#I've been trying to keep drawing them even when taking breaks from the comic

[torra-and-the-toons]

Days gone by, ...but never forgotten.

[comicaurora]

Hey, sorry if you’ve been asked this before, but I have ADHD and I’ve been following your comic for years and just now have started to write my own comic (partially because you really inspired me). But I’m really struggling with staying on the project even when it’s boring and getting myself to work on it in the first place. Do you have any tips on how to keep your brain invested or just to make yourself do the work at all?

I have excellent news, I literally just figured out something really important about this.

So when you're an ADHD kiddo or otherwise have difficulty staying on task in a structured environment where Task is the Priority, the main way people try to MAKE you stay on task is by removing your access to anything that is not The Task. No phone, no TV, no doodling, no going outside, etc. In practice, this just makes us miserable because it takes the boredom that's always simmering around a 2 or 3 and cranks it all the way up to 11. In the same way that you would have difficulty staying on task if you were in physical pain, this crushing existential monotony makes it very difficult to work. The work might get done simply because you have no other options, but it will not be done quickly or well, and it will take a while to recover from how much it hurt.

What I realized earlier this week is I caught myself doing this to myself. I had 42 pages of background colors to do, and I thought to myself "this sounds really tedious, but I suppose I have nothing better I can do." And I realized what I'd just thought, and got very alarmed.

Because back when I was an ADHD kiddo imprisoned by school scheduling and a million little factors that keep children immobile and restrained, I couldn't stop thinking about how big and exciting the world was, and how much I wanted to be anywhere but here. When I was feeling really crushed in I'd pick a random spot on the maps on my wall and just imagine being there instead of my bedroom. This was the impetus behind almost all of my creative energy. I've said it before - anything is a prison if you can't leave, and being in a prison makes it easy to imagine how amazing things could be outside of it. Aurora's initial worldbuilding was forged in the crucible of fifth grade misery. My enthusiasm for art and my creative drive are inextricable from my sense of wonder and yearning for excitement in the real world. Not escapism, but appreciation. Wonders unimaginable are out there, and I gain just as much joy seeking them out as I do conjuring them up in my head and sharing them with all of you.

So now that I'm a grown-up with actual freedom in every way I've been able to get, the idea that I was staying on task by making myself believe the world was small and not worth seeing was extremely alarming. It could keep me on task for an afternoon, but at the cost of slowly extinguishing the thing that made me want to make art in the first place - the hunger to experience and draw inspiration from all the myriad complexities in the world.

So what I've been doing is I've been purposefully and intentionally taking excursions whenever I catch myself thinking "I could take a break but it wouldn't be worth it, it's the same outdoors as always, I'll be uncomfy and unproductive and tired." Because that is never true. Every time I've put down the stylus and gone out, I've been renewed in one way or another, and when I come back to comfort fully recharged I get a lot of shit done. Because it is easier to work on anything if you remember why you wanted to make it in the first place, and it is self-defeating misery to just lock yourself in with it and tell yourself you're a bad person if you can't get it done.

I honestly don't know how widely applicable this is. I have worse wanderlust than anyone I know, so for me this has always been modeled as imprisonment vs freedom. I've also been extremely lucky to find myself in a profession that lets me set my own pace on literally everything I do. But I genuinely believe that when it comes to making art with ADHD, you need to give yourself freedom to move laterally, not just in the direction of obvious forward progress. We don't think linearly in any other part of our lives - art is no different.

[docdufresne]

how r you so good at drawing (halo) armor. You’re literally one of the best I’ve ever seen. Tips please if possible? (specifically for the shapes of the armor)

Oh god heLLO; I'm super bad at explaining my process of drawing RvB armor, as it's been multiple years since I've done it up until recently, so I'm super rusty but I will do my best to explain myself!!!

I've never made any sort of tip guide or tutorial, so please bear with me!

USE REFERENCES!!! This can go for renders from the Halo games directly (ArtStation was a great place to start, I'm not sure how things are post AI ""art"" surge, though) but at the very least, screenshot the heCK out of the series from whatever season you want to draw. There are a lot of different angles, and after they started to animate, it made it easier to get references with arms up or splayed out to the sides, or legs bent and hand motions!! Depends on what you're looking for!!

For this Reference, I used a Halo 3 render, as well as the Caboose-isms poster render. There are more clear renders out there, I'm sure!

First step that I take in learning to draw a new set of armor is color coding the sections that I'm going to draw, and then labeling them with points of interest that make me remember the detail later; Like grooves, or a bevel that looks weird or silly. Color coding and labelling the parts made it easier for me to break it down into smaller bits to draw piece by piece, bc let's face it; Armor can be super tedious and daunting, especially if you're just starting out.

Remember It's ALL SHAPES!!! IT'S JUST SHAPES!!!! Break them down into more simple shapes to find what works best for you! Keep it loose in the sketch stage, so you don't get lost in the pesky details

Remember that the armor goes on TOP of a body, and isn't a part of their body! Halo Infinite dOES have prosthetics that are a bit smaller than the armor, which adds depth and flavor to your armor though!

When in doubt, draw it larger than you mean to, and size it down to fit your other pieces!

SIMPLIFY IT!!! TRACE TO LEARN!!!! Really just figure out where the pieces go and put them together like a puzzle! Armor is simply just, hard, and there's no easy way to learn quickly how to do it efficiently and well; It really does take a lot of practice and trying and sketching and watching clips and staring at other's art to maybe notice shortcuts or even details you didn't notice before!!

But the biggest tip that I can give you is just, don't be afraid to make "bad art" don't be afraid to draw "bad armor" !!! It doesn't have to be perfect, the details don't all have to align on model 100% of the time! All of my art, paintings and all, have things that I fudged or missed, or messed up on and didn't notice, but I still have fun painting and drawing because I like making people laugh with my comics and I like having them feel stuff about my paintings!

Sorry if this wasn't what you were looking for, but I hope this helps even just a little bit!!

[blazehedgehog]

After watching SAGE's 2024 trailer, you ever get the feeling that most people want to be making indie games instead of fan games nowadays,? Every year there's been less and less fan works there.

This is the first year I've really felt it in any meaningful way.

There have been attempts for more than a decade to rename SAGE to drop the "Sonic" part. I've always pushed back against that and at this point the branding is too strong to give up, I think. People know about and come to SAGE because the brand is strong. Renaming it would be a death sentence.

Taking off my business hat, it's a bummer to see fangames in the minority here. Everybody wants to hop on that indie game gravy train and chase the success of Pizza Tower (seriously, count how many Pizza Tower clones are in the trailer this year) or Freedom Planet or Spark the Electric Jester or whatever.

And it's easy to congratulate people for striking out on their own and making original games. I was one of the many voices urging Sabrina to divorce Freedom Planet from the Sonic franchise and make it into an original game she could sell. So she ran a crowdfunding campaign (multiple, actually), was successful, and now we have two Freedom Planet games. And that's great!

But... does that mean all fangames should go away forever?

The example I lean on the hardest is comic books.

A lot of the guys who created the biggest super heroes aren't around anymore. They gave up control long ago or are straight up dead now. These books are effectively officialized fanfiction now, as are the $300,000,000 movies based on them. An ever-increasing number of people writing, drawing and directing these characters today were not alive when they were originally created.

