimidated me. It still does, but, I’m gonna do it already. I know chapters 8-10 will be hard too but like…eh… I know in my heart its gonna really be about 7 for me. It always has been about 7 to me.. 2024 will be a big year for my comics for sure, just because of that alone I think. Not only will I have chapter 16 done, as the first step of the 2nd arc and a new adventure of my apocalyptic wormy drama, I’ll be facing my fears of the dog variety. Its TIME. 

I’m so happy people have stuck around for my work, or shared it with others, even if they’re a strange mess. Its interesting to see, who comes and goes. I still enjoy refreshing my comments every morning when I wake up, and right before I go to bed. Its comforting.

My closing thoughts on this. I don’t HATE the ending of FFAK. I… like it! Its an ending. But I LOVE the ending to NRD. i think that ones legit good, i hope. With FFAK, part of me kinda hopes that turning up the pressure on myself of proceeding anyway will help the story. I don’t really know, or expect the ending to change though LOL…. Maybe i’ll come up with something better, but it will be too late so I cant do it or something, and then we can ALL write fanfics together of something else. Then sometimes I think about GUNNM and how the first ending was retconned but then last order was like? Basically the first ending again? I dont know actually, its hard to remember. THATS NOT GOING TO HAPPEN BTW. Also the ending is not everyone dies, even though that ending is fun and tempting. I didn’t do it, because end of evangelion already exists and its got a great song to go along with it too. YES it is also tempting to have someone go “WELL That was A FEAST.. For a KING” as the like final line, but I.. it wont wont. I prommy i take the ending seriously.

The reason I wanted to write all this, with webcomics, I think in general too people are so scared about writing their big comics that take 328523895235 years and the ending being bad. I see so many webcomics just, kinda die before the finale.. Which I totally understand, But I just.. Wanna show everyone that its much better and much more satisfying to just write the ending even if its a fucking disaster LOL. Because ultimately, its a webcomic. I don’t even know how to spell but people read mine! And so.. If theres anything I feel like i can promise and deliver to the world of the internet/my readers, is this big fucking disaster mess.. But it will end someday! And I’ll miss it. I hope readers will too, when that day comes (?) in probably another… 10 years…. idk.... BUT UNTIL THEN.. I hope you’ll enjoy the rest of chapter 16!!!

HAPPY NEW YEAR!!!!!!!!!!!!!!!

-Kosmic Dream

[ihopesocomic]

Sorry for the mini-essay but I think people massively underestimate how much hard work and dedication goes into a Passion Project. People think that creators who make free content, who do their work as a hobby and not as a job, must only get enjoyment out of it.

That’s not how it works. Doing it purely because you want to doesn’t automatically make the more challenging, frustrating, or (gasps) TIME CONSUMING parts of the project any less burdensome. If anything, it makes it worse because you aren’t being paid for all of that labor. You’re just doing it for the sake of doing it, and as rewarding as it can be, it can also be demanding.

Im finally publishing a fanfic for the first time and don’t get me wrong, it’s been great to get feedback on my work and interact with a community. I love that there are usernames and profile pictures I can actually identify because they’re regulars on my work.

But does that mean I don’t have to constantly redo work because I don’t like how it turned out? No. Does that mean I always update on time? No. Never get burnout? No. I still very much go through all of the things paid writers do, because the Creative Process is difficult and demanding no matter what they paycheck is or isn’t.

And all of that is just if you guys WERE missing updates, which you’re NOT. So like… these complaints are not only very entitled and ignorant, but also just confusing. People really just be mad for the sake of being mad, I guess?

Anyways yeah, free content creators are still content creators, and passion-driven hard work is still hard work. You two are cranking out absolutely STUNNING visuals, compelling characters and engaging worldbuilding every single week and that’s amazing. Thank you for your hard work and I’m sorry about the twerps that don’t appreciate it enough!

