#all of this is from existing comic panels I just drew over them

[jesterjesteringjesterly]

Comic page edit with Metal and Silver beacause tee hee I’m sooo silly for them rn

Don’t question how this wouldn’t make sense in the arc. I know. But logic doesn’t need to exist when I can have my rarepairs. So just don’t think about it too hard.

[inkyu]

Do you have any old art or comics you gave up on?

I have been given the power to go on a super yap... :happy: :happy: :happy:

I have a lot of stories I gave up on because I had too many (20 if I recall right), but the ones I've kept/survived from my middle school story purge were Two Over A Kind, and Shadow Killed. However I have other stories that came after those two after I entered high school such as Mandela's Requiem, Backyard Thursday, Never So Norm, Collidests, and Rose Burnt, (yes I have a lot of stories, but they're not lore heavy so they might seem short/fast)

Although the only official rendition of a comic out right now would be Mandela's Requiem but I want to re-draw it in a different format similar to my ask blog @ask-the-druggieverse and what Homestuck uses because it's easier and I can gather all the images I draw and upload it YouTube for people to read

As for old art? oh geez I have a LOT of old art....

I'll put it under a read more and separate them by year U_U

Also blood warning (gore maybe too? not sure what to label it-) and huge and tiny spoilers for Mandela's requiem!!! (I just felt very proud of those drawings and I also can't help myself but show the future plans I have for MR's story!!) (and also characters that will appear in MR's epilogues!)

Part 2 Post

(Also if you see this in a fandom tag I.E Undertale, The Last Dimension.... Dream SMP. (neutral) then that's why (This was back in 2020 and I was still in 7th-8th grade at this time (I'm a senior right now) so don't judge me(I only drew beeduo and Michael so don't worry it's not those creature (IYKYK)))

(And no, I don't plan on drawing any DSMP in the near future, maybe if requested and the person isn't problematic (I.E Ranboo, Tubbo etc etc) however for the problomatic ones they will get heavy re-design/name change so they don't resemble their og character/persona to seperate the two more because I don't like looking at them knowing what they did. (Especially C!Wilbur, I view him looking different/being named something else)) (sorry if I keep yapping about this I know people hate the DSMP so much and I don't want to get attacked again (I've been attacked before in the past for liking it back in 2021-2022 on my old TT account (deactivated, my current TT account is dead and I never want to return to TT again.) so just mentioning DSMP on my main blog scares me a bit I hope you understand!))

2025 (Hey!! this Year!! :D)

some of these you've seen I'm guessing, I haven't drawn a lot of stuff yet but it's still the first month of 2025 ^w^, as for the first image It's still a W.I.P as there's other batches I need to complete! (If you wanna see them feel free to ask) I'm also gonna change it so that Cream is the son of Nicecream guy because when designing Cream I had the intentions of him being an OC and not an AU, Nicecream guy legit had 0 part to play when making him

Same goes for Hamburg, Calliope, and Basil as they're based of existing OC's mainly and not undertale OC's when they were supposed to (crazy)

Image Order:

1st: Fiddletale mini batch No.3

2nd: A Backyard Thursday trio!

3rd: Consent!Sans

4th: An ATDV Panel

5th: Someone needed help drawing beards so I made a ref to help U_U

2024

None of these I bet anyone has seen unless they're in discord servers I'm in

Anywhos, these are mostly oc's and 1 MAU I've talked about before (slice of pie verse)

Image Order

1st: My first drawing of 2024!! it's for my my OC story "Never So Norm" I was trying to find a design for Aliza AKA Ty's mom!, I'm gonna re-deisgn her again later because I don't see her as skinny anymore but a little more chubby U_U

2nd: Mandela's Requiem's epilogue characters! for any creepypasta fans out there yes... MR is like super/heavily inspired off of CRP characters, plus Ben Drowned was free game sense no one owned him (Nintendo technically own's this character legally but hey, fuck it we ball), and as for Casey I think you can guess who she's a walmart version of (Rina is completely original, I only added the "the killer" part cuz I thought it would be silly)

3rd: Backyard Thursday god silhouette list! I haven't fully drawn them out and needed some silhouette's to see how they would all look like!

4th: Mandela's Requiem epilogue Chester character sheet! I haven't touched this specific character sheet in a LONG time and need to come back to it as this story is one of the very few stories that has a small cast of characters to work on!!

5th: Slice Of Pieverse unified!Nightmare hehe ^w^ tiny spoilers: In SOPV fusion is a thing after the calamity happened (it's a split timeline of Underverse where Bill!Sans is a bit more important) although this isn't a "fusion" form, families (either blood related or adopted) don't fuse, they unify (essentially they can use each others abilities/their abilities become stronger)

2023 (oh geez, the in-between era of my old and current style..)

All of these are oc's (that includes the DGRP oc)

Image Order

1st: MY SILLIES FROM TWO OVER A KIND!!! ILY GUYS SMMM The main character isn't there but eh, these were re-designs ish as some of them changed from being half-vampire to full human (Duke & Jackey) and some just needed color palate changes or design changes (David & Luu)

2nd: I think my 3rd or 5th attempt at lineless? I don't know but I remember struggling a lot to do lineless so I just kinda just gave up, but hey! Look at me now! I really love lineless art now!!

3rd: My Danganronpa OC Yaku Unmei (or just Unmei) for a cancelled DGRP roleplay (I do not support the creator of the old roleplay. She intentionally or not has groomed minors into being desensitized to NSFW (I was already desensitized to it from the past but it's still fucked up) and wrote proship stuff.(I don't fucking care if it was for "accuracy" that shit was clearly a fetish. I can't believe your friends made me think for a second you weren't a groomer all because you have autism that's fucking insane.)) On a different note because I'm still not over that whole situation and person. (trauma response sorry) Unmei while being the ultimate unlucky student is one of the survivors of the killing game! If it was still ongoing... now she's just a DGRP OC that I might implement into one of my main stories

4th: More Never So Norm doodles! This time of beta-Terezi and Samy interacting! not too proud of how I drew Samy but hey... this is the inbetween era... :3

5th: Our lord and savior Jake Murdalinn who's also from Never So Norm, I love you Jake Murdalinn, my favorite ghost hunter and SFX crew guy

2022 (oh man the nostalgia is kicking in guys) (this folder and before it are so disorganized I cannot tell you which drawing I did after my first one in order U_U)

Oh geez... t h a t e r a... the era where I would just create create create and procrastinate a lot, I'm thankful for all of the characters that came out of it though

Image Order

1st: my Frist drawing of 2022, aka my OC 0-Riguren or Origuren (twas my mash mash words = name era as well), he's from TOAK (and needs a HEAVY re-design and STAT.)

2nd: Fanart of Phillip from the last dimension on webtoon! Also tiny fun fact! Phillip was the other inspiration for my OC Danny (I haven't drawn him yet but I have an idea) (Although the main inspiration was yet again, Karkat Vantas (Homestuck is one of my special interests so I have a lot of stuff inspired from Homestuck))

3rd: a TOAK height chart line up, and my second time trying to make one! my first time was.... augh... heavy note on making a height chart, there are going to be a lot of characters being similar in height and there's no need to worry about that (I worried about it my first time around...)

4th: Ah yes, Fiddletale... and.... Bartertale. (NOTE: Barter is no longer a sans or an AU, he's just an OC that's in BT along with Fiddle(long story but after Fiddletale ends It's no longer an AU however people can still claim it as an AU IDC bc everyone's gonna get re-designs for BT so essentially they're separate characters in a way)), some changes between Bartertale!Barter and Backyard Thursday!Barter: AU: Cis Man, A Sans, Skeleton, Out!Code BT: Trans Man, Half-Human Half-Skeleton no undertale involved, just a regular citizen trapped in a country in a forever winter Also Fiddle and Barter are husbands in BT <3

5th: The very first drawing I've done for Collideists... Also fun fact: This story would have never been made if I never joined an event in a discord server I'm in where everyone was making these species called "Shadow Creatures" I chipped in and created a "Light Creature" concept and things went on from there

2021 (OH HELL NAW JIGSAW GO BACK GO BAAACK :sob: :pray:)

Do you SEE how different my style was back in 2021!? oh lord... I'm like- super proud of my development... heh...

Image Order

1st: Amari Feng, She's from my given up story called "A Fantasized Beginning", I gave up on this story because I had too many stories and this one just had too much stuff going on (In short: It's basically RWBY and MHA mixed into one, kids go to school to become pro-hero's in outer-space because an evil group known as "the dark entropy" were colonizing/taking over planets and the heros had no idea how they kept doing it, and then BOOM!!! PLOT FUCKING TWIST!!! the number 1 pro-hero was the one conducting the evil groups plans all along and the hero get's stopepd by the MC's, although the colonizing and taking over doesn't stop as more villains pop up and hero's continue being hero's but this time the hero's have a easier time saving everyone) I made this story when I was in middle school along with many others, although after I did my story purge the only two stories that survived were Shadow Killed and Two Over A Kind (TOAK had a massive story overhaul and is not like it's OG plotline) I don't have plans to go back to this story, however I might if I complete all of my stories before I die, which I'm sure I will because I'm shortening a lot of them, and if I do I will DEF shorten AFB by a lot because middle school me planned like 16 something seasons (jesus.) (Also Amari was not the MC but an antagonist that later becomes an MC and was heavily inspired off of Himiko Toga(Can you tell?))