But people still keep writing Batman stories, officially or otherwise. Because there are some stories you can only tell with Batman. Now, you could break off and make your own character that's similar to Batman, build up this history for him, and then finally tell your original story with that character. And maybe that's satisfying, to have built something of your own like that.

But for one: that's a lot of work. Batman is interesting because he has decades (almost a century now) of history behind him to play off of and work with. There are people out there who will tell you to just start writing your dream story and forget about building up to it first, but that's more about motivation and confidence than the idea that stories don't need historical context.

And two: that's already been done.

There's a good chance you know who Rob Liefeld is from his, uh, "distinctive" art style. He also created Deadpool, a katana-wielding mercenary assassin that dresses in red and black, whose real name is Wade Wilson. But before Deadpool, he created Deathstroke, a katana-wielding mercenary assassin that dresses in orange and black, whose real name is Slade Wilson.

Here is a guy who has built a career on copying his own work (and the work of others) over and over and over again.

Did it make Rob Liefeld rich and famous? Technically yes, but he kind of got rich because other people made better work using his characters, and he's famous for being kind of a hack.

So which is better?

Creative output you can do right here, right now, today, but is considered "fanfiction" or "fanart" or a "fangame", which may or may not lead to you being the person handling the official thing at some point down the road...

Or spending years of your life toiling to bring an original concept to life, and even if you struggle through all of the boredom and hardship of getting your original product out the door, it gets lost in the noise of now-million other creators trying to do the exact same thing. And then, at the end of your launch, after 2, 3, even 5 years of working and working and working, you've only made enough money to cover rent on your apartment for a month and a half.

Or, to put it another way:

Are you ditching fangame development because you have a legitimately great story you want to tell, or are you just doing it because you can't make money on a fangame?

Are you just creating another Bloodstrike?

As someone who has struggled to justify putting lots of hard work into a fangame myself, and have both made very popular fangames and some not-so-great original games, I don't know if I have a definitive answer for you. But I do wish there were more fangames at the fangaming event, and I will say, as always, if I could get paid a livable wage for making fangames, I would drop everything and do it in a heartbeat.

[abyssalzones]

What's your comic writing process like? I'm starting to get into making my own comics and I really admire your work!!! Any advice?

Ah, intrepid traveler, you've done well to journey to this secluded mountaintop spire, in search of the answers you seek. I indeed can provide such forbidden comicmancy knowledge... at the cost of your mortal soul...

coughs. anyway, I'm going to warn you immediately that what works for me does not work for everyone else, and in my experience the way I do things can prove very slow and discouraging for anyone who is more interested in the actual "drawing the damn comic" part of the process. I only do it this way because I enjoy weaving a narrative web that feels not only fully contained but re-readable, but my projects are often so long and my memory so shitty that I can't just keep all of it in my head! It would spill all over the place and make a really embarrassing mess of brain-juice. Not ideal.

but as for my own process, uhh... I suppose a comic would be fitting, right?

a little choppy but you get the idea.

as for turning words into art, I've been experimenting with figuring out the best way to do that for a little while now. Originally what I was doing for something like Ad Astra Per Aspera was to take my "script" and sketch it out on paper very loosely, before transposing that onto my canvas and working from there:

...but, I've found that can make it kind of difficult to space everything around on your standard page-size, and the thing I'm having the most problems with currently seems to be finding the sweet spot of panel-size proportions. So, I've taken to printing out standard thumbnail templates (you can just find these on google) and sketching very tiny panels in those, which seems to give me a slightly better sense of scale... (mild chapter 5 spoilers, sorry ad astra fans)

but I have yet to totally pull through on this, so who knows, maybe I'll try something else in the future!

As for advice, this is probably most applicable to me, but as a disabled artist I have a very hard time managing my workload without literally working myself into injury. I don't think I talked about this publicly but when I was working on that ten year anniversary comic I was literally drawing every single day for 3 solid months. Sometimes, in my case, I really can't bring myself to stop once I've latched onto an idea, and sometimes I find the most rewarding thing I can do with my time is to draw- but I seriously cannot overstate: Do not fucking do this.

You will fuck up your wrist, your back, your neck, your eyes, and probably your mental health. It's a well-known fact that mangaka have a lower life expectancy than the average japanese person due to the intense workload imposed on them by deadlines and personal expectations. Comics are a very demanding artform, and even though I'm not on any sort of mandated schedule there are times where I've toiled away at something when I likely should have been exercising or taking vision-breaks. Therefore the best advice I can give you is to chill the hell out.

Namely, find parts of the process you can be lazy about, and embrace the laziness! You don't like digitally sketching? Don't do it! Skip it, or maybe find a way to traditionally sketch things out in advance like I do. Hate lineart? Don't fucking do it. You really don't feel like wasting your time writing 72k words of comic scripts? ...then, don't be like me. skip that part. I'm a flawed human being and what works for me might not work for you.

The second most important piece of advice I could give is to read comics. Of all kinds. The reason for this is pretty self explanatory: In order to figure out your own comic-making style, you should first pick out bits and pieces from the artist's buffet to add to your plate. Manga, graphic novels, american comics, european comics, weird niche little webcomics, funny papers, anything and everything. This advice rings true of pretty much any art form, but I find it to be essential to honing comic-making skills because so many things you feel will just come intuitively often don't. and that's okay! nobody is born knowing how to leave space for speech bubbles or shape their panels in a way that imitates stretches of time. The best way to figure out stuff like this, in my experience, is to study the "masters", and then after becoming well accustomed to the basics, figure out what rules you want to bend or break to create your own style.

I consider myself to be in equal parts a writer and an artist, which lends itself well to making narrative comics, but maybe you're a bit more of an artist and want to focus on panel-by-panel visual storytelling. Or, conversely, maybe your talents lean closer towards writing, and the art itself is more of a secondary skill. Regardless of your unique blend of talents you can and should make a comic, you should just also be aware of your strengths and try to hone in on those- there will always be opportunities to build up skills you lack, but focusing on what you do best will always lead you in the right direction.

Anyway, that being said, here are some recommendations in no particular order:

Monster, Naoki Urasawa (!!)

Bone, Jeff Smith

Witch Hat Atelier, Kamome Shirahama

The first IDW run of Transformers comics (namely More Than Meets the Eye and Lost Light)

Persepolis, Marjane Satrapi (!!)

Through the Woods, Emily Carroll (really any Emily Carroll comics)

Kill Six Billion Demons (webcomic) (!!)

Akira, Katsuhiro Otomo

The Third Person, Emma Grove

Tintin, Hergé (can be super racist please be wary)

Dungeon Meshi, Ryoko Kui

Calvin & Hobbes, Bill Watterson

Maus, Art Spiegelman

Cucumber Quest (webcomic)

Jellyfish Princess, Akiko Higashimura

Golden Kamuy, Satoru Noda (!!)