Ah the price we pay for being human and having a brain, amirite haha

It's to be expected, to a certain point, that people simply don't understand that things like comics and cartoons take time. General impatience is something that can be ignored. If people asking for updates bothered us, we wouldn't post anywhere ever haha You gotta have at least SOME backbone if you want to do a comic. Or anything really.

Comics are a TON of work, and I knew this going in cuz I've done shorter comics before. It is not to be treated as if its easy. (Well, its easier than animating a whole series by yourself LOL) There's a lot of pre-comic planning that people don't tell you about. And that's just the stuff you have to do before you even start drawing. Of course this only applies to long-form storytelling, there's different rules for different kinds of comics.

And I won't even get into what it takes to making the comic itself, there's a lot of parts that need to be considered like formatting, time-management, what shortcuts you have to take to save on labor, and getting across as much information as you can in a short amount of time, while using mostly visuals. It's a skill, so it can be learned haha

A lot of doing comics is on-the-job training. Which I know can be frustrating for perfectionists, but from a reader's perspective, part of the joy of webcomics is seeing how far the art has come. And you can't exactly get out a webcomic if you keep redoing things over and over. You'll burn yourself out even faster. This is why it's important to have a plan lol it just makes it easier to adjust if you have to change things, than if you have no plan at all.

Even if RJ and I for whatever reason no longer felt passionate about this story, and wanted to move on to something else entirely, we wouldn't leave everyone hanging. We'd tell everyone what happens one way or another. Because too many people just abandon a story just to tell another one, and that's not fair to people who were here to read a story that appealed to them.

But the entitlement of people sucks, the constant heckling, the fact we can't moderate our own comment section, and more importantly Webtoons just sucks as a site anyway. - Cat

[project-reaper]

Moving forward into 2024!

I haven’t really had a proper chance to say Happy New Years, so this will have to suffice, with a little breakdown of what’s been going on and what’s to come!

WHAT I'VE BEEN UP TO

I’ve been spending the better part of the last year working on new projects and endeavors. Both with Time Gate and outside of it. From vendoring at markets and working expo’s for the first time to working on art pieces completely outside of Time Gate, 2023 was a hell of a year and it makes me all the more hyped for 2024. That said, I’ve been carrying a weight with me through 2023 that’s made it difficult to enjoy it to the fullest - the weight of knowing that [AFTERBIRTH] is still on hiatus.

This isn’t the longest hiatus that I’ve been on, but it’s certainly starting to approach the record and I wanna get it back on track. Like getting back in shape after spending an entire winter hibernating and eating nothing but junk food, getting back into drawing [AFTERBIRTH] on a schedule is gonna be a process of rebuilding good habits and learning what I can do better to keep those habits alive and well.

The fortunate side to taking hiatuses is that it always does give me a new sense of perspective. In this case, I learned that I put myself through a lot at the start of [AFTERBIRTH]’s production. Like, way more than I realized. At the time I thought I was super capable - and I am! - but now in hindsight I can recognize it wasn’t healthy or sustainable for me to manage that sort of output all on my own. I’m still grinding away at comics like I always do with those other projects I’ve mentioned, but it’s still nothing near the amount of work I put myself through just to meet my own deadlines with [AFTERBIRTH]. I also have this thing called help now in the form of a background artist who’s been working with me on those other projects, which has been an amazing and enriching experience.

Having that time away from [AFTERBIRTH] not only gave me the breathing room I needed to recuperate from the burnout I got myself into, but also got me out of the routines I had stuck myself into, which has given me some new tricks and skills that I’m really hyped to bring back into Time Gate with me.

This does, in a way, mean that I’ve had to really reflect on Time Gate, a lot. It’s a project I’ve been writing since I was a kid, and drawing as a webcomic since I was around 18-19. It’s changed a lot in that time, but I’m finding while a lot of those changes have been reflected in the comic as it is, there are still so many more I want to make - because like the comic, I’ve changed a lot, too, both as an artist and as a person, and considering Time Gate’s always been a sort of personal extension of myself, I no longer resonate with a lot of parts of it that I’ve since outgrown. It’s not so much that I want to hide or take for granted those parts of it that are ‘uglier’, but I want the writing and art to be expressed in the best way it can be because at the end of the day, I’m trying to tell a coherent story that’s enjoyable to read and experience. I’m also the sort of person who learns best by just getting their hands dirty and learning what not to do, and boy, have I spent a lot of years doing just that through Time Gate.