2nd: Heh... My first attempt at lineless art.... This is also back when Blipthyn was blue and was named Blueprint, I do not like TOAK's 5th rendition of a story as I was going through a hard time and heavily trauma dumped the shit out of that specific rendition of TOAK and just scrapped a lot of it, only a few things I liked survived in the current 6th? 7th? version of the story and I plan to keep it that way unless it becomes too long in my eyes

3rd: THE CTT!!! CHAOS TIME TRIO!!! Also my fist art/was around the time I met my friends Keter and Geno in the lunime discord server! we all loved undertale at this time and formed this group, a lot of things changed about each character so these are their old/beta designs, however this piece still has a place in my heart because of how special it is to me :hearts:

4th: I'm gonna be for real with you I have no fucking clue who this was for These aren't my characters nor do I remember the person who created these OC's, I do know I was very proud of this drawing because I made the other person super happy, I just dunno who it was so if by any chance you're the creator of these characters hi!!! :3

5th: Heh... Hello Swap <3 ILY <3

????-2020 (I don't know if all of this art was from 2020, all I know is that I shoved a bunch of art in this folder because I didn't wanna loose it XP) (also this only has 4 because I reached the 30 image limit so I will make a part 2 of my yap session U_U)

HEAVY NOTE: I do not support the problematic creators of the DSMP. I am a firm believer in separating the art from artist(s) to an extent. If both the art and Artist are problematic they can't be separated (I.E TCOAAL(I hate this game and creator.))

I do not support Dream, Wilbur Soot, ETC ETC, Even though I don't talk about the DSMP on this blog often I will refer to the roleplay characters with different names to help further separate the RP characters and person I.E: Wilbur: Wynter(Or Winter)(Sorry but ever sense the Shelby stuff my brain magically imagined a different guy in C!Wilbur's place)(i'm being so fucking fr rn, every time someone mentions C!Wilbur I think of someone different same goes for the others too), Dream: Delusion and Ambition(For DreamXD), George: Cogs ETC ETC (In fact I encourage anyone still in the DSMP fandom to do the same cuz Dream is getting a little too close to his DSMP character rn...)

Image Order

1st: Laim! he's also from another cancelled story called 12-15-22-5, or also known as 12-15-22-5 Project: Life this story was a romance between a resurrected angel heading and a human, the resurrected angel's goal from the company he was revived from was to find a way to break someone's heart/love to the point of dying so that they could kill a god (for some reason?? my middle school self never really specified why) However things backfire as the resurrected Angel falls in love with the love interest (heh... not straight BTW...) and other resurrected angels are sent after him and his friends because it'll "sabotage" their plan, I never planned an ending for this story but I do remember that this story was inspired off of HXH and Four Leaf on webtoon

2nd: I'm gonna be so fr I don't know why I made this character (his name is Phrog)

3rd: Ian and Damien's first ever design <33 And also Shadow Killed's first ever concept art! their designs have been changed by now so yeah :(, in fact this art was made back when I was beginning to feel happy again, although that died out because Middle School was super rough for me.

4th: Ah yes.... DSMP.... Beeduo.... and... MICHEAL!!! (This was back when the DSMP was at it's prime from my knowledge... augh...) I'm gonna so fr with you I never saw Michael (Beeduo's adopted child) as white I'm so sorry, I always viewed Michael as black I don't know why I did I just did XP, no hate to anyone who views Michael as white, I just never saw it myself This isn't ship art btw. You will be blocked if tagged as ship. (Not Threatening/Serious)

Part 2 Soon (Mainly for the comics because I reached the photo limit and I wanna show some old comic panels now :( )

[just-sauntered-vaguely-downwards]

Details post as promised!

First off sorry to anyone who tagged about my first illustration being sad 😅 it kinda just got away from me. I am ALMOST done with part two (I think it’ll be a 8ish panel “comic” ideally. We’ll see how it goes. There’s lots of hands to challenge myself and they’re my nemesis. I’m also in the process of moving states so it may be a while)

So a few things. This was my first illustration, so a lot of it was me learning brushes and textures and things like that.

•The jacket was originally the snake with floral motifs like the inspiration. But then I had this idea (AFTER fully doing the floral motifs…) that Crowley found one of Aziraphale’s bowties and it changed to white feathers. So both of those were fully drawn.

More Details:

•With the comic kind of idea, it ends with them on the roof together like in the opening credits. That’s why I have him sitting there, and why the background to my best ability was meant to look like the opening.

•The rivets are meant to look like the Bentley’s headlights

•if you zoom in you can see Crowley’s eyes. I actually fully drew them and then put the glasses over (because I’m crazy…)

•Again, I’ve lost my mind. I actually did little individual “embroidery threads” that NO ONE can tell exist but that is how the details were drawn on.

•Like with the eyes, I fully did the belt, and the portions of the waistcoat and shirt seen under the jacket. So all the buttons, all that, and then it got covered with the scarf 😅

•I used my hands as models and by the time I was like “shit his fingers are much longer and thinner” well, too bad on that because as mentioned hands are my nemesis and that was the one thing I was like nope not redoing.

•drawing tartan is a pain in the ass but also kinda fun

Part two went SO MUCH faster and is almost complete. Here’s a preview

[writing-for-life]

March Mania: Sandman Edition

The lovely @tickldpnk8 and I are art aficionados and Sandman meta writers. And one fine Friday, she just slid into my inbox and went, “What if…”

And if you have Sandman brain-rot, a “What if” quickly turns into a “Let’s do it!”

After much plotting, planning and sourcing material, we proudly present “March Mania: Sandman Edition”—a bracket tournament/poll/event over roughly four weeks that involves all original Sandman artists until only three are standing in a final show-down.

Well, all artists is a lie. We had criteria for qualification, and they are as follows:

Only artists involved in Gaiman’s original run of The Sandman qualify. That also includes Overture, Endless Nights and Dream Hunters.

Only the main artist of an issue qualifies. This is usually the penciller or the “artist” (where no inking and/or colouring by a second or third person is involved). Inkers and colourists unfortunately do not qualify on this occasion (unless they were the main artist in another issue).

This year, we will make it all about, “Who drew your favourite Dream?” And as such, his face needed to be visible in at least one panel to qualify the artist. Both Morpheus and Daniel qualify—they’re both Dream after all.

Even after applying all criteria, we were left with an impressive count of 24 artists. And from tomorrow (March 25), they will go head-to-head in round one:

We will post one poll each day, and you can vote for your favourite artist for 24 hours. So please share the polls so as many people as possible can vote. You will find them via the tag #sandman march mania.

And if that’s all you want to/can do, we’re super happy, because we wanted to create an event that is low effort to participate in while still being fun and hopefully bringing those artists back into your memory that you might have forgotten about (that’s why it’s not really a competition, because all of these artists are amazing in their own way). Let’s all remember:

The Sandman would not exist without its amazing artists. They deserve every bit of praise.

But it doesn’t need to stop there. In the true spirit of any fandom-event, no matter how small, of course we’d love you to participate beyond just voting for your favourite.

Each poll will contain a quick reminder of the issues the artist has illustrated so you can refresh your memory.

Maybe you’d like to share your favourite panels in the reblogs, or write what you love about your favourite artist?

Maybe you are aware of other work they have done (comics, book illustrations, commissions) you’d like to share?

Help us turn the reblogs into a colourful appreciation of your favourite artist, in whatever way you see fit.

And if you have any questions, hit up @writing-for-life and @tickldpnk8 as the event organisers. We so look forward to sharing our love for these artists and hope you join in.

Spread the message far and wide, and we’ll see you all tomorrow for the first poll (we’ll post 6pm/London each day with a few time zone reblogs thrown in)!

[rupeenotruby]

Of Courses I Have Horses -Reflection

Ok this is mostly for me but if you have any feedback for the comic I'll leave my anons on for a few days and you can pop it over there!

Anyways proceed with caution, this'll probably be long. Also I'm probably going to be pretty critical of myself here but please don't worry or feel the need to defend me from myself. I actually love critique and if I really do hate what I've made I won't even be able to look at it.

Stats:

Expected Time: Three Weeks (Don't clown on me I have ambitions)

Actual Time Spent: Ten Weeks

Expected Length: 9 Parts (73 Panels)

Actual Length: 9 Parts (72 Panels + one big panel) and one bonus drawing.

Pros/the good:

FINISHED IT!!!!! :D I did it. I did it. I'm the best you know how it is!!! I've always been scared of bigger projects like these because of how intimidating they can get but I did it! I got to the end! And about 83.56% of the panels had an environmental background (not all unique but hey whaddyagonnado).

People liked it!! (unless everybody is lying to me *-* jk jk too many people for that to be true). Sure you shouldn't measure your success on other's opinions but it is nice to know that I'm not alone in my enjoyment of my work.

Updated it pretty regularly! Good to know if I ever want to make a real webtoon.

Horses Researched ✅ I probably have some blind spots having not actually interacted with horses all that much but eh. It is fanfic in the end.

Cons/the bad:

I don't like posting while writing/drawing. Too much pressure even if the pressure was kinda good to motivate me and it was technically imagined anyways.

Colors are ugly. I'm not sure why I chose that color of sky but hmmm.