Note that I did not grow up with manga so I am seriously behind on a lot of extremely influential japanese comics such as Dragon Ball, One Piece, basically any of the original Shonen Jump comics, but they're widely considered building blocks of the genre so if you love the artform I think you should give them a try! Same goes for classic non-shonen manga genres like various Shoujo, Josei, Yuri, Gekiga, ETC.

same as above applies to a lot of classic DC and Marvel works, I unfortunately am just not a big fan of superhero comics... but I'm sure there's good stuff in there. a couple of my mutuals talk about booster gold and the blue beetle all the time so I'm assuming there has to be something worthwhile.

...and many, many, many more that I'm forgetting! I noticed as I made this list that, to my knowledge, hardly any of these are made by black or just non-japanese-mangaka BIPOC artists, which makes me sad about the gaps in my own comic collection. Therefore, anyone is welcome to add their own recommendations in the replies!

now go forth, and combine images with text!!!!!!!!!!!

[sciderman]

Omfg he IS Daffy. Like. If we want to get into specifics…Wade’s entire life is that episode where Daffy keeps trying to play out the scene and the “animator” keeps drawing new ways to fuck up the scene. And after you’re certain Daffy has lost the tiny semblance of the sanity he had left, you pan out and it’s just Bugs in the animation studio closing the book on Daffy.

Oh man that tracks on so many levels. Especially the power exchange when Peter takes on the Daffy role and Wade gets to be Bugs. Even down to how Bugs dresses in drag, typically leaving Daffy to fend for himself in terms of the antagonist. When Wade dresses in drag or even simply wears a dress, even when Peter enjoys it he’s usually left to fend for himself against his biggest foe: his gender and sexuality.

Now I have to know…do you think Peter can get to a point where he’s taking up the Bugs role from time to time, or is he an eternal Daffy?

P.S.: Daffy is my FAVORITE.

i LOVE daffy, he's one of my favourite characters in fiction ever. and i've always said it, wade is very daffy duck coded.

wise guy ✅ funny way of talkin' ✅ ability to break the fourth wall ✅ tortured by the narrator ✅ mad about it ✅

even the kind of performative humour that's signature to looney tunes is hardwired into wade. the way he talks in early comics - even his debut series every issue is themed to ducks. i think it's all very intentional he's always meant to have been a looney tunes-esque figure, and that's the way he chooses to perform.

i was a looney tunes girlie growing up (my favourite) and watched looney tunes cartoons religiously and so SO much of my humour came from those cartoons and feeds into how i write wade (daffy and bugs are both like, the biggest inspirations for the way i write wade, no doubt. no doubt. i don't even know if i can point to any other characters as inspiration, save for wade himself.)

i'll squeeze in a clip from duck amuck (my favourite piece of media like, ever created ever.) please seek out the whole cartoon if you haven't - i really think it's one of the greatest cartoons ever made.

bugs and daffy's dynamic (especially in later content of them, where they're cosier and more self-aware) is a huge inspiration too - an odd couple that kind of hates each other because they're always, always diametrically opposed but kind of know each other so well and know each other's BIT so well that when they have each other's interests at heart and work together they are The Ultimate Duo with like, the most fire chemistry you've ever seen. the most unstoppable banter you've ever seen. when they're in a room together, absolutely no one else can get a word in. obsessed with that dynamic.

wade and peter are very bugs and daffy coded but it's dealers choice who gets to be bugs and who gets to be daffy. they're switches. i think it's all about who has the upper hand in the scenario - bugs usually has a confidence in a situation that comes from him knowing something daffy doesn't - (ergo, wade is usually the bugs. because he usually knows something peter doesn't.)

but... buuuuut, it's not always the case - and wade doesn't always have the upper hand when it comes to his dynamic with peter - particularly when he's feeling emotionally vulnerable. peter can handle those situations better than wade does. those moments, regrettably - happen more often in the fics than on the blog, because it usually happens when their clothes are off. (oops.)

wade's daffy moments happen when he's Not the smartest guy in the room, or things don't work out in his favour or he's not in control of the situation and he's being dramatic about it.

in those moments, peter gets to be the bugs. the level-headed guy who's in charge of the situation. i hope he gets more moments like that. because it's kind of insane that wade's usually the sane one here. and he needs to be dethroned.

peter needs more bugs bunny moments - and though i'm not sure when - olive and anita's warring divas dynamic fits the bugs and daffy model with so much more ferocity. they will be dropping pianos on each other. and you can guess who gets to be the bugs.

[bakathief]

I'm a little shy! But I would like to express my amazement and admiration! A while ago I found your Shadow Chase art, I loved it and became a fan, you create very funny stories and your art is beautiful, but that's not the point, I started following you because of that, but then I realized that you have many others projects and You are also very busy with your personal life. My question is how is everything organized and planned to advance a project despite academic/work responsibilities? I've seen that you even have collaborations with others and I keep thinking "this person is great." As a final note, I just want to leave my good wishes and hope you have a nice week. <3

Gosh, so many compliments in one ask, I‘m still a little loss for words. Thank you so much for reading my work and looking into my other projects, collabs and art! I hope you‘ve been enjoying them. ��️ 

I think there is no denying that I need to organize myself a little bit to make everything work. I think I‘ve always used drawing, especially drawing comics, as a way to breathe and when I started uni I promised myself I would continue drawing somehow. The first semester was hell, but I finished all the way. 💪 And I had the same mindset for working, so when I started this year I was very motivated to draw. Lol I think it also helped that I had several different projects to work on so when I wasn’t in the mood for black and white I would move to something colorful. Comics also offer the possibility to work on different parts. Do I want to work on the story, on the storyboards, on the actual drawings or just editing…? A lot of options. And this is something which I heard on a video on AI but artist and creative people in general don‘t create in other to have more content but to get something out of their head and feel the satisfaction of creating a certain idea and I felt that very much. And then there is the joy of collabs and while there were unfortunately more failed attempts at collabs I’m very glad for those which eventually resulted in great projects. ❤️ I might have to take actual breaks from drawing when I get back to my thesis. I finished all the work but need to write the discussion part and wow, how much I don‘t wanna work on that. 

Currently I use my time on commutes for drawings digitally or making storyboards. In the evening I finish private stuff and when time is left I work on traditional art. Shadow Chase is the only project where I try to have an overview on how many pages I have done and want to finish before the next upload. Other works can usually go up once finished. When I create something for fan projects like zines, bigbangs, etc. I usually just try to finish said project right away. I don‘t like procrastinating (except my thesis I guess) and rather have stuff than can be finished done right away and focus on my other projects again.  Shades of Tourmaline was definitely my biggest collab project yet and with the amount of art planned it took like 3 years to finish because that was something I couldn‘t get done right away. 😂 fortunately clef was very patient with me (and kept me distracted with new collabs, oops). 

The short answer would be I try to draw as much as possible because it is just a lot of fun with the additional bonus of entertaining a few people. ❤️ 

[puffywiz]

Hiii I'm gonna be sentimental and reflective oops

I had a really tough time in art school and when I finally graduated in 2019 I was burnt out beyond belief. Then covid happened and I lost both my jobs, yadda yadda, I went back to online school and did like 85% of a library tech diploma. I was good at it too, but something just felt wrong. I started to want to draw again. I wanted to try following my dream of being a comic artist again, but it hurt and it was hard and it was scary.