GOING FORWARD

So, going forward, I’ve adjusted my schedule with my other projects to accommodate the time I need to both get back into Time Gate: [AFTERBIRTH] as well as prepare for the upcoming convention season. I’ve got a bunch of plans for this year’s markets with new ideas for prints and stickers and other goodies that I’m really excited to make! And I just, overall, want to pull myself out of the burnout funk. You can’t force recovery to happen on your own time but there does come a point where you gotta start taking steps otherwise you get stagnant, and I feel like that’s where I’ve been the last few months.

AFTERBIRTH FORMAT CHANGE

[AFTERBIRTH]’s format will be changing back to page format in its second season. Vertical format works for some projects and stories, but not for Time Gate. It’s been fun, but part of learning what I’m best at is learning what I’m not best at and the vertical format is too limiting for what I want to do with Time Gate in the future. Color will still be remaining!

REAPER RECOMPILED

I will also be working on the Recompiled editions of Reaper. These will predominantly be the first few volumes redrawn and rewritten to accommodate a tighter story down the road. I know, I know, “don’t get trapped redrawing/rewriting stuff”, but I feel the changes that I wanna make are so necessary that they’re part of what’s holding me back from continuing with [AFTERBIRTH] into Thread of Fate and beyond. There are a lot of really silly and otherwise unnecessary writing decisions I made back during Reaper that I currently feel aren’t working for what I’m trying to accomplish in its sequels, and let’s face it, I wrote it almost ten years ago when I was still very much learning, so it’s due for an upgrade. It'll be the last time too, because it'll be putting us on Loop 9999 and remember what Matty said about surpassing 9999-

This will be something I’ll be picking at slowly but surely. When it’s ready I’ll basically be replacing the old pages and updating any new mirror sites with only the new version (I’m currently planning on trying out NamiComi and Lemoon and of course I'll be continuing to post on ComicFury and GlobalComix).

THE BIG GREEN ELEPHANT IN THE ROOM-

All of that will basically be working towards my biggest step - getting the flying fuck off Webtoons. Because let me tell you, I've basically spent the last two years like this:

Y’all know that I’m not really one to roll over and take shit from massive platforms, and Webtoons is no exception. I’ve been posting to it since 2016 and I’m very very much done with it; just like with Tapas it’s no longer the site it used to be and there’s fresh competition entering the market that I’d rather put my focus on. At the very least, I want my independence back, if I’m gonna be stuck having to market and network my own work anyways I’d much rather be doing it for my own site or platforms that aren’t constantly undercutting its creators by removing core features and not implementing necessary ones. I as well as many others have been doing our own investigating into Webtoons and we’re basically feeling like canaries in the mineshaft right now, picking up on some massive warning signs that we want to get ahead of. The worst that can happen is that I pull the same stats I pull on Webtoons somewhere else, what a tragedy that would be LMAO

LIVESTREAMING

And then of course there are my livestreams. Like learning the hard way that I shouldn’t have been drawing [AFTERBIRTH] on such a strict schedule, I’ve learned that streaming on the schedule I used to be streaming on just ain’t for me. Call it the ADHD but I’d much rather stream when I have something to legitimately talk about or showcase rather than force myself to stream even on days when I’m really not feeling up to talking. And I’d like to get back into doing actual video editing content, whether it’s speedpaints or gaming videos or commentary stuff, whatever have you. Now that I have a proper PC rig that’s actually built to do heavy duty stuff, the possibilities of what I can create are a LOT more vast and I wanna take full advantage of them!