Backgrounds are present but uninspired and bland. The colors contribute to this but also the fact that I didn't draw the backgrounds before I drew the people most of the time. I also was just referencing images from botw (if you couldn't guess) and this lead them to be flat and like they were not existing where the characters were existing sometimes.

Too wordy in some places. Despite the fact that I chose to do four panel chunks to practice brevity I ended up being too verbose in some situations. One of these was Legend's episode. I felt like people wouldn't get the joke so I over explained it in the dialogue but even then I still don't think people got it got it. This is usually fine but when you over correct and still end up failing it is bad because you end up failing both ends (so to speak). Also the words were not always that good or polished.

Characters were off model frequently. The horses were the worst part as their head shapes would change frequently. This is most likely a result of my lack of experience drawing horses (why I decided to go with a series where I would have to draw a bunch of horses no one will know).

Characters were also ooc (probably) Wild was a little too happy/silly, Four was a little too irrational, Legend was mean mean instead of more accidently mean, and I think the others were fine. They just didn't really get to showcase their personalities all that much.

Lessons for next time:

MAKE A REF SHEET!!! I had to go back and forth between old pages to get the colors and it was such a hassle. Made me not want to color which is bad because I already don't like coloring all that much.

Crank up the threshold on the bucket tool when coloring. Leads to more being colored in and less white bits to fill in later

Write it all out before!! Especially if short like this. Makes it easier.

Put the words before sketching dummy!!! Saves many headaches.

Speaking of which, maybe set the background to be grey so you get less headaches (maybe, unconfirmed if this was the cause of headaches).

Draw (sketch) the background before drawing the characters.

Add clouds to the sky.

Do wrist exercises! Real ones!

Conclusion:

Good experience all around. Many things learned about myself and my creative process. Still not a horse girl but maybe one day.

Anyways this is probably the last you will see of "Of Courses I Have Horses." On to bigger and brighter things!

[paulgadzikowski]

If you've been following me for any length of time you'll've seen me mention more'n once that, often when looking for inspiration for the next cartoon's gagwriting, I will look to the spreadsheet where I track the existing gags' chronology and see what's the biggest chronological gap to fill. Most recently I've been rotating through the eras of the Doctor's incarnations irregularly instead of filling the biggest gap overall every time, because some eras are overrepresented and the others need to be manually favored.

I have a gap I've been skipping over for days ever since the summer hiatus started because I keep thinking instead of gags which don't fit there chronologically. I don't always do this but sometimes, when I calculate what's the next gap to fill, I change my laptop's background to the two figures from the relevant frame of the animated final panel of this Three Faces as a reminder of what period I'm working on. I decided to start doing that again this spring and for two weeks I've been looking at Captain Archer and the war Doctor* every time all my windows are minimized.

This morning I got up and I said to myself, "I'm gonna write something to fill that nusternucking gap before I even get on with my morning internet routine" and I did. And I think it's a really clever gag (it's derived from a gag I drew for my first website - initially I was saying "hey there's this old one I could steal from myself" - but this version is more/better developed, with a visual gag added onto the pun). And at first I was going to write about the experience here, and then I wasn't going to say anything because the comic strip's just going into the fall buffer and you won't see it for three or four months, but you know what, no: I said to myself "by damn I'm going to do this right now" and then I did it right then** and that's worth celebrating.

*The gag I ultimately wrote has the Doctor in it but not Archer. The reminder is about what chronology point I want to write for, not necessarily which characters. **Well, I conceived, scripted, lettered, and HTMLed it this morning - the word-making parts that nag you to get them down right away before you forget - but I put off drawing it, the fun part, till this afternoon

[chordsykat]

Alright so, more than anything else I get questions about comic books. That's all-inclusive, mind you... From writing them to drawing them, getting work doing them, and all points in between. I don't know if I could ever explain all of that in a single post but figured I could at least show you all what I'm doing currently... which is putting together a submission packet for a publisher.

My way of doing things in 2022 are a mix between digital and traditional methods. I started this process by drawing very rough full-page layouts in Photoshop. Actually, that’s a lie. I started this process by looking up the publisher’s submission guidelines and finding out how many pages they want (usually no more than 5), what format, and any restrictions or special requests that come with submitting artwork to them.

And believe me, when I say I drew the first parts rough, we're not just talking ball and stick rough, but blob, scribble, and what-the-hell-was-i-drawing-here rough. What you see in the images above came after about three layers of fine-tuning. Now, I wanna say something about the comic page, itself here, and it’s very important... The temptation to take things panel-by-panel is gonna be huge, buuuut if you're an artist drawing in comic book format, especially if your end product will be printed as an actual book, you gotta keep one thing in mind:

The page, and any page opposite it, should be treated as one whole piece of art.

Yes, the compositions on each individual panel can matter and need to be considered as you go about laying out your art... but the whole of the comic page is your first concern.

That means changing up camera angles, the size of your figures, and how much or how little background will be seen, etc. are not only paramount to the success of how each panel reads, but the page as a whole. Too -- you’re going to have to keep things like margins, gutters, safe areas and where text boxes and word ballons will fit, in mind. I'll get into more detail about all that in future posts, I’m sure... But for now, here's what my process has been once I finally had digital "breakdowns" of the art and how it would all lay out on a page.

My first stop was the UPS Store, to get some 11"x17" prints of my digital stuff, so it could be transferred onto comic board bristol (100lb. smooth bristol -- sometimes called cold-press board)

Using graphite, I coat the whole back-side of the page with scribbles. You can also use carbon paper, but if you can't find it or it's otherwise cost-prohibitive, just do the scribble method. I find things transfer about the same, if not a bit lighter when using graphite, and I tend to prefer the lines from my breakdowns be lighter at this point, anyway...

Next step is to line the prints up, cabon-side down, onto the bristol. I tape the paper in corners where there is no art needing traced with a little double-sided tape. Then, using my graphite pencil, I pain-in-the-buttingly go over each line to transfer it onto the comic board. I also trace the corners of my panels... I don't trace the whole edge since I'll be using a ruler to get those right on the final art, and really just need guidelines at this point.

Once EVERY DAMN LINE is traced... You get a light transfer to work your final lines off of. Buuuut we're not quite done yet. Grab your work-pencil (I have been a fan of the good ol’ Staedtler Mars pencils with 0.5 lead since the dawn of time), graphite, gum eraser and fine-point eraser, because we’re going to be doing some light detail work on those breakdowns.

The final phase of this process is to go in and lightly re-draw the transferred breakdown lines. try to keep things light as you work. Smudges are the bane of a penciller’s existence and I sometimes work with a sheet of paper under my palm as I begin to work on the bristol, to keep things from smearing around. Once I’ve got my lines covered to a point that I could work off of them without looking at my digital copies to figure out what the heck I was even drawing, the page is ready for the final pencils.

If I was doing the inking for these pages, and (perhaps most importantly) I had an editor who trusted me, I might even be bold enough as to go in and start doing that, to save time. But a pencilling portfolio is hardly the place to show off my inking abilities, so we’ll leave the process right here, for now. 

Join me next time as I do finished pencil work on these gargs!

[brawltogethernow]

So, I don't think I've ever asked you this... what IS the whole point of the Spider-Sense? It really seems like something that only exists for writers to ignore or work around when they want to inject Legit Tension into a story.

I’ve thought about this power so much, but never with an eye to defend its right to exist, so I needed to think about this. The results could be more concise.

Ironically, given the question, I have to say its main purpose is to ramp up tension. But it’s also a highly variable multitool that a skilled creative team can use for...pretty much anything. It does everything the writer wants it to, while for its wielder always falls just short of doing enough.

I went looking through my photos for a really generic, classic-looking example to use as an image to head this topic, but then I ran into the time Peter absolutely did not reimburse this man for his stolen McDonald’s, so have that instead.

A Scare Chord, But You Can Draw It

That one post that says the spider-sense is just super-anxiety isn’t, like, wrong. It’s a very anxious, dramatic storytelling tool originally designed for a very anxious, dramatic protagonist. I find it speaks to the overall tone of the franchise that some characters are functionally psychics, but with a psychic ability that only points out problems.

Spidey sense pinging? There’s danger, be stressed! Broken? Now the lead won’t even KNOW when there’s a problem, scary! Single character is immune to it? That’s an invisible knife in the dark oh my god what the fuck what the fU--

Like its counterpart in garden variety anxiety, the only time the spider-sense reduces tension is in the middle of a crisis. But in the wish fulfillmenty way that you want in an adventure story to justify exaggerated action sequences, the same way enhanced strength or durability does. Also like those, it would theoretically make someone much safer to have it, but it exists in the story to let your character navigate into and weather more dangerous situations.

For its basic role in a story, a danger sense is a snappy way to rile up both the reader and the protagonist that doesn’t offer much information beyond that it’s time to sit smart because shit is about to go down.

Spidey comic canon is all over the board in quality and genre, and it started needing to subvert its formulas before the creators got a handle on what those formulas even were, and basically no one has read anything approaching most of it at this point, so for consistent examples of a really bare bones use of this power in storytelling, I’d point to the property that’s done the best job yet of boiling down the mechanics of Spider-Man to their absolute most basic essentials for adaptation to a compelling monster of the week TV series.

Or as you probably know it, Danny Phantom. DON’T BOO, I’M RIGHT.