I was getting somewhere with it last summer when I was fortunate enough to take some time off from my gallery job. I spent that time writing. I kept like, telling myself the break would be temporary, I'd go back to work and then just make my comic on the side. But when I did go back several things happened. My cat passed away and I got injured, and I spent last fall fighting through one of the most severe depressive episodes I've ever had. I couldn't even eat really, I was drinking a lot of protein shakes. I was so unhappy.

The thing that helped me get through that was reading TLT. When I did my first handful of doodles and came back to tumblr to post them for fun I really did not expect the response I got. I'd gotten a little bit of attention on my art years ago when I used to post DC fanart on here but I'd never gotten such sweet comments. As LAME as it sounds, I've really never felt seen as an artist. Like I said, art school was uhh (forgive the pun?) pretty harrowing lmao. And yeah, its fanart, but it brought me so much joy to bring other people joy.

TLT has such a welcoming fandom. I've been in other online spaces over the years that got so toxic and mean. For the last year I've been sort of waiting for the other shoe to drop, but it hasn't. At least not in my circle. I think the nature of the story attracts people who see the beauty in difficult things. I think this fandom is made of people (queer people, unique and complicated people) who maybe haven't felt fully seen before either.

A year ago today I started reading Gideon The Ninth and I'm so grateful for that. I may be running out of steam on the fanart front for it lately (I've been drawing it for a year straight!) but it's always going to be a piece of media that means the world to me.

I quit online school and I quit my gallery job, and I know now that was the right choice. I'll figure things out, I'm doing seasonal work and illustration gigs and maybe I'll find something else to keep the lights on next year. My webcomic Tailwind is going to have its hard launch this winter and I'm so excited. I'm ready to share more of my heart and my world.

Anyway aaaaall this to say, thanks 🌱 

[flightyalrighty]

What have been some of your big inspirations/points of education* with your comic work?

*could mean learning resources but also just, good advice you got once or improvements to your workflow you figured out

Thanks for this ask!! :]

I went to the School of Visual Arts, where I majored in Cartooning! A lot of what I learned, I learned from Indie Cartoonist Jason Little and DC/Marvel Editor Joey Cavalieri, both of whom taught multiple classes I've taken (mainly fundamental stuff but there were also some extra classes with them like Jason taught my Digital Comics course and Joey taught my History of Cartooning class). I learned how to draw trees from Jason. And from reading Pogo.

I've drawn a lot of inspiration in my storytelling from both Bone and Hellboy, mostly! Both Jeff Smith and Mike Mignola are masters of pacing in comics, and if you happen to be unfamiliar with their works, I can't recommend them enough. Besides those two, the rich, moody internal monologues of Spider-Man: Blue and Spider-Man: Evolve or Die are things I often think about when it comes to dialogue writing. That and (at least when it comes to writing Rouge's dialogue) my older sister. Just, like, in general. Pay attention to how the people around you speak. It helps a ton when figuring dialogue.

Hellboy is getting mentioned again because Mignola's heavy inks are something I like to look over in order to learn from and improve myself. Hellboy, Carl Barks's Donald Duck comics, Asterix & Obelix, Will Eisner's various works, Calvin and Hobbes ALL have this beauty in their inking that can really inspire. Personally, I'd like to get a bit messier with my inking. Messy inks feel so alive. They're so visually interesting.

For colors, I highly recommend this book. I've read it and re-read it as much as possible. It may be for painters, but cartoonists can and should learn from all kinds of art forms. The works of Moebius were also mega foundational for me in learning how to color my comics. The man knew his palettes and how to not confine himself too much to what's "realistic". Speaking of painters (you may roll your eyes at this one) I'm also a fan of Frank Frazetta.

For panelling, I only have one true inspiration, and that's the work of Tess Stone. I grew up reading Hanna Is Not A Boy's Name. It changed how I viewed the limitations of panelling forever. Of course, it may be harder to find that comic these days, so here's a snippet:

Basic advice: really really take your time taking in art that you like, and try to reverse-engineer how it was made in your head. Heck, even if there's art you DON'T like, overall, but has elements you DO like, you can learn from that, too!

Okay! Sorry for rambling! Now here's the thing you're actually here for:

How To Think When You Draw collection of REALLY GOOD tutorials for whatever you need, these guys helped me out a ton when I was figuring the jungle scenes early in Infested.

This Pinterest Which Has Absolutely Everything You Can Possibly Think Of For References And Inspiration Sources.

An Extremely Good Font Site That Is Used By Professionals In The Comics Industry To Letter Their Comics.

The Most Important Book Any Cartoonist Can Read

A Different Book By The Same Man About Making Comics (for free, thanks Internet Archive)

Perspective For Comic Book Artists, thanks again Internet Archive

As for workflow... Man, I wish I could give you any kinda advice on that. I'm struggling with it, myself. I guess I've got two things?

If you have multiple deadlines for, say, multiple commissions or something, or you're trying to put out a weekly comic, but you're also doing something else, break the day up into time slots for each project, and switch the moment it's time to. Keep yourself on that schedule. I'm not very good at this.

I draw pretty detailed thumbnails, so sometimes I'll skip the penciling step in comics and blow up the thumbnail to ink over that. It's faster for sure! It's not always the right solution, however.

Thanks for reading! I hope any of what I've said helps at all!

[smallpapers]

Updated profile pic!

Thanks to everyone for your support through the past year <3 I can't believe TOH has ended...

Some updates/ personal notes under the cut!! Like, its really personal its almost narcissistic!

PRONOUNS: I go by she/they now!!! I've always had a lowkey gender crisis (fueled by an existential crisis really) so I am FINALLY trying this out. Feel free to refer to me with they/them pronouns :) (I guess I should have seen something coming when I made my first proper OC over a decade ago as an aro ace agender lol)

TOH ENDING: I'm really sad that the owl house is over...but I'm so glad I got to meet so many cool people in the TOH fandom!!! I even had the pleasure of sending a few friends stickers as a small token of appreciation. I'm like super grateful for all the encouragement and notes! I don't talk much here but I do read the reblog tags :) The brainrot was so serious that it made me draw basically everyday the past year (even if its a small doodle) and i really feel like i grew as an artist, and I honed my skills although I still have a long way to go! I can see improvement in my framing and colouring skills :) I think I might do some funny compilation video in the near future...

A BREAK/MINI-HIATUS: I am considering taking a small break from fandom. It might be a few weeks or maybe less, depending on how quickly I get out of this slump. I am guessing its a burn out from all the negative news regarding AI 'art' and being tussled round by the twitter algorithms. Also maybe because i did two epic pieces back to back... I have a lot of ideas and I really don't want to stop posting art online! I want to do sort of a post-WAD/pre-epilogue HW comic series, as well as a grom animatic :)

THANK YOU HUNTLOW ugh they mean so much to me... I know its silly because its a silly little fictional ship. But its really unlocked some creativity in me that I lost? Along with such a lovely community, it has really inspired me to keep drawing! Maybe its a right place at a right time thing, but after watching ASiaS, it gave me brainrot so much that it kicked my other bad habits out the window! I got to do so much cool stuff i always wanted to do including making an animatic, comics, being in a fan zine, epic pieces, making stickers... I can't believe they are canon now its been such a journey to watch this ship and the shippers blossom :)

THANK YOU!!!! If you've ever liked or reblogged any of my drawings, especially leaving funny tags, I just really want to say thank you <3 I really do cherish all the comments I get!!!! and if you've read this far, I'm super impressed!