That said, if you wanna see an example of what the streams will look like when we return, check out this lil’ time lapse demo:

Definitely couldn't do that on my old setup! It might not be regular streaming like before, but it’ll damn well be higher quality and more fun to watch haha

WELL THAT WAS A BIG WALL OF TEXT WASN'T IT

So yeah! That was a lot of words but I hope it clears up everything that's been happening on my end. Thanks for following along with my work all these years, whether it’s Time Gate or my lil’ secret projects or my streams, through all the ups and the downs. Long-term projects like these may take their toll but there’s so much joy in seeing them change and grow over time, and I want to fully embrace and reflect that growth as best as I can through what I bring you guys.

Thank you all so much, let’s make 2024 a good year <3

[petricorah]

i wanna start making comics but like. i dont really know how??? are there any tips that you could give me perhaps?

hi!

i've been working on trying to compile a list of resources for people (@aangsfrogs--i didn't forget!) who want to make comics for a long time. It would consist of some of my personal tips and a lot of links to other people's PDFs and youtubes. But that's...a hefty project, so if you had any specific questions for the meantime, my askbox is open!

But, for just beginning, here would be my tips:

Read comics. Read manga and webcomics and cartoons and medical comics. There is so much out there, and reading is such a big way to learn. If you see something you like, take a moment to think about why you like it. Are the expressions or colors appealing? Did it make you feel a certain emotion? Analyze what the artist may have done to get across what they did. (Is it the camera angle? the style they chose to draw in? the paneling? the pacing? the color? etc.) Doing this over time will help you recognize the tools available for telling stories through this medium, and you'll be able to put them in your own work.

Try to think about what you want to make comics about. What moves you? What topics interest you? What ideas or tropes do you love in media or think about often? What do you hate and wish was done better? What characters are you drawn to, or what characters do you want to create? (What about them compels you?) I find it's hard to create an idea out of thin air, but if you start writing down random ideas you have, you'll start thinking about them, and over time, you'll have a bank of things to pull from when you want to create.

Lastly, anatomical skill or knowledge of color does not a comic make! You don't have to know much to begin, and there aren't rules. Just start drawing what is meaningful to you!

This is just cursory and doesn't get into super specifics like paneling or scripts or plotting or colors or thumbnailing or....etc, but I'll try to expand my list of resources and get that out! And, hmu if you have any specific questions on topics!

happy drawing~

Book list under readmore:

Scott McCloud's Understanding Comics and his Making Comics. These books are taught in like, every comic class ever. While not my complete favorite, they do a good job of showing some history and fundamentals, and how easy it is to make comics even if you don't have a lot of drawing experience.

99 Ways to Tell a Story: Exercises in Style by Matt Madden: Really good if you don't know how to start analyzing comics. (Also it's just a fun visual exercise.) It shows the same short story done in 99 different styles with different emphasis on different moods and points of view.

The PreHistory of The Far Side: A 10th Anniversary Exhibit by Gary Larson and The Calvin and Hobbes: Tenth Anniversary Book by Bill Watterson: Two great books with work from my two favorite cartoonists. They both have writings from the author about getting ideas, developing stories, and being a comic artist.

Uncanny Bodies: Superhero Comics and Disability, edited by Scott T. Smith and José Alaniz and Black Comics: Politics of Race and Representation, edited by Sheena C. Howard and Ronald L. Jackson II: These two aren't really about making comics, but they are great collections of analysis about old and new comics alike.

By no means a complete list, but some good ones that I can think of off the top of my head.

There's also the book Webtoon School: Everything you need to know about webtoon creation and story writing. To be honest, I didn't read this completely through because it was a bit more fundamental than I was expecting, but it gives a good cursory look of how to write comics if you're just starting out! It covers some history, how to write stories and arcs, etc.

Also, look to your favorite writers! A lot of webtoon/webcomic artists do tutorials or youtube videos. for instance, velnxi has this great tutorial up I really suggest looking at here.