DP is Spider-Man with about 2/3 of the serial numbers filed off and no death (ironically), and Danny’s ghost sense is the most proof in the formula example of what the spidey sense is for: It’s a big sign held up for the viewer that says, “Something is wrong! Pay attention!” Effectively a visual scare chord. It’s about That Drama. And it works, which won it a consistent place in the show’s formula. We’re talking several times an episode here.

So why does it work?

It’s a little counterintuitive, but it’s strong storytelling to tell your audience that something bad is going to happen before it does. A vague, punchy spoiler transforms the ignorant calm before a conflict into a tense moment of anticipation. ...And it makes sure people don’t fail to absorb the beginning of said conflict because they weren’t prepared to shift gears when the scene did. Shock is a valuable tool, too, but treating it like a staple is how you burn out your audience instead of keeping them engaged. Not to go after an easy target, but you need to know how to manage your audience’s alarm if you don’t want to end up like Game of Thrones.

The limits of the spider-sense also keep you on your toes when handled by a smart writer. It tells Peter (everyone’s is a little different, so I’m going to cite the og) about threats to his person, but it doesn’t elaborate with any details when it’s not already obvious why, what kind, and from what. And it doesn’t warn him about anything else-- Which is a pretty critical gap when you zoom out and look at his hero career’s successes and failures and conclude that it’s definitely why he’s lived as long as he has acting the way he does, but was useless as he failed to save a string of people he’d have much rather had live on than him.

(Any long-running superhero mythos has these incidents, but with Peter they’re important to the core themes.)

And since this power is by plot for plot (or because it’s roughly agreed it only really blares about threats that check at least two boxes of being major, immediate, or physical), it always kicks in enough to register when the danger is bearing down...when it’s too late to actually do anything about it if “anything” is a more complex action than “dodge”.

Really? Not until the elevator doors started to open?

That Distinctive, Crunchy Spider Flavor

The spider-sense and its little pen squiggles go hand in hand with wallcrawling (and its unique and instantly identifiable associated body language) to make the Spider-Person powerset enduringly iconic and elevate characters with it from being generic mid-level super-bricks. Visually, but also in how it shapes the story.

I said it can share a narrative role with super strength. But when you end a fight and go home, super strength continues to make your character feel powerful, probably safer than they’d be otherwise, maybe dangerous.

The spider-sense just keeps blaring, “Something’s wrong! Something’s wrong! God, why aren’t you doing something about this!?”

Pretty morose thing to live with, for a safety net! Kind of a double edged sword you have there! Could be constantly being hyperattuned to problems would prime you for a negative outlook on life. Kind of seems like a power that would make it impossible for a moral person to take a day off, leading them into a beleaguered and resentful yet dutiful attitude about the whole superhero gig! Might build up to some of the core traits of this mythos, maybe! Might lead to a lot of fifteen minute retirement stories, or something. Might even be a built in ‘great responsibility’ alarm that gets you a main character who as a rule is not going to stop fighting until he physically cannot fight anymore.

Certainly not apropos of anything, just throwing this short lived barely-a-joke tagline up for fun.

One of my personal favorite things about stories with superpowers is keeping in mind how they cause the people who have them to act in unusual ways outside of fights, so when you tell me that these people have an entire extra sense that tells them when the gas in their house is leaking through a barely useful hot/cold warning system that never turns off, I’m like, eyes emojis, popcorn out, notebook open, listening intently, spectacles on, the whole deal.

It also contributes to Peter Parker’s personality in a way I really enjoy: It allows him to act like an irrational maniac. When you know exactly when a situation becomes dangerous and how much, normal levels of caution go out the window and absolutely nothing you do makes sense from an exterior standpoint anymore. That’s the good shit. I would like to see more exploration of how the non-Parker characters experiencing the world in this incredibly altered way bounce in response.

It’s also one of many tools in this franchise hauling the reader into relating more closely with the main character. The backbone of classic Spidey is probably being in on secrets only Peter and the reader know which completely reframe how one views the situation on the page. It’s just a big irony mine for the whole first decade. A convenient way to inform the reader and the lead that something is bad news that’s not perceivable to any other characters is youth-with-a-big-exciting-secret catnip.

Another point for tension, there, in that being aware of danger is not synonymous with being able to act on it. If there’s no visible reason for you to be acting strange, well...you’re just going to have to sit tight and sweat, aren’t you? Some gratuitous head wiggles never hurt when setting up that type of conflict.

Have I mentioned that they look cool? Simultaneously punchy and distinctive, with a respectable amount of leeway for artists to get creative with and still coming up with something easily recognizable? And pretty easy to intuit the meaning of even without the long-winded explanations common in the days when people wrote comics with the intent that someone could come in cold on any random issue and follow along okay, I think, although the mechanic has been deeply ingrained in popular culture for so long that I can’t really say for sure.

It was also useful back in the day when no artists drew the eyes on the Spider-Man mask as emoting and were conveying the lead’s expressions entirely through body language and panel composition. If you wiggle enough squiggles, you don’t need eyebrows.

Take This Handwave and Never Ask Me a Logistical Question Again

This ability patches plot holes faster than people can pick them open AND it can act as an excuse to get any plot rolling you can think of if paired with one meddling protagonist who doesn’t know how to mind their own business. Buy it now for only $19.99 (in four installments; that’s four installments of $19.99).

Why can a teenager win a six on one fight against other superhumans? Well, the spider-sense is the ultimate edge in combat, duh.

Why can Peter websling? Why doesn’t everyone websling? Well, the spider-sense is keeping him from eating flagpole when he violently flings himself across New York in a way neither man nor spider was ever meant to move.

How are we supposed to get him involved with the plot this week???? Well, that crate FELT dangerous, so he’s going to investigate it. Oh, dip, it was full of guns and radioactive snakes! Probably shouldn’t have opened that!

Yeah, okay, but why isn’t it fixing everything, then? Isn’t it supposed to be why Peter has never accidentally unmasked in front of somebody? ('Nother entry for this section, take a shot.) That’s crazy sensitive! How does he still have any problems!? Is everything bad that’s ever happened to characters with this powerset bad writing!? --Listen, I think as people with uncanny senses that can tell us whether we are in danger with accuracy that varies from incredible to approximate (I am talking about the five senses that most people have), we should all know better than to underestimate our ability to tune them out or interpret them wrong and fuck ourselves up anyway. I honestly find this part completely realistic.

*SLAPS ROOF OF SPIDER-SENSE* YOU CAN FIT SO MANY STORIES IN THIS THING

The spider-sense is a clean branch into...whatever. There is the exact right balance of structure and wishy-washiness to build off of. A sample selection of whatevers that have been built:

It’s sci-fi and spy gadgets when Peter builds technology that can interface with it.

It’s quasi-mystical when Kaine and Annie-May get stronger versions of it that give them literal psychic visions, or when you want to get mythological and start talking about all the spider-characters being part of a grand web of fate.

Kaine loses his and it becomes symbolic of a future newly unbound by constraints, entangled thematically with the improved physical health he picked up at the same time -- a loss presented as a gain.

Peter loses his and almost dies 782 times in one afternoon because that didn’t make the people he provoked when he had it stop trying to kill him, and also because he isn’t about to start “””taking the subway’’””’ “‘’“”to work”””’’” like some kind of loser who doesn’t get a heads up when he’s about to hit a pigeon at 50mph.

Peter’s starts tuning into his wife’s anxiety and it’s a tool in a relationship study.

It starts pinging whenever Peter’s near his boss who’s secretly been replaced by a shapeshifter and he IGNORES IT because his boss is enough of an asshole that that doesn’t strike him as weird; now it’s a comedy/irony tool.

Into the Spider-Verse made it this beautiful poetic thing connecting all the spider-heroes in the multiverse and stacked up a story on it about instant connection, loss, and incredibly unlikely strangers becoming a found family. It was also aesthetic as FUCK. Remember the scene where Miles just hears barely intelligible whispering that’s all lines people say later in the film and then his own voice very clearly says “look out” and then the room explodes?? Fuck!!!!

Venom becomes immune to it after hitchhiking to Earth in Peter’s bone juice and it makes him a unique threat while telling a more-homoerotic-than-I-assume-was-originally-intended story about violation and how close relationships can be dangerous when they go sour.

It doesn’t work on people you trust for maximum soap opera energy. Love the innate tragedy of this feature coming up.

IN CONCLUSION I don’t have much patience for writers who don’t take advantage of it, never mind feel they need to write around it.

[blazehedgehog]

With that Sonic anniversary comic they just put out, the second story I feel they way overdid it with cramming references into every inch of every page and the third story had none of that but I felt was a funnier story overall. Does Sonic stuff overdo it with references these days?

I mean, to some degree, yes, Sonic has been overbearing with nostalgia for a long time now, but I also think that recent Sonic stuff is getting better at nostalgia, too. Starting with Sonic Mania, we’ve been seeing a greater outpouring of real, genuine love for Classic Sonic that doesn’t feel cloying like it did in, say, Sonic 4.

But I also think the second story in the 30th Anniversary book has other problems. I didn’t really mind it at first, but the more I roll it over in my head, the more it starts to sour a little bit. If you didn’t know, it’s written by Justin and Travis McElroy (and their dad, Clint, too). They do a series of podcasts and other things that have made them so mega-popular that the weight of that popularity is threatening to crush their business. 