That's all from me for now!!

<3 papers

[exquisitelyrandom]

hi i know one of them is kinda old but if you're okay with it i would love to do a fic of either of these tacophone comics of yours, maybe even both (with credit ofc)

https://www.tumblr.com/exquisitelyrandom/690825927273463808/draw-something-tacophone-related-and-if-you-dont

https://www.tumblr.com/exquisitelyrandom/713112801221263360/angst-because-the-sillies-are-on-my-mind-again

oh my god ofc you can w credit holy sh

YES!!!! AAUGQHZHHQ I'D LOVE FOR YOU TO!!!!! yuo have no idea how much I've been looking for reading content of them plsplspslsplspls

btw where would you be posting the story? I'd love to read it,, if you do make a fic of them, please tag me/send me a link!! ^^

going into small detail abt the ideas behind the comics below because im insane abt them vvv

they're actually very similar to each other so they may as we 🐝 connected/have the same situation lmao

first comic is leaning more on mic's. side

;After getting into the hotel, she's. absolutely miserable but keeps trying to pretend she's fine (she is not). Of course, Soap and the others notice her mood and one of them eventually get to talk to her about it. But even as she does open up, she never outs Taco. Ever. And blames it on the contest. Soap/Whoever confronted her knows it isn't true, but doesn't push further. After the talk, Mic basically just sits there and contemplates, before deciding """past is past""". Eventually, she starts thinking about the whole thing less, and she's smiling a lot more the next few days/weeks. Er. Until. That one night.

The second comic - or, in both comics - , here's Taco's side

There was actually gonna be more similar..things.. in both of the panels i put up above,, but i decided they'd look too similar to each other so Taco looks angrier in the second one

It all starts when Mic walks through the portal. Yeah. She didn't expect that. Taco's not someone to be caught off guard; her moves are calculated, and she knows the outcome of something even before it had a chance to start. She's memorized the puzzles and patterns on an object's mind, knows how to use it to her advantage - knows how to manipulate it into what she needs it to do. So why was it that she..?

She's teleported to their little spot, and her emotions are. overwhelming. At first, she feels.. sad. Distraught. Distraught that Mic left. Then, she feels.. angry. Angry at Mic for even leaving without any further word. Angry at Mic to have the AUDACITY to blame ..her. And she's angry.. at herself. Then, she's sad again. Her mind goes back to the words Microphone last spoke to her, and it stings, just as much as when she first heard them, if not more. She sits on the log -[soft thud]- oh, nevermind, she's on her knees in the soft grass, head in hands. She grips her shell tight and tries to shout, to let out the scream that's been trying to claw its way out of her throat, to get all of the overwhelming thoughts out of her head, but all she can manage is a choked sob, her throat tightening as she curled into herself.

And I'm only now realizing I'm getting WAY too carried away so fast forward everyone:

Taco thinks back on all the mistakes she's made, and back at one of her.. biggest mistakes yet. And, after a while, she decides she's done running, and she's not letting her slip from her grasp that easily. Not again. Not like him.

So, she writes, and writes, and writes, and writes. Until, after over fifty crumpled papers and about three half empty cups of - now cold - tea, she's finished. A letter to Microphone. She spilled her heart out on it, not leaving a single detail on everything she's done, opening herself up completely to the object never expected to break down years worth of built up walls. She's a little hesitant as she sends it to the hotel's mail, and then she waits.

She doesn't respond. Its not the first time. She takes a deep breath. No, she's not letting it faze her. She needs Mic to see she's being genuine. Why couldn't you be genuine from the start? When she most needed you to be?

She sends another letter, this time, directly into her room. She drops it through the little window, and she runs off before anyone notices her. A week passes. She doesn't respond again. She doesn't give up. She sends another letter, and another, and another, and another..

Two months has passed since then - has it really been that long? - And she's on the floor, miserable. The cracks have gotten worse and she can barely see with her right eye, she can barely stand, and her knees feel weak. Her head feels heavy, and her mind goes back to quiet picnics, white bowties and purples hues. And it just.. hurts. It hurts. It hurts, so much and she doesn't want it to. It hurts, and she's angry. Angry at herself for even considering to leave Microphone after they get the million. She's angry at herself for not paying attention to what may have caused the whole thing. Angry at herself slipping up the one good thing she had.

Did you ever have her?

She's angry at herself for being the reason Microphone left.

She feels lightheaded, yet her head feels heavy. And she's so, so tired.. she blacks out

The next thing she knows, she's on her way to ..hotel oj.

Uh oh

so um when I said "small detail" i may have.. lied HEJHSJQJZNNQJXN I WAS GENUINELY GOING TO JUST DESCRIBE MY IDEA FOR THE COMIC IM OSRRY I GOT CARRIED AWAY i had many things to say about tacoy

YOU DONT HAVE TO FOLLOW THROUGH W THE PLOT I'd love to see ur take on the comic!! Ignore my gay little writings hehr

[onewomancitadel]

Okay if you guys are scared about RWBY renewal this is a collection of thoughts which may or may not be reassuring:

CR was never a good choice. Finding alternate funding opportunities is preferable e.g. ideally not cutting a deal with a streaming service which subsequently leads to cut episodes. Streaming services are conservative to the point that successful shows do not often get renewed as it is. There are other issues there like I don't think the CR audience was ever one to crossover enough with the RWBY one.

RT seems to be looking at more local funding opportunities (drawing in sponsorships for RVB; RVB renewal playing on drawing back fans in - I know I haven't watched it consistently since Season 13). They've cut back on RTX (major money drain - events such as these tend to just about break even, speaking generally, if not work at a loss) and this was likely a decision made at the beginning of the previous fiscal year, which was around when CR did not renew RWBY. They've explicitly said they're looking at getting more sponsorships lol. Raise your hand if you cancelled yours because you thought they didn't own RWBY anymore

From what I can see a lot of people are concerned about the silence regarding renewal and from my personal perspective is that there are NDA's involved (I know for a fact that Miles has this in his Tumblr description, or at least did at some point), the year-long exclusivity with CR, etc. as well as the fact that with this type of money that RWBY is throwing around now as what is effectively more of a serious production than it was six, seven years ago means that you can't really admit to too much weakness in public (speculative investors), nor can you speak strategy. I'm not saying this is a good thing or a bad thing, but just potentially par for the course, especially because I'd argue the closeness RT had with its audience did not end up being for the best for many different reasons.

It's probably very likely that based on the success or failure of the new RVB, RWBY will or won't be renewed. I'm not saying you are personally responsible for making RVB succeed. There's no responsibility of the fan here. But if we look at the avenues they've taken to draw in money: crossovers (comic book audience), manga, novels, anime (Beacon era nostalgia), the CrunchyRoll audience of honest otakus, etc. they've cycled through to trying to re-establish their RT fanbase to offset RWBY production. RWBY fans are good for RT and RT fans used to be good for RWBY. RWBY was made because Season 10 of RVB was very successful.