[wondermacaroni]

Happy 4/13!! Since I’ve been posting group doodles lately, it was obligatory that we draw something to celebrate. Mine is in green (except for the shading, lol). Some thoughts on my history with Homestuck and my reread of the comic with friends are under the cut.

I’ll say preemptively, forgive me if the paragraph spacing is wonky. I don’t post a lot of big text posts, if any at all, so I have no idea if this will show up in a bearable to read format or not. Anyways.

I first read Homestuck on an early morning in April, soon before that year’s 4/13 and a little ways out from my 14th birthday in late May. I hadn’t slept at all that night, and my normal internet circles had slowed to a crawl as the sun began to rise. Bored out of my mind and too energized to sleep, I decided it was finally time to check out that one webcomic that I had seen some people post cool art for.

To keep it simple, I had a pretty big scare in the family that same day I started reading. Everything ended up and has been just fine regarding that, but I think it cemented Homestuck in my mind as a way to process things somehow. Now that I’m about to graduate college, I’ve returned to needing to process things, and of course, my way to process it.

So, one night a month or two ago, I’m looking into some Homestuck browser game (shoutouts to Wigglersim) when my friend asks what it’s about. I get a little clammy, but I do mention the game, Homestuck and all. Imagine my surprise when they ask for a link to check it out as well.

I could hear the interest egging me on like the Green Goblin mask at that point.

Over the next few days, we went from the browser game, to the doll maker, to installing the collection, to almost-nightly streams of our read-along with the comic. It has been a BLAST so far. Sure, we probably could have blazed through on our own much faster. But having someone there to break things down and engage with, especially for a work like Homestuck, has made the whole ordeal even more enjoyable overall.

To be honest with you, I could never really get myself to reread Homestuck before then. I had the collection installed on my laptop but I could never get past some feeling of shame that came with opening it, or even looking at it for too long. Even when I had finally forced myself to get comfortable with Homestuck Posting or die trying, the thought of fully reengaging and not dwelling in the bliss of memories was a little too much.

Having a friend there, one who has been willing to engage despite it all, has made the reread much less daunting. Despite all of my warnings of the future like a frenzied oracle, I’ve been able to expose that long-hidden soft spot after all these years. It’s like unclenching your jaw, in a way.

The time we’ve spent taking it all in has REALLY spurred us to put something out lately as well. Every turn of the New Year, my friends and I boot up a group canvas and collaborate on one big slab of doodles. Lately though, I’ve been wanting to do that a lot more, and so have my friends. With the reread, I finally decided to rip off the bandage and do something I hadn’t really done as a teen first reading through Homestuck— I decided to make some fanart.

It felt like uncorking champagne. Though it was probably more akin to uncorking sparkling grape juice. Whatever. I hadn’t done it, I did it, and it felt GOOD to do it. You get it. If nothing else, waiting to draw that fanart for eight some odd years meant that I didn’t have any old drawings to painfully reflect on, for better or for worse.

I don’t like doing much other than lurking. However, with all of the drawings we had made, it’d be a shame not to share them beyond like ten people. My friend started posting some, to some really surprising amounts of engagement, at least for us. I followed in suit for support, and I’ve seen much of the same myself. It’s intimidating to be perceived, but it has been nice to shake hands with the community from the other side of my normal lurking perspective. Thank you meowrails fans for your support, maybe I’ll cook again soon, who knows?

We’ve now gotten to the point in the comic where this reread just becomes a read, and right before 4/13. I never finished the comic past the second Alterniabound flash, though I’ve picked up on little spoiler things here and there. I’m excited, I’m nervous, I can’t wait to see what horrible ick I’ll get next.

With streaming this to my friend, I have accidentally convinced more friends to look into Homestuck as well. The network slowly grows, and with it, another ticket is reserved for a group movie night of Con Air. I can’t wait to see how it goes.

Anyways, that’s all for my yapping. Have a happy 4/13, consider a reread with friends, and thank you for your interest in my lecture if you’re reading or skimming through this.