I am indifferent to that. I listened to a lot of MBMBAM back in the day, and I always intended to try listening to The Adventure Zone (one of their other podcasts), but I ran out of time and places to listen to any podcasts. I liked MBMBAM a lot and I thankfully missed out on all the anguish and drama that would come to hound The Adventure Zone. I would not classify myself as a lover or a hater of the McElroy “brand” at this junction.

But if you told me that Justin and Travis set up a microphone, recorded themselves doing improv, and then transcribed that recording to text, I’d 100% believe that’s how this script got written. Because, like, I’ve listened to a fair amount of MBMBAM in my time, and that’s all this is. This is Justin and Travis riffing off of each other -- nothing more, nothing less.

It is so specifically their voices that I can tell you that Justin is Sonic and Travis is the driving instructor. And, like, let's be fair: this is what these guys do. The fact they probably wrote this in the way that was comfortable for them is fine. I'm not going to say they need to change anything about the process. But when I read this story, I don't hear Sonic characters. I hear Travis and Justin doing a MBMBAM bit, and then it's like somebody drew Sonic the Hedgehog artwork over the top of that, like it was one of those Youtube animatics people sometimes make of their podcast goofs. Sandwiched between two extremely loving, extremely nostalgic stories, this "Sonic Learns How to Drive" detour sticks out like a sore thumb. It doesn't line up with the vibe in the rest of the book. Seasons of Chaos? Absolutely gorgeous to look at, and it's a pitch-perfect example of how you use Classic Sonic to tell a story. There's a hard-to-describe tone to this, like somebody reached back in time to 1994 and pulled out the perfect adaptation of the Genesis games that never actually existed. Against all odds, they took the example set by Ian Flynn and Tyson Hesse's "Sonic: Megadrive" miniseries at Archie and actually made it better. Every page and every panel is like official 90′s Sega artwork come to life. At 50 or 60 pages long, it has a chance to stretch out and tell a longer contiguous story with more characters than the Megadrive mini could muster. It may not be deep or dramatic, but it doesn't need to be. It's fun, and that's what is important.

And then the book ends with "Dr. Eggman's Birthday," a sweet, endearing story where the badniks are just trying to show appreciation for their creator, who is predictably grumpy about celebrating his birthday. It's short and simple but it just made me feel good. In the middle of these two high points is a story where Sonic acts in a way that's deeply out of character, and 75% of most pages are taken up by word balloons and 30 different angles of a minivan interior. It doesn't fit. The book is a celebration of what we love about Sonic, but the McElroys don't strike me as particularly connected to the Sonic franchise and that comes through in the tone of the writing. It feels more like stunt casting. Which is where all these references come from, I think. The art is essentially trying to do all the heavy lifting. So you'll get a page that references the original announcement poster for Sonic 1, concept art for "Dr. Badvibes," the strange girl poster from Sonic Adventure, Sonic's Schoolhouse, the SegaSonic Popcorn Shop, G-Sonic, the glider from the Sonic Spinball intro, the prototype version of the Tornado from the Saturn version of Sonic Adventure, the flickies from Sonic 3D Blast, etc. All on one page. Heck, everything I mentioned is just in one panel of one page, and I didn't even cover everything. That's just the stuff I could personally identify. Basically, since the story itself wasn't going to do it, the artist went hog wild cramming in as much referential material as possible. And it's impressive, because there are cuts so deep even I didn’t know where they came from. But it doesn't really make the writing fit in any more with the rest of the book. That’s what bothers me, and the more I think about it, the less I like it. It feels down right random.

[quartizinedaze]

What’s you favorite part of the Archie sonic comic?

Ok ok you’re giving me an opportunity to talk about it so ………. This answer’s another long one and not hat in time related in the slightest

Bean already knows this but I love the Archie sonic comics. They were all over the place (probably because they ran for 20 yrs) and it’s amazing. I could go on and on about them but I will try and condense my favorite parts to just a list

My favorite absolutely ridiculous (both in and out of context) parts include:

-French fry tails

- anything to do with the echidnas pre-reboot. Like…. They didn’t have to make Dave the Echidna, echidna Astronaut, but they did anyways

-“Sleuth Doggy Dawg” and “Kicks a lot” existing

-this panel

-that one with the ridiculously buff tails (titan tails! I send him in my server every time I remember he exists)

-Sonics fox gf cheating on him with Green Sonic

-the part where like 50 out of the 70 echidna ocs get sent into the void and never came back

-the small panel where the illustrator of an issue drew echidna versions of the rugrats (from rugrats) in the background

-Tails having parents who were stuck in space and once they were brought back they almost immediately organized an uprising against the king and got arrested

-knuckles having a little brother named Kneecaps.

-Zonic the hedgehog. Zonic. The. Hedgehog.

-that one off panel Jojo reference

-The arc where all the humans hate sonic and are like “DOWN WITH THE FURRIES!!!!” This was in an issue that came out in the early 2000s I think

-the “alone on a Friday night? God you’re pathetic” meme originally being a panel full of tree puns

Genuine favorite parts include:

-shard. Any panel with shard. Particularly this one where he was hiding in a pond. He’s the best character no I do not take constructive criticism on this

- bean and bark. Just. Them.

- biased bc shards in it but the Secret Freedom Fighters arc slaps

-Also both arcs with Eclipse (funny little alien)

-Green Sonic getting told off by Sonic’s robot dad

-Bunnie and Antoine getting married <3

-Strewth. Promise.

-Shadow and Hope’s friendship!! Genuinely wholesome

-Honey the Cat

Would I recommend reading these? Maybe? Only if you like sonic and have a high tolerance for bs?

Also if you actually read all the way through these just know I appreciate you immensely thank you

[thattimdrakeguy]

Future Slate: ROBIN ETERNAL #2 - Even if you haven’t  read it. You certainly seen a lot of it before.

I don’t even know what to put in a review for Robin Eternal #2, cause it’s like, it’s the same mistakes as always.

Can’t draw Tim like how he’s described, he has the personality of burnt toast cause it doesn’t feel entirely like him, they keep acting like Stephanie is his soul mate when that clearly isn’t the fucking case, and it’s so repetitive and boring.

I’ve used the same panels where someone Tim’s own age comments on how Tim looks baby-faced and short for his age to the point it’s stale and just tiring. Repetitive in it’s own right:

But it’s the same mistake so I feel like I have to say it again. 

He’s seventeen there, only grows an inch after. So he’s still short, he’s pretty friggin’ baby-faced even for his age, so that’s going to stay even if he does look a bit older. He’ll still look overall pretty dang young for his age. It’s not like short baby-faced people don’t exist. It’s not infantilizing him like how ignorant people act, it is quite literally what he looks like, and what real actual people look like.

And being able to draw your main character is very important. Because otherwise, you’re doing something very wrong--and guess what, they’re just drawing him very wrong. Which is such a constant error with DC Comics and Tim Drake.

I get he’s older, but you got make it look like TIM still. It’s an older TIM, not just some random dude. Second puberty doesn’t exist. So you have to make it actually look like Tim still. This isn’t the 90s where you make everyone really buff and chiseled, and make them look like steroid abusers during an age up. HE STILL HAS TO LOOK LIKE TIM.

Give him a more mature haircut, take a bit of the softness out since, yeah, he is older, add a scar if you want, I don’t care, but the fact remains that Tim has an obviously specified look and you can’t just ignore it to make him look totally different. Which artists just keep freaking doing

For another example, here’s the artist drawing Tim during his origin (I dress like this sometimes. So it’s low-key cool to me. But still):

Here’s what Tim actually looked like:

They couldn’t even draw him then? Did he not use reference? I wouldn’t know that’s the same character. He’s the size of a grape in his origin. They ironically drew origin Tim to look closer to what he’s supposed to at 18 here. (Not saying he’s 18 in the story, cause I have no idea. A bit too sci-fi for him to just be 18 tho I imagine.)

They’re never going to have an easy time getting his fan base back when they keep proving time and time again that they don’t get him. I feel like most times they do get a moment that feels like him it’s out of coincidence.

Then there’s the story, that’s so freaking repetitive, and so empty. It’s a nothing story. There is nothing to remember about this story. They barely acknowledge or act like Tim even freaking died. They mention it, but it’s like “Haha, yeah, guys, I totally died”, like Tim the kid who probably has 50 existential crisis a month wouldn’t have a whole moment about literally having died.

Plus, I think it’s just really lazy and stupid to just rip off Jason’s story and giving it to Tim. Taking Duke’s friend and giving it to Tim, just leaves such a bad taste in mine and I’m pretty sure others mouths.

In my head I can’t get over the repetition.

“WE HAVE TO DO SOME ABOUT THE RESIN”

“WE HAVE TO DESTROY IT”

“THEY’RE GOING TO DESTROY IT”

“OUR MISSION IS TO DESTROY IT”

“SOMETHINGS WEIRD WITH ROBIN”

“ROBIN SOMETHINGS WEIRD WITH YOU”

“ALL THE PRESSURE IS ON ME”

“THEY’RE HERE CAUSE OF ME”

“IT’S ALL ON ME”

And then it’s like, anything new they add to the issue it’s like “WOW. THIS PLOT TROPE THAT’S BEEN DONE A MILLION TIMES OVER. WOW! STELLAR, AND ORIGINAL, AND NOT BORING.”.