It's no coincidence that RT's relative decline in years (I stopped watching around 2015, if that's anything) has led to this. I'm kind of at the point where I wouldn't even say any of this is really RWBY's fault because it's a very weird production (I say this as a fan). There are plenty of influences I've failed to cover here because I'm trying to keep this contained to my honest assessment - there's obviously something not quite adding up with the numbers of how many RWBY fans there are vs. its renewal dangling in the balance. They struggled with monetising way back when during the adpocalypse on YouTube which led to episodes not being uploaded on there anymore. RWBY has been a cult sensation and it owes its success not just to a loyal fanbase but taking risks. RWBY itself was a risky endeavour. I'm not sure if people remember but by that point RT was doing pretty well, but not corporate money well, and its flagship show was a Halo machinima. They were doing crowdfunding/Patreon before it was a thing, they were doing podcasts before they were a thing (obviously radio existed, but you know what I mean). When Fullscreen acquired them I remember thinking 'hm this feels weird' and I was about right.

I don't have any conclusive remarks here but I would say that I would really start to doomer worry by the end of this year. I imagine that between the exclusivity of a year (and how much that does or doesn't influence contract negotiation with other funding sources) and RT currently overhauling its strategy we won't really know until six months from now, let's say optimistically. It probably does in part hinge on RVB and getting back that sponsor base, but I'm not sure I perfectly understand it because I would sign up for sponsor if I knew we'd be getting RWBY, or something specific to RWBY only on RT - which is seemingly not possible right now. I don't know the full ins-and-out.

Of what's going on behind the scenes, we know less than drop. It's six to one, half a dozen the other, but my overall summary would be that CR was always the wrong move and RT needed an overhaul in its approach to sponsorships and funding as well as establishing its brand and regaining audience trust/transparency. RWBY should have stayed on RT and other sources of revenue needed to be pursued. I couldn't even figure out how to buy DVD's of the show a few years ago because it was so hidden. (Am I even suggesting something like Patreon here? Hell, maybe). We're not going to see the result of their developed strategy for some time. This is my tentative speculation.

[sepia-stained-sunset]

20 questions for fic writers

Thanks for the tag @cephalog0d💕

1. How many works do you have on AO3?

27

2. What's your total AO3 word count?

79, 130!! (I wayy underguessed before I checked)

3. What fandoms do you write for?

DC (specifically the Batfam), but I do occasionally write for any piece of media that catches my eye

4. What are your top 5 fics by kudos?

Chaos; An Unfortunate Universal Constant , Play Stupid Games, Win Stupider Little Siblings , Keep My Body From The Fire , Days I Have Held (Days I Have Lost) and Infinity Times Infinity Times Infinity in that order (No surprises there honestly. I, too, am a fan of batfam shenanigans first and foremost)

5. Do you respond to comments?

No, but I do read every single one and I cherish them all<333 They make my day🫶

6. What is the fic you wrote with the angstiest ending?

This one's tough because I'm a sucker for happy endings so I try and drive the characters towards them (or towards some semblance of them), but I guess either The Longing Will Outlive or Where All Things Are Silent because I like my Brutalia angsty with a side of emotional hurt.

7. What's the fic you wrote with the happiest ending?

All That Remains but because it was my take on Damian and Dick trying to reach out to each other when they first started as Batman and Robin, I'd say the ending is more hopeful than happy, but also considering who we're talking about, that's about as close to happy as they'll get probably

8. Do you get hate on fics?

Not really, or if there is any, I've never seen it (and I'm happy to leave it that way!)

9. Do you write smut? If so, what kind?

Nope

10. Do you write crossovers?

No. I'd never say never, but both reading-wise and writing-wise they don't really appeal to me.

11. Have you ever had a fic stolen?

Not that I know of, so hopefully no?

12. Have you ever had a fic translated?

No, but I would be beyond excited if any were!!

13. Have you ever co-written a fic before?

Nope, but I'd love to, especially if it's with a friend:)

14. What's your all-time favorite ship?

Brutalia. As evidenced by my Tumblr blog and the fact that I never shut up about them

15. What's a WIP you want to finish but doubt you will?

Oh let's not even go there...

16. What are your writing strengths?

I honestly have no idea. I'd like to say descriptions and metaphors, because those are the things that draw me to other people's works, so I'd love to think that I have a similar strength.

17: What are your writing weaknesses?

Oh too many to count!! The worst is probably that I can't sit down to write unless my brain thinks I'm in the Goldilocks-zone for writing, which occurs pretty infrequently, because my brain also likes to keep handing me new goalposts to determine the 'perfect' time.

18. Thoughts on writing dialogue in another language in fic?

For languages I speak, as a reader, it breaks my immersion completely when there's a language-switch in the fic unless it's something I expected from the start. I have a similar problem as a writer too, since translating in your brain quick enough to keep ahold of dialogue ideas is a real pain, so I try and avoid it as far as possible.

19. First fandom you wrote for? 

Batfam, because I looked at the thousands upon thousands of comics they have available and I thought 'hmm..my blorbos need to appear in more content'

20. Favourite fic you've written?

Oh boy...probably Infinity Times Infinity Times Infinity because I wrote it in a series of perfect afternoons and it's the fic that made me happiest after I finished (although I have been informed that the fic itself is a tear-jerker)

No pressure tags for @love-laugh-daydreamarevolt, @roseandgold137 and anyone else who wants to join in<3

[joviantwelve]

Hello! I've been doing some long, hard thinking about my current commission offerings.

TL;DR:

I am doing away with my "standard" menu (headshot/halfbody/fullbody/etc.) in favor of more experimental work.

Effective June 1, my commissions will close completely, including the waitlist.

If you want any of my current offerings, please let me know before then. You will be added to a final waitlist queue, with payment only required once I get to you.

If you're currently on my waitlist, or are interested in what's next, please see the bottom of this post. Once the final orders are complete, I will focus on relaunching.

Below is a more elaborate explainer of why I'm doing this, and what I'll be doing next.

Introduction

Essentially, commissions have worn on me more and more as time goes on (which may be tangible if you ordered one recently and it took months). Part of me wondered if I was burned out on art in general, or it was just becoming less of a hobby for me, but that sentiment didn't feel quite right. After all, I could still get grabbed by a picture idea every now and again, which I would then crank out in one evening.

Was there some sort of difference between the pictures I could hammer out quickly vs. the ones I couldn't? Well, I wouldn't make a post about an investigation without already having a prime suspect.

My Art Style

When I first started drawing aliased, it was to quickly crank out panels for my forum adventures, mostly because I was using GIMP and didn't know anything about brush settings. I was way too frustrated with anti-aliased lines and how little I could make them look how I liked, so I retreated into something completely different.

It worked for a while, but as I became more comfortable with the style, I developed bad, perfectionistic habits (something I've already mentioned being A Problem I Have). I would tweak lineart at the pixel level, just because some stray bump or two bugged the hell out of me. I consider this one of the reasons my art output has slowed down.

Trying to embrace a "perfectly inconsistent," or "consistently imperfect" look as "my style" just created its own irony. For example, I will deliberately draw patterns and textures by hand, because it sticks out too strongly otherwise if I just paste it in. You can bump into this quickly enough by scrolling through my various character references.