[cerealforkart]

Announcements and Updates

I already mentioned this with my anniversary comic this morning (I'm glad people seemed to like "it's back on air"), but Dungeons and Daddies the Manga is a whole year old today and I wanted to talk about a couple things!

For starters, thank you to everyone who's been on this journey with me, from those of you who have been here since lesson 1 to those of you who only just discovered lesson 42 yesterday (you probably don't exist because the tags hated lesson 42). Whether you like or reblog every single lesson, you silently read the updates without ever interacting with them, and even if you fell out of the fandom but you read the manga at some point, I appreciate you all so deeply.

I might be making this a bigger deal than it actually is, but Dungeons and Daddies the Manga is a really special project to me. I'm so proud of my growth and I've put a genuinely crazy amount of time and effort into this. There was a time when I was trying to catch up when this was basically a second job. I would come home from work and draw manga pages until I went to sleep, it was all I did, it probably wasn't healthy tbh. People in the discord know, I've gotten crazy efficient at making these, if I don't have anything else going on, I can pump out 2-3 of these a day when new episodes drop. I've never undertaken a project this big before, I'm more the kind of person with a million abandoned first chapters, so to actually still be keeping up with this is huge for me, so I'm hyping this up a little bit.

If anyone has ever thought, "wow, I would love to support cereal financially! They seem to work very hard and would probably really like some money! I would also love some of cereal's cute art to plaster on my belongings," please keep your eyes open, I'll be dropping stickers in near future (Taylor in the trash can will be one of them)! I meant to have them ready for today, but I've never sold anything online before, and I'm kind of stumbling through the process. I'll try to have them up soon! So keep an eye out in the upcoming weeks.

For those of you who only care about Dungeons and Daddies the Manga, you can stop reading here, thank you so much for enjoying my manga this past year! For anyone interested in some personal updates and projects, please keep reading, I've been working on something I'm finally ready to announce.

I've learned a lot from my work on Dungeons and Daddies the Manga. My art has improved a lot, and it's still improving all the time, and I've really come to love making comics. Which is why maybe it won't be so surprising to learn I've decided to start an original webcomic. This webcomic won't interfere with my work on the manga, no need to worry, but as much as I love the manga, and the DnDads community, there's only so much I feel like I get back from it. I've been pouring so much time, energy, and love into Dungeons and Daddies the Manga over the past year, and I'm so proud of my product, but I want to start putting some of all that into something that's actually mine. I've been through a weird past couple of months where I went through some really bad burnout, looked around my life and realized "oh wow, this ALL sucks! I don't like a single thing I have going on here!" So, I quit my job, moved, and while I've been restructuring my life, I started dusting off some of those old abandoned first chapters I mentioned earlier and getting back into original work.

The webcomic is called The Rotting Things, I've teased it a very little bit here and there. It's about a boy with a power that is slowly but surely killing him and a man said to be unable to die trying to maneuver through a world of magic that hates anyone unlucky enough to be able to wield it.

I'm kind of nervous about starting a webcomic, but I've been waiting to be "good enough" to put something out there for a very long time, and I'm trying to come to terms with the fact I'll never be fully happy with my own work and just diving in. It would mean a lot to me if anyone wanted to give it a chance.

An eight page prologue will be dropping next Friday, September 29th, after which pages will start to drop one at a time every Friday. We'll see how I handle the one update a week schedule, it might go up to two pages a week depending on how confident I feel. Just like the manga was, this will be a learning curve for me, but I'm eager to try it out! Please give it a shot!

[genericpuff]

lmao so RS just confirmed she STILL does not, in fact, have a buffer.

FAST PASS SPOILERS AHEAD

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To kick this off, let's be real, 2 weeks is NOT enough time to build up a reasonable buffer.