Way to go, fellas. What a comic to make for a new generation that’s going to think the same thing as a lot of people already, because you keep writing him bland or terrible: That Tim is boring.

When you never do what makes Tim interesting to begin with. You’re never going to make people know why he’s a good character. DC doesn’t seem to have the range for it anymore.

The closest they get is during the hallucination scene, but it’s played so much like the cliché that we’ve seen plenty of times in stuff like Spider-Man: Far From Home, that it leads me to believe that the writer might’ve just saw that and incidentally got inspiration to write the scene she ended up writing or something along those lines. It feels too familiar to the already scene.

Cause like, yeah, Tim’s insecurity is a major part of his character, but he’s is a bit more nuanced than that, he changes during the story, he cracks under pressure a bit, which they sort of do here but you have to give him a world he can actually react to, that will make it feel like Tim. Tim had a big life full of friends, and family, and Bat-Family. When you strip him of all that, and give him a girlfriend that’s never meant to be what they make it, and take Duke’s freaking friend like it’s Tim’s, you’re not doing it right.

It just gets to me, because feeling under pressure, being insecure, being scared that your family is going to disappointed in you. Those are all Tim things that made him so interesting, but it’s not in Tim’s voice I guess I could say.

It’s not a very full rendition of Tim to make it work. The geek, the fanboy, anxiety, the kid trying so hard not to be a kid (although he’s an adult in Future Slate obviously), the naïve sense of justice that gets so confusing for him and conflicted. The things that makes Tim have nuance to him and can add different angles to different things about him.

Without it being in Tim’s voice, with Tim’s full personality, or setting, it leads him to feeling too generic, and typical. Which is something they need to learn from, because to a lot of people, he’s already the boring one since they never really wrote him as his own character for so long, a lot of people don’t even know anything about him.

I enjoy the attempt, but I’m disappointed at the lack of success.

Then, well, with Steph it’s pretty blunt. They fought all the time, and didn’t get along. They need to stop acting like they’re a healthy couple or soul-mates, because this is past the 90s, and just acting like they’re really healthy cause of a few cute moments of questionable characterization is never going to feel right for anyone that doesn’t already ship it.

In the end Robin Eternal isn’t a two parter that I’m annoyed exists. I think I’m happier that it exists than I am disappointed it is. I’m disappointed at how it turned out, but not the idea of it existing. Tim hasn’t had his own spotlight since about a decade ago, and Tim’s frickin’ Robin in it. That’s amazing. Seeing him get to be Robin Eternal just feels really right inside. It reminds me of when Young Justice saw into the future, and Tim was there and was Robin still as an adult. Like a balance is restored here. Real people don’t work on superficial rules, and not everyone needs to be a Nightwing. I don’t care for that stereotype. So I’m just glad about that, even if story or character wise it’s nothing major.

It just sucks that this story couldn’t be anything more.

It needed a different artist, and a writer that knew what Tim was like when he’s actually fleshed out. This should’ve been Tim’s big comeback, but it’s not. It just feels like reinforcement that Tim’s stuck. And that really really blows.

It’s not all bad, but it’s not quite right enough to be what it needs to be.

[rodpupo2]

Research: Project Finish

Tim Sale

Tim Sale is a famous comic book artist, who had worked in several titles along with the writer Jeff Loeb, including Batman, Spider-Man, Superman, Daredevil, and many others.

Tim Sale was born in may of 1956, in New York, where he studied visual arts, spent a good time of his life in Seattle, and today he lives in California.

For some years he drew his art privately, only to please himself. When he found himself working at a fast food in his late twenties, however, he decided to try to sell some of his work. This led to an association with Thives’ World Graphics, a fantasy anthology series, where he illustrated stories.

What most marks his work is the dramatic aspect that he manages to obtain in the characterization of his characters and in the scenarios he creates, making the stories unique and immortalizing the characters.

The union of Sale’s art with Loeb’s engaging narrative has become the perfect marriage for mysterious plots.

One of the most striking characters worked by Sale was Batman, which he drew “The Long Halloween”, “Dark Victory” and “Halloween”. He was able to fully transfigure the dark aura of Gotham and his Dark Knight. He also worked with Superman in the saga “ Superman for All Seasons”.

Both of The Long Halloween and For All Seasons are what is known as “Year one” comics. These works take their heroes back in time to their earliest days of crime fighters.

His main tool is watercolor, which he uses with mastery. Sale's palette of colors is something really impressive, always drawing and painting his characters very delicately, and calmly. His style is very cartoonish, although this does not diminish his art in any way, on the contrary, his style is very unique and characteristic.

Pedro Franz

Is a Brazilian comic book artist, who was born in Santa Catarina and has a degree in design.

He has been publishing several comic books and participating in exhibitions in Brazil and abroad. As an illustrator, he has published works several magazines and books, and regularly collaborates with the Piauí magazine. As a graphic designer, he is a contributor to the Par (Ent) Esis platform. He has comics translated and published in English and Spanish, and has good international recognition, thanks to his publications.

But what is most impressive in Pedro's art, perhaps is his intensive use of colors. Mixing various shades of different colors, mixing different compositions. In addition to sometimes using characters from pop culture, with his elaborate style.

Despite liking traditional comics, he has always published and worked for national publishers, often with authorial works.

Perhaps his best known work, which was even published in the United States is the comic “Suburbia”.

Suburbia tells the story of Conceição, a girls daughter of enslaved rural workers, who flees to Rio de Janeiro in the early 1990s. In the city, Conceição begins to work as a cleaner and to get involved in the world of funk, slums and poverty.

His drawings are extremely surreal, not exactly following a traditional way of making comics, with several images spread across the page, with different shapes and sizes, with extremely strong colors, mainly valuing blue, purple, yellow and red, as his main colors.

Richard Corben

Richard Corben was one of the contributors of elevating the comics to the category of Art, and of its unparalleled style of great influence among many current artists.

Richard Vance Corben was born in Missouri, United States on October 1940, in a family of farmers in the middle west ( where he started reading comics), and lived in Kansas City. There he studied Fine Arts, got married, had a girl and started working in local cinematography animation company. At the same time, he started to create and publish some underground fanzines. From the begging it was clear that he was interested in science fiction, eroticism, and total rejection of institutions ( the Army, the Church, etc), mixed with a lot of humor.

At a young age, Corben was an aficionado of bodybuilding, just like everyone who was interested in a persons aesthetics. The first character that he created, was Rowlf, a dog who took on a human form. In the beginning of the 1970s he amplified his work ( and his fame) in some underground magazines. And in 1971 he started working for the Heavy Metal publisher where he created one of his most famous characters, Den a large muscular man, who was always naked, and always after some adventure.

Corben has a very particular style, with unsettling mixture of caricatured, often satirical grotesque and intense,convincing realism. Never before had such wildly cartoonish worlds proved so convincing.

Also he can handle an exponentially higher standard because of his ability to use colour to show the effect of light on whatever he’s depicting. The way that he mixes light and colors in certain panels to differentiate those elements from each other, is something to admire.

Corben worked in a few mainstream comics, he always preferred to work with authorial works or working in specific themes like fantasy and science fiction comics and not so much on superheroes.

But probably the most famous mainstream comic that ever worked was the character Hellboy, along with writer Mike Mignola.

Hellboy is a series of comics that has a lot of mysticism, Norse mythology, horror and monsters. Something Corben certainly agreed to do, without thinking twice.

Richard Corben is one of my favorite artists, with a style that is perhaps not as realistic as an Alex Ross for example, but the humor and beauty that he puts in his characters is very unique.

Corben died on December 2, 2020, leaving a great legacy, for the world of comics and arts, with a very unique style and extremely stunning worlds.

Charlie Allard 

Charlie Adlard is a British comic book artist, who have worked on the comic industry for over 25 years. He spent the majority of his time since 2003 working in The Walking Dead along side with writer Robert Kirkman , until the last issue on 2019 He started reading comics when he was very young, and he said that he was very lucky to have influences of American comics and the more high art, such as Asterix and Tin Tin. He was fascinated by European comic books artists like Moebius, Alberto Uderzo and Herge. He started his career as many British artists and writers, working on 2000 AD, with characters such as Judge Dredd, Armitage and eventually Savage. In the United States he started working with the X Files, Astronauts in trouble, and of course The Walking Dead. Adlard started in The Walking Dead from issue 7, and brought a slightly different style, from the previous artist. Adlard's art is very cartoonish, but the universe of The Walking Dead still doesn't get silly because of it. Quite the opposite, the dirt and rot that Adlerd puts on his characters and the world, only sustains what a horrible world it is to live in. Many readers complain about Adlard's style, being very simple, that his characters are very similar, and sometimes it is difficult to identify them. But I believe that although his style does not vary much, when it comes time to show a horde of zombies, a devastated city, people feeling despair, and extremely disturbing scenes, Adlard manages to excel. Adlard's main tool is ink. All The Walking Dead magazines are in black and white, and he manages to give a lot of depth to the scenarios and characters using only a few ink stains. Today Adlard is doing some comics, mainly for DC, but says that he does not intend to work with Kirkman and zombies again, because he wants to explore other themes, and to innovate his drawing skills.