I would love a world where all my OC references feel "current," but as it stands, I'm finding it increasingly hard to work on the remaining characters I want to draw while commissions are also an obligation. Taking a break from aliased character art commissions in order to work on aliased character art references is...just doing more of the same? It isn't a break.

In order to create breaks that actually feel like breaks, I have to compromise. ONE of these has to go home and change. My personal art gets priority here, and I still very much want my OCs to look consistent in their reference art, so...I need to find a more efficient way to draw for money that keeps my dysfunctional brain entertained.

The Long, Slow Realization

Back when I used GIMP, I tried the chalk brush on a whim and ended up quite liking it. The rough look helped me ignore what I would consider "imperfections" otherwise. However, perhaps because I had a comic or character references I wanted to keep consistent, I mostly considered it a fun oddity and nothing more.

More falling dominoes that would eventually lead to this post were my experimental style offerings that I introduced last year (at the time, I just offered it because I thought people may be interested in art that looked relatively unique), Art Fight (having to agonizingly obey "finished not perfect" because of the event deadline), and other gift art I did around this time (the reasoning being, it's gift art, they wouldn't mind if I used it to experiment).

Now that I use CSP and am no longer bound by webcomic obligations, I've been experimenting more with brush settings. Wouldn't you know it, most of my modern art of my original stories is no longer aliased. I go "off-model" deliberately, fuck around with layer settings and effects, and enjoy creating pieces just because I saw a cool tutorial, brush, or program I wanted to try. These are the types of pictures I mentioned I could crank out in one evening. Maybe they're not "formal," but I feel like they're the most "me."

With all this new experience swirling around in my head, I finally realized: Why am I not selling art I actually find fun to draw?!

The New Offerings

Currently, I'm leaning toward one style of illustration only, cheaper than the experimental style I offer presently, and "rougher" as a result. I want something equivalent to my '22 Art Fight output; something flashy, unique, and most importantly, quick to do.

The specifics are what I intend to figure out while I work through the queue. Here are some thoughts already rotating around in my brain:

Should I offer price "tiers" that roughly equate a level of "polish" (equivalent to sketch/flats/shading) or just go with one-price-fits-all?

Should I still offer sketches as a cheap alternative, or is that too confusing with my Ko-fi already sort of being that?

Should I offer specific pricing for bust/halfbody/fullbody/etc., or was that another symptom of why I had commission burnout before, and should be avoided?

Should I eschew all of the above and just offer one thing at one price (e.g. "give me $50 and I'll draw your OC" with no other choices for the buyer), or is that too intimidating?

And so on. The last option is currently what I'm vibing with the most, but it's definitely the most daring idea of the bunch, too. (& If you have any thoughts on this, let me know! I have so much more thinking to do.)

The Old Offerings (But New)

When I reopen, I would like to have as few options as possible. However, I have considered the possibility that an old offering would speak to me and I would add it to the new menu again. Here are some thoughts on those:

Icons have a pretty high chance of coming back.

I've always liked drawing faces and headshots the most. If I decide not to bring back headshot sketches, I could just roll it back into "icons" and instead offer colored sketchy headshots. This would be similar to the headshots I did for Art Fight, but...with colors.

Half/fullbodies would depend on how the new style goes.

This is elaborating on what I said in the previous section. While I'm sure my core audience (i.e., you) will be fine with a potentially spontaneous angle to my commissions, buyers I'm less familiar with might not be. I want to try "one price fits all," but if someone gives me shit about me drawing a bust when they were anticipating a fullbody, I might have to add options to specify this.

Regardless, the style would still be "experimental" either way--the composition is what's important about it (which is also why I feel like I can get away with one single price). If anything, I feel like forcing myself into the little boxes of "halfbody" and "fullbody" was partially what was stifling me. Like, when do I ever consciously decide to draw a halfbody of an OC? I don't. It feels very arbitrary, and I'd like to distance from it.

MOST IMPORTANTLY: Character design is NEVER coming back!

I deeply appreciate those that did want a brand spanking new OC from me, but I've never considered myself to have a terribly strong design sense. They just kind of ended up being extra nervewracking to do because I had to design a character on top of drawing a fullbody. I will still take the final requests for these, but this is your absolute last chance for a Jovian Twelve™ Brand Original the Character.

What if I'm Already on Your Waitlist?

You don't have to do anything! I will get to you when I get to you. After June 1, I will close the waitlist, and whoever is on there will be able to have one of my old commission types, as promised. You can change your request anytime as long as I'm not currently drawing it!

Reminder that my waitlist is NOT "first come, first served;" I order it based on the complexity of what's wanted. Because of my slow pace, I didn't want to keep someone waiting forever when all they want is three sketch headshots, you know? This is a heads up that if you change your request, your position in the list may change as well.

I have no ETA when the current waitlist will be completed, given that currently, fullbodies are taking me months. Sorry :( Just another reason I'm making this post!!

What if I Want the NEW Style?

I will accept up to five (5) waitlist slots that want to "test drive" the potential new commission style, placed after the "traditional" queue is all cleared out. (So, you'd be waiting extra long.) If you're interested in this, get in touch! I will offer them to you at a lower rate than what I'm expecting to charge for the real deal, as thanks.

If you're already on the waitlist for something else, and want to test the new style instead, let me know! Just be aware this would bring you to the bottom of the queue as described above (but it WOULD give me one less commission I'd have to go through to get to the new stuff, WINK).

In the chance I get no takers the entire time it takes me to go through the waitlist, then the first five commissions I do in the new style will just have to be "test slots" instead.

Final Word

I know these long posts might not be terribly interesting to anyone that's not me, but I find it therapeutic to scrawl my thoughts out in text. Additionally, I'm over 30 years old and conclusions are still the hardest part in writing an essay. I can feel my writing style begin to devolve the closer I am to the end...

Uhhh.

Thanks for reading, and understanding?! See you soon, maybe?! Get in touch if you want to discuss Commissions From Me?? 💃 Cool.

[chaoticrobotics]

Please don't rush your comics take it slow and steady I know many people are eager to see more from your comics but please don't forget your human you need to take breaks from time to time art burnout isn't a joke I myself was once a artist and i quit that because it didn't bring me much joy anymore because of excessive burnout so please from one artist to another Take a breather maybe plan what your gonna do for the story going forward maybe take some inspiration from the game or something though whatever the outcome I will honor it.

Oh don't worry about the story itself. I have it all planned out and am absolutely not changing it (other than possible dialogue changes, I have the major plot points all set though). So that's not the issue.

It was the actual art itself. You are right, art burnout isn't a joke, and honestly I'm pretty sure I've never been closer to quitting art than when I was making Security Alert. The only difference with me is, art is one of the very few things that bring me any sense of joy. It's literally either a select few video games, or making art/stories, and at the time of making Security Alert I was in a video game burnout too and struggling through college.

All of that built up to make me miserable to draw and probably super depressed looking back at it (though I wouldn't hit a true low until my last semester, if I was still trying to do the comic then I don't think I would have made it).

Anyway, thank you for your words. I do appreciate them! I am going to take my time with this comic. Maybe even try out a different format or something. Smaller parts or less detail in the art. I just want to get the story out, and since I am not a writer, I have to draw it. But I'll definitely be taking my time when drawing it.

I'll be honest, I don't know how many people might have realized it, but I am a serial procrastinator that needs deadlines to get shit done, and I get stuff done all in one go or not at all. So all those big parts I posted? Those were all done in basically one sitting. Some of them were done in 3 days with me getting a total of like 3-4 hours of sleep on the weekend, not even counting the editing I did for videos. So you can probably see why I started to resent the comic and start to burn out from it.

I'm literally just rambling now, but I wanted people to know a little bit about what I went through since I know not everyone will be as understanding as you or other people who have sent in kind words to me in the past. I've learned my lesson then, and since I am not in college anymore, I won't feel rushed to get things out before the weekend is done or be rushing myself to make people happy.

It honestly all really sucks because I was always so happy to post the comic/tiktok and pass out finally, then to wake up to a flood of nice messages. But it would all too soon go away because only a day (sometimes not even) after posting people would be demanding the next part. It just sucks since I did have fun a lot, but also had that fun drained away just as quickly.

I don't even know what I am trying to say anymore. Thank you for the nice words. I will keep to my word about not rushing myself or pushing myself too much. I do feel like I am, at some point, going to try doing what I did before and pull all nighters and fuck up my sleep schedule drastically, but I'm hoping I will recognize the signs this time and take a step back once I possibly start doing that.

So don't be upset (saying this to the general audience/whoever reading this, not specifically you) if at some point in the future, if the comic does continue, that there might be another hiatus. Will definitely try not to go on a basically year long hiatus like I did last time, but depending on how my mental state is, it might be a pretty long one.

[danganronpa96]

Hold on I'll ask a few but not a lot since I don't wanna be annoying lol.

Idk I have a fangan with these characters but the show is sadly underrated but have you watched 101 Dalmatian Street? Really good show, really good characters, really cute art. Really scary finale.

There was a question asked in the Penguinronpa QnA, two actually, and I wanted to ask these questions. Since 96 isn't complete you can just do like the characters slash chapters you've done up til then or just do 69 only.

For each character, what would they have contributed if they lasted longer in the story. Like the role. Antag, development, support, that one character who does nothing but survives anyway, etc

What's one thing for each chapter you'd go back and redo, if there was one thing for each chapter?

Sorry for question count I'm a very questiony guy. Also yes, this is York the guy who gave Bojack-o-lattern a ton of nicknames. Also I've watched some of Breaking Bad and watched Saiki K almost all of Season 1 (dubbed). Both are really fucking good. There's an Ao Oni movie apparently but the demon design is apparently bad, wait shit I'm rambling. Let me stop now.

1. I haven’t watched it myself, but as long as you enjoy the show yourself and the characters you’re writing, then that’s great! As long as you’re passionate, you could even convince others to check it out

As these other answers are kinda long, I’m gonna put them under the cut ↓ ↓ ↓

2. I’ll answer this for DR69 as it’s easier as that story is already finished.

Mr. Krabs - probably would’ve taken on an arc of greed or teamwork that would’ve reflected into Luigi in some way

Mario - would’ve taken on a very tight-knit support role for Luigi, perhaps helping him come out of his shell and befriend anyone Luigi would

Dedede - as a comical character in the story, it would’ve been funny if he did get access to a hammer or something and tried to break down a wall, only for it to actually lead them to somewhere useful (or makes a hole that a killer could utilise for a murder case)

Ashley - like a mentioned in a very previous post, she would’ve had an arc of coming out of her comfort zone and making more friends, gaining some confidence on the side to confide in others. She would probably become a close friend to Luigi, who takes on a similar type of parental role he does with Parappa (as one single man can never have too many kids)

2D - I’d like to think we’d get to see him perform at some point. Either as a performance with Miku and Teto, or maybe on his own without the cosmetics and show lights, singing to someone who needs the motivation

Peter - I won’t lie, I don’t particularly want Peter to be an endgame character, even in an alternative timeline. I think he’d continue to just be a comic relief character tho, just not so loudly during the darker parts as we get later into the story

Sans - If Sans was alive longer, sansmaeda would be able to be explored more than just during the trial and some parts before. Perhaps the relationship would cause some problems with trust, or it would change the dynamic of the group in someway (as the first sort of relationship they’ve been accustomed to). On his own, I think he’d begin to actually care about investigating himself and find some pretty useful things

Fluttershy - for Fluttershy, she’d be able to spread her kindness a lot further from when she died. Since she had her own doubts herself, however (seen in her diary), it would’ve been a good opportunity for her to receive help from others rather than just being so selfless. Also, she would’ve been able to share her drawings herself, allowing her to explain her creative process and see the others' reactions to her art

Brian - if Brian was persuaded to keep going, he’d have no regrets, more easily able to accept certain strange things and focus on what’s most important: saving everyone else. I think he’d often try to be self-sacrificial, but others would convince him they all need to stay alive together

3. I’ll continue to answer this with just DR69.

Chap 1 - add more events to the daily life. It felt kinda short, even if it was my first ever dangan chapter, and it would’ve been nice to see more events with the whole cast before one bit the dust. I’d like to see them all do something together -- maybe find a way to escape even if it backfires.

Chap 2 - this is more of a technical thing, but I accidentally forgot to have one of the three practicing the play (either The Conductor, Miku or Teto) mention they were rehearing in Classroom 1-A and not the performance hall during the night of the 2nd murder. This led to some theories believing the latter, which made me feel a bit guilty as it led some theories the wrong way.

Chap 3 - I mentioned before I wanted to also add more events to the daily life of ch3. However, I’d probably remove that um. Luigi having to be a real plumber for Peter scene because it was just gross and I only did it because I thought some people would find it funny I guess?? Like it’s not the worst thing ever but I don’t like stooping to toilet level humour often.

Chap 4 - for this chapter, I think I’d want to justify why Sans killed Peter himself. While taking on a selfless act as he didn’t want Nagito to die is alright, just Peter making fun of Papyrus doesn’t really reflect why Sans would get so mad. However, this was actually because in a very old plan I had, Peter had actually killed Papyrus himself (idk how or why but he did) and that confession would be what had led Sans into killing him. I mean I guess it could’ve been possible in a prequel type thing but it would make things more messy (also impossible considering Papyrus is alive for the albeit dead sequel)

Chap 5 - I think I would add more moments of Luigi seeing Parappa hanging out with Brian and trying to make him happy again. We only really see him trying to talk to Nagito, and not with the other two often. It would be nice to have Luigi at least know one thing they did together, making the moment it all falls apart in the trial much more harder to bear.

Chap 6 - I can’t think of much I would change here. However, I would’ve liked to add a part during the trial where Luigi reminisces on the others who have passed away, and I would add a CG of a collage of all the final moments of each character like how they did in SDR2 and NDRV3. I just think it’d look cool but painful as a reminder of all the deaths in one big image. I’d also add a CG right at the end of all 5 survivors standing together after escaping the school. I was planning to, but I got quite burned out after basically working on that final chapter so intently after such a long hiatus.

4. Hello again! I’m glad you’ve enjoyed those shows so far since I really like ‘em too. It’s nice when people check out the medias I write in my fangans!