When she took that 2 week break after the wedding episode went up, I knew 1 of 2 things was going to happen:

She was going to piss away the entire break on social media not getting anything done

Even if she DID get anything done and a reasonable buffer of more than 3-5 episodes built up, the episodes likely wouldn't be very high quality as you can't turn out shitloads of decent quality panels like that in just 2 weeks.

I think Rachel really just needs to acknowledge and take ownership of the fact that she is not good at managing herself, her time, or her team. When she started LO in the Originals section, she even admitted to not having a very strong buffer.

Now yes, in her defense, she hadn't fully transitioned to drawing LO full time when she started, but even still, she seems to treat her FastPass episodes as her buffer rather than creating an actual buffer.

A buffer is not "well I still have 3 episodes locked to the general public" or "I have the next couple episodes sketched up".

A proper buffer is "I have the next several episodes finished and exported and ready for their respective release dates." This ensures that they aren't racing to meet deadlines during the release period after pre-production (which is a surefire way to screw yourself over or write yourself into a corner) and that if anything happens in real life that prevents them from working on future episodes, they can still put out new episodes because they have a cushion of episodes still waiting to be released. Webtoons typically recommends its creators have anywhere from 9-15 episodes of buffer ready by the end of the pre-production phase. That usually means 3 free episodes, 3 FastPass episodes, and at minimum, 9 more episodes sitting on the backend, adding up to a minimum of 15 episodes. It sounds like a lot, but when many WT series run for 40+ episodes per season, 15 is a small number. Especially for a comic like LO which had 90 episodes in its S2 run and 116 in its first season. S3 of LO is already 37 episodes in.

She's also basically admitted to just writing as she goes in the past because most people working on their webtoons in productions like these have at least a decent skeleton of a story going on that they don't have to write as they draw. Writer's block doesn't happen in webcomics unless you're writing as you're going, same as how it doesn't typically happen in animated movies because you should already have a basis to work off of before you start the brunt of the visual work that needs a narrative structure to exist.

Now, all that aside, the reason I'm bringing this up again (as I've talked about her buffer range before) is because I've once again been proven that Rachel doesn't have a shred of a real buffer.

And the smoking gun this time was the horse.

This stupid fucking horse.

Now, besides the fact that we're a little sus this is meant to be an in-comic jab at all the criticism of LO pointing out how Persephone always looks like an MLP character-

-but that pony toy drawing didn't make its first appearance in Episode 241, it made its first appearance on Instagram. Not as a preview for episode 241 or as an official LO drawing, in her own words, 'just a pony'.

View this post on Instagram

A post shared by Rachel Smythe (@usedbandaid)

As always, this is still just an estimation based on what goes out in LO and what Rachel posts to her IG/Twitter, but this pretty much tells me her buffer is STILL only 1-2 weeks ahead of time, because that pony drawing time lapse was posted two weeks ago. When we checked the actual timestamp of the post the day the episode it showed up in went up (Episode 241) it was ten days old.

Not to mention, the timestamps on those reddit posts? A month old. Granted, we had been making MLP jokes in the ULO/antiLO community prior to that, but the fact that this "my pretty pony" gimmick came out so soon after someone did literal art of Persephone crossed over with MLP, it really just furthers the suspicion (in addition to shitloads of other instances) that Rachel is snooping in on these crit communities to try and "clap back" at them through her comic. Which is something she'd only be able to do with a limited buffer anyways as it allows her to change things on the fly in response to criticism or whatever hurt her feelings that week.

That said, I won't be certain of this 1-2 week buffer estimation until we see when cowboy hat Hades shows up.

View this post on Instagram

A post shared by Rachel Smythe (@usedbandaid)

I'm calling it now - it will be showing up in this week's episode which goes up April 22nd.

Place your bets, folks.

[reimenaashelyee]

Clean version here

Not a bingo but a jenga. My responses below the cut

Somehow I have half of this image filled out. I wish I could cash it in for points to redeem.

Jenga:

First comic is a magnum opus: There had been a string of graphic novel adaptations of books I wanted do when I as a young teenager, but The World in Deeper Inspection was my first, substantial, original behemoth of an idea. It was the only one with the power and the potential to stay and push me to become a comics creator. Everything I am and have as an artist and writer is because of TWIDI.