Zaha Hadid

Zaha Hadid was one of the most important and well known figures in contemporary architecture and design. With a singular trajectory, marked by a versatile, bold and out of the box style, she was the first woman to receive Pritzker Prize for architecture and was also the only female representative honored by the Royal Institute of British Architects with a golden medal. Zaha Hadid was born in Iraq, more precisely in the city of Halloween, in Bagdá, in the year 1950. Her family was of high class, her father being an important politician and her mother an artist. Still young, she traveled and studied in other places of the world, like London and Switzerland, but it was in her native land the she got her first formation, when she graduated in mathematics. At the age of 22, in 1972, she enrolled in one of the most famous independent schools of architecture in London, and there she gave the starting point to her career by studying and creating an important connection with the Dutch architect Rem Koolhaas, a figure that encouraged her and opened the doors for opportunities. Later in the 1980s, Zaha Hadid decided to open her own office. This, Zaha Hadid Architects was born, which made her name and talent recognized worldwide. Known for her works with futuristic lines, clean and pure forms, as well as the fragmentation of architectural design. Her projects and discussions raise issues that put architecture and its future to the test. This is because the architect seeks in her works to interrelate design, architecture and urbanism. I knew Hadid and some of her works, but it was the recommendation of my teacher Lauren, that I should look for this architect. As my project takes place in the future, she recommended that I look at some works by Zaha Hadid to get inspiration when creating the scenario for the comic. I find it very interesting how her works have this futuristic aesthetic , because it reminds me of science fiction films like Blade Runner with those skyscrapers and buildings with different shapes and sizes that are extremely imaginative that could only exist in films. With unique works and projects, famous for their exuberance, futuristic elements, curves, non linear shapes, distortions and fragmentations, Hadid inspired and generated fascination both for her constructions around the world.

Syd Mead

Syd Mead was a designer, best known for working on films such as Aliens, Blade Runner, Tron and Star trek. Mead was born in Minnesota, United States, on July of 1933, but five years later he moved to a second house in the western of United States prior to graduating from High School in Colorado in 1951. Some years later, he did the Art Center School in Los Angeles, where he graduated with great distinction in 1959. He was immediately recruited by  the Ford Motor Company. At Ford he worked in the advanced styling department, creating futuristic concept car designs. But his imagination went beyond cars and he began to imagine clothes, helmets, buildings and scenery from hyper advanced civilization. After Ford, he also worked in other big companies like Chrysler, Sony and Phillips. After that he started migrating to the concept art world of movies. Mead is really important for generation of writers of science fiction, because many of them were influenced by Mead’s colorful paintings. Mead never wrote a novel or short story. He imagined the future in his mind and turned that imagination into illustrations. In 1979 he designed the extraterrestrial spaceship for the first film “Star Trek” in the cinema. Ridley Scott called Mead to design the buildings and flying cars of the futuristic Los Angeles “Blade Runner” in 1982. In 1986 he was hired to design the space station and vehicles of the movie Aliens directed by James Cameron. Almost at the same time, the designer created the electronic world of “Tron” for Disney studios. The same ones who hired him in 2014 to design the futuristic city of “Tomorrowland”. Mead died in 2019 after three years of lymphoma, he was 86 years old. He was a great influence for many designers and science fiction writers and illustrators, due for his creative worlds and automobiles , Elon Musk quotes Mead as one of his major influences, on visions of the automotive future and design in general.

Transmetropolitan by Warren Ellis and Darick Robertson 

Transmetropolitan is a comic written by the British writer Warren Ellis and the American illustrator Darick Robertson, published by the Vertigo label, and falls within the cyberpunk genre, and the problems that rampant technology will cause us.

Throughout the 60 issues of Transmetropolitan, Ellis and Robertson build a chaotic and brilliantly alive future, presenting a sci-fi society with a peculiar mix of elements of cyberpunk, political dystopias, bioengineering and transhumanism, sexuality, economics and much more.

In a dystopia, in a not so distant future, the journalist Spider Jerusalem is isolated for fiver years in a hut in the forest, but he has to return to the city to earn some money.

Throughout the comic, amid a nihilistic aura that humanity has no salvation, the author- Warren Ellis - criticizes the consumerism and futility. The illustrations, of Darick Robertson, is full of excesses as the environment should be, a brand of the style of the 1990s.

The search for the truth is the central theme of this work, and in the midst of all this we found ourselves in a investigative odyssey that involves the lowest scum of that society ( thieves, murderers and rapists) until reaches the highest of the scum ( the presidency).

This background allows the work to touch on the most profound social themes, and without fear of saying what needs to be criticized, this is where Transmetropolitan shines, and provoke deep reflections on issues such as racism, the influence of media, the power of religions, the education, and many other themes.

In short, Transmetropolitan dissects and criticizes everything, it points out the flaws, the lies and the hypocrisy of each one. It’s a study about the problems of democratic society in the 21th century.

Jon Mcnaught 

Jon Mcnaught was born in 1985, London, England. He work with drawing comics, and work as an illustrator, printmaker and lecturer. After spending several years on the Falkland Islands during his childhood, which will inspire his second book, Pebble island. The book pass years after the war, where he tries to recreate his childhood, with aspects of his curiosity, when he was exploring abandon bunkers, where it was just part of landscape, or somewhere where he could play. His work has essentially been landscape print-making (often situated in the city), but with quite simple intention of capturing the sense of space, light, time etc. His work is mostly about that, places that he was interested in depicting, and trying to reproduce the visual. He want the characters to feel like elements of a landscape or an environment ( he preferes to focus more on the background, than the characters itself). But usually he uses figures and postures to suggest expressions rather than close ups showing facial features. What I like about Mcnaught's work is that they are simple designs, but the colors are very vivid. The way he constructs the scenarios is very invective, because it doesn’t need to be extremely detailed, he just needs a few lines to show what he is talking about.

[eunnieboo]

ask replies! pt 1

this is so incredibly late but i compiled a bunch of asks having to do with pink in the night. it’s a lot of me being emotional and exclaiming “thank you” over and over again but if you don’t mind, read away!

@aristptle​: thank you so much! ahh oh my goodness... this message makes me so happy ♥

@angelpainsz​: thank you! much love to you too!! <3

@mauraleigha​: AH thank you sm!

@thewildbombadil​: omg! i haven’t thought much about expanding the story - i really meant it to be a one-off comic. these girls came to life through the inspiration from mitski’s song so i think i’d like them to exist in relation to that particular piece~ thank u for the interest tho!

@omelettedufromage-24601​: oh gosh welcome! and thank you! i hope you enjoy your stay 😊💕

@bitchinflash​: THANK YOU! that means the world!!

1. oh ;_; thank you so very much! ♥

2. OMG ksdhksjHKHK this is powerful knowledge thank yOU

3. oh my gosh thank you ahh! i’m so moved and happy to hear this.. i hope to keep drawing what i love!!

4. dries your tears w the softest tissue..!! thank you <3

5. thank you so much!! <333

6. i actually did worry it was too subtle! in the panels of their childhood and on, i tried to portray the girl transitioning naturally throughout their lives together, but i think the most important panel is the second one, where she looks at the poster of a conventional family.

i had the dad and mom sort of mirror the children’s positions, holding hands. i thought a long time about what the poster should be of - at first i considered a woman? but then i thought it’s also valid to look at something and realize that’s what you’re not. so when she’s looking anxiously at this family, she’s perhaps thinking that this isn’t the future for her. maybe she doesn’t want to be the “dad” or the “husband” in this situation. and this scene is also accompanied by the line “but i didn’t do it right”... so i hoped people would be able to piece these clues together and recognize what i was going for!

@helpmebecomeme​: my heart is growing as we speak... thank you so so much. i don’t even have words for how i feel reading these kinds of responses.. i’m just so grateful and overjoyed that something i drew was able to reach somebody in a meaningful way. thank you ♥

@servamp-addict​: AH thank you sm!! i really appreciate it~

@feralkorekiyo​: gasp.. i’m sending my love in return!!

@tonftyhw​: ahh i’m so glad! tysm, what an honor!

@anarchistcuddles: thank you!!! i remember while i was working on it, i hit a point where i started doubting what i was drawing - i just thought i was putting a lot of time and effort into something that wasn’t even turning out very good - so i can’t tell you how glad i am that i kept working on it anyway. every detail was worth it!!

1. ahhhh!! thank you so much for this message, you’re too kind!

2. oh my gosh, thank you ❤️❤️❤️

3. thank YOU for loving it so much! it’s absolutely my pleasure :>

4. AHH i’m so glad to hear that!! i’ve seen people interpret the song as something sad and bittersweet... and i understand that too! but i read an interview with mitski where she talks about how pink in the night is the feeling of being in love... and with this in mind, the vision of kissing someone again and again just because you want to do it right, and because you adore them so much, really struck a chord with me. i also loved this quote from her:

“...Heartbreak doesn't have to be a hard, horrible bad thing. It's just like ‘I'm so infatuated and in love that I feel myself crumbling... but in a good way!’”

5. hehe thank you!!

6. thank you thank you ♥

@revangarcia: haha i’m so glad! this is always the goal (*´∀｀*)

@sandsofinaros: thank u so much!!

@nerdygaytor: ahhhH! thank you from the bottom of my heart. this is so sweet!

@i-like-cartoons: oh gosh! wishing you and your gf the best 🥺💕💕💕

@xundeadqueenx: !!! SOLIDARITY

1. ohh!! HMM well i have no plans to do so currently but you never know! i do love making those kinds of pictures. and thank u so much! T_T <3

2. gosh thank you! i’ve debated this for a while but patreon sounds a little intimidating - i might have to consider ko-fi or maybe gumroad if i ever decide to have digital work for sale.. things to think about for sure!

3. this comment gives me so much strength 😤

4. oh my goodness... sending you all the love ♥

thank you again everyone! my heart is warm... i’ve had these asks in my drafts forever so i’m happy i was finally able to finish answering them. hopefully part 2 won’t take as long!

see u next time~

[soyouareandrewdobson]

Charles Schulz vs Andrew Dobson: What a Blockhead!

There are certain things about Dobson’s behavior and particularly his approach at being a nerd and presenting himself as someone who enjoys the art of storytelling that I have issues with. Issues I want to tackle on in more detail within later entries quite a bit.

One such tendency is, that he mocks directly or indirectly the work and accomplishments of others.

See, if Dobson doesn’t like you as a content creator because he does not like something you work on, he will try to show it. He will make stupid assumptions of you (like how he accused Kojima of being a sexist creep because of Quiet and how he deals with “male gaze” in MGS compared to Death Stranding), half heartedly mock you (look at anything he makes about Ethan Van Sciver) or he will call a piece of work boring and dull based on a minor element instead of overarching problems (calling Batman the character a white supremacist based on the dumb work of only one author).

By doing that he also tries indirectly to insinuate that he is better in some manner, though most of the time it really just shows his own ego and that his pet peeves are rather petty compared to the overall quality of the work he criticizes as well as its flaws.

One such sight of ego boosting while mocking the work of his better is in my opinion to be found in this comic he uploaded sometimes around 2016/17 randomly online.

This comic in my opinion is both laughable and insulting. Why? I will explain soon.

First however I want to clarify that I get that this comic is supposed to be a joke mostly. The old “What others expect, what I expect” thing, where the punchline is supposed to be the discrepancy between the two fractions and what they expect, mostly by making one of the expectations come off as worse than the other. However, I find the punchline to be Charlie Brown (and as such what Dobson seems to see as something he does not want to be favorable compared too) quite insulting. Why, as I said, will be elaborated on sooner.

First, let me just get on the part I find laughable: The fact that Dobson in his own head seems to believe he can be even remotely compared to people like Paul Dinni, Bruce Timm, Greg Weismann, Justin Roiland, Miyazaki, Shigeru Miyamoto and all the other character creators and animators whose creations we see in the first panel.

 Dobson, don’t make me laugh. Putting aside the fact that those people are animators more than cartoonists, what makes you even believe in your wildest dreams you are on the same level as them? The fact you too are an animator, seeing how you graduated from an art school with a degree in that field? I have seen your contributions to the field and honestly, I would expect a bit more. https://www.youtube.com/watch?v=v0tdWNCrIxo

 https://www.youtube.com/watch?v=Ps6PfiUCxHQ

 https://www.youtube.com/watch?v=4PyonOqClf8

 I give you credit, you can animate. Which is more than I can say for myself when it comes to the arts. But when you look what other freelance animators can do online, some of them younger than you and NOT with a degree in animation…

  https://www.youtube.com/watch?time_continue=64&v=FmkAcGz1BJk&feature=emb_title

https://www.youtube.com/watch?v=97IfPfjSaDg

 https://www.youtube.com/watch?v=eEUoxQ4qSfs

 Viviepop’s demo reels alone are just gorgeous to look at and more fluid than what I have seen of you. https://www.youtube.com/watch?v=gFlha-KOKCc

 And it is not just the technical quality, Dobson. It is also just the overall “originality” of your work. Cause this is the thing with those animators hinted on in the first pic and even many, many freelancers/fanartists as well as webcomic creators online: They have a spark of originality in presentation and storytelling that you lack. I will one day go more into detail for that, but here is the most brutal thing I can say at the moment: I know shitty porn fanfictions, that have more plot development and character growth than all of Alex ze Pirate.

Your characters and stories tend to be derivative and you barely take any risks in telling a story. Neither in your fanbased work (like the Miraculous comics) nor your original content (mostly because you take comfort in four panel strips anyway)  and when you have an idea for something on which the basis idea actually sounds good, you screw it up by a lackluster execution. One example I want to give for that, would be this fanart of yours in regard to Steven Universe.  

(I apologize for not getting one in better quality) This pic was something Dobson created around 2015 for Steven Universe. The picture is supposed to show Lapis, trapped under the ocean following the events of the season 1 finale of the show. A very emotional situation if you are aware of why Lapis sacrificed herself and was “banned” to the ocean floor. Short explanation: Fused with Jasper and then took primarily control of the fused being they became (Malachite) by using her water powers to bond it with heavy water chains on the ocean floor, so that Jasper would not hurt Steven anymore.

 How much of that was even an emotional strain on her and her psyche was in one episode of season 2 even a theme, as seen here.

 https://www.youtube.com/watch?v=SK3l8mGNhMg

 I am not even a fan of the show and I get the emotional weight and impact of Lapis actions.

So… why is that not conveyed in the artwork? If you are so talented Dobson, why is none of the strain and despair on the character? The idea of a pic showing Lapis under water, longingly looking up, even in despair is a good basis for a fanart. But the execution lacks any emotional detail. You want to know how I would execute the thing if I had the artistic talent? Make the picture a huge horizontal pic, where we slowly decent from water surface down the ocean. The light getting dimmer. Blue turning into dark. The silhouette of a hand and an arm similar to Malachite’s in the background, trying to travel up, the fingertips barely touching the surface. Heavy chains around the flesh. Symbolic of the fusion trying to break free and cause havoc. And down on the dark bottom, beaten and exhausted Lapis with tears in her eyes and chains all over her body like she is Jacob Marley, desperately trying to keep Malachite at bay for the sake of the only being on earth who ever showed just a little bit of kindness towards her.

 Why can’t we have something like this here, Dobson? If you were even remotely as original as the creators you want to be compared with, I think you could come up with something like that and perhaps even draw it.

But you know, his delusions of being as good as them is one thing. It is even funny.

Pissing over the Peanuts is another. Dobson, what are you trying to hint at?

That people comparing you to Charles Schulz and his creation is in your eyes automatically a sort of insult? That it is something that should at best only be a mockable punchline in a comparison?

Just to clarify a few things: I am NOT much of a fan of Charlie Brown and the Peanuts as a property. As a child, I was just not very entertained by them. Yes, I saw animated movies, episodes and specials of them here and there and my grandparents gave me volumes of them to read, but as a whole I never thought them quite as entertaining than other comics or cartoons I watched. Some parts of Peanuts animation felt to me often times like just dead air (especially parts of Snooby dancing with Woodstuck, as they had no function to move the plots forward) and I really could not stand how some characters treat Charles on a regular basis. I mean, we all agree that Lucy is one of the worst female characters in fiction and that even while we hate Family Guy, this clip likely gave some of us some sort of satisfaction, right?

 https://www.youtube.com/watch?v=mZkJAx8FycI

 But before the Peanuts fan out there go and want my head on a silver platter, let me make one thing clear: I may not like the Peanuts franchise… but I respect it and the man behind it.

 Charles Schulz drew the comic strip from October 1950 till late 1999 (the final strip being finished months before it would be published on February 13 of 2000, one day after he died of colon cancer) , creating a total amount of 17,897 Peanuts’ strips. His work marks a major impact in the nature of newspaper comic strips and inspired many people out there, including Bill Watterson, to create comics or be in the field of animation. His achievements include among other things, that he created what many people consider the first animated Christmas special ever. The names of his creations became nicknames for the Apollo 10 command module and its’ lunar modul. Four of the five Peanuts movies in existence (animated made for tv specials not withstanding now) were written by him. And the fifth was only not by him, because that one came out in 2015, a decade and a half after he died.

And speaking of things Schulz wrote for the Peanuts, let me mention two things. Two things that though I am not a fan of the Peanuts, I have mad respect for existing in the realm of animation. Two animated specials that stuck with me ever since I was eight.

 “What have we learnt, Charlie Brown?” from 1983 and “Why, Charlie Brown, Why?” from 1990.

 In the first special, which functions as a semi sequel to the fourth Peanuts’ movie “Bon Voyage, Charlie Brown”, the characters actually travel across France and after ending up on Omaha Beach and Ypres the special turns into a tribute to the soldiers who fought in World War 1 and 2, elaborating on the sacrifices made during the war by showing actual footage of fights, recordings of Eisenhower and reciting the poem “In Flanders Fields” among other things. Do you know how impactful it is to learn about the world wars as a small kid, by being reminded of the actual sacrifices others made in order for your own grandparents to survive?

 And speaking of grandparents, I lost my grandmother as a child by cancer. So when I saw the second special I mentioned, you can bet it stuck with me. After all, of all the things in the world, the Peanuts addressing the seriousness of cancer by having a story where a friend of Linus is diagnosed with leukemia and we follow the emotional impact it has on Linus and the girl? Again, I may not like the franchise, but I am not ashamed to admit I think the special treats the subject with a lot of respect and dignity while telling a good story. You bet your ass I get a bit teary eyed when the little girl survives her leukemia treatment and finally gets on that swing again. Those two specials alone are more mature than ¾ of the shit Dobson likes to gosh