Fan art more popular than OCs: This was going to be inevitable because I hardly ever post about them online. But I suppose if you count my one-off character design illustrations that go viral or my published graphic novels, this box wouldn’t be true… (The God of Arepo is my most popular fan work)

I binged your life’s work in 2 hours: I am glad you like my work enough to be this engrossed in it – but honestly please please reread it again and SLOWLY so you can appreciate the visual storytelling – not just the words and the main action!! You’ll have a fuller experience if you take the time to luxuriate!!

This isn’t even my day job: It both is and isn’t. I do enough from comics that I can survive out of it near full time (thanks to my usual speed; very grateful), but I get financial stability from the monthly paycheck from the actual day job. Relying on my speed to produce near-constant output for money is something I am losing interest in as my ideas become more ambitious and niche.

Subscribe to my Patreon: Somehow I am able to hawk my free-to-read platforms with a certain amount of success but never can get a big dent on my Ko-fi.

Received unsolicited critique on a free comic: Unavoidable reality. Though I hadn’t had something egregious in a long time (and it better stay that way).

Had to explain what a webcomic even is to someone IRL: Nearly all the people I surround myself with are ‘normies’ (people who aren’t so online and/or don’t read online media), so this comes up often – and it will become more frequent as I pursue institutional pathways like residencies and grants. Even if they knew what webcomics were, it would be under the name of webtoons.

I can’t wait to draw this scene in 4 years: lol @ Alexander Comic and TWIDI

Multi-year hiatus: TWIDI’s eternal curse, until I figure out how to build enough stability in my career/life to return to it – full-time and for real.

Financially supported by someone else: My dayjob, mainly, but previously my parents.

Is somehow mutuals with favourite artist: That’s what it’s like as your career progresses and matures! It’s always nice to become peers with those you admire – especially the ones you grow to love only after knowing them.

Characters get gayer over time: Growing up and being able to witness the various ways of living can and will change how one approaches their characters.

Successfully fulfilled a Kickstarter: Not on my own, but I had a few for my books that published smoothly.

Empty space:

ADHD diagnosis: I have ADHD-esque behaviours that I have managed to overcome with ADHD-specific hacks, but whether I actually have the thing itself is a question mark. I lean towards not really having it since I am able to execute and complete tasks regularly.

Works in animation or went to school for it: I used to want to study and work in animation before I discovered the potential of comics as a storytelling medium. I don’t have a desire to break into that industry, even without all the employment and late-capitalism instability that it’s going through right now. I am not averse to trying if asked, however.

Had an art teacher who hated anime: Never went to art school.

Yes I’ve had burnout but what about second burnout: Currently going through a fallow period, but I really don’t think it’s Burnout Burnout. Touch wood, I continue to maintain my love, interest and desire to make comics and stay in my artistic career.

Forgot how to draw main character’s face: Characters are so seared into my brain, it’s not easy to forget. Helps that they each have particular quirks that belong to their design.

This comic gave me my hand/wrist injury: Still out here WITHOUT any of those. I hope I can keep it that way until whenever I retire.

Emergency commissions: Hopefully I will never have to resort to do this. (Very grateful, yes)

Sleep… “schedule”? my 7-8 hours of sleep is essential and non-negotiable.

If it’s not 3 hours long is it even worth adding to the work playlist: This is is referring to video essays I guess? I rarely ever encounter essays of over 3 hours that I am interested enough to watch. (Also I can’t really watch something while drawing; I lose speed/concentration)

Embarrassed to look at early pages: Not embarrassed – I was younger and less-skilled then, that’s just how it is. There were a lot of things younger me did that I could still learn from.

Regrets costume choices: I pride myself in being able to style myself and my characters, and so far I have never regretted the clothes I give my characters – the TWIDI characters all have base outfits from when I was 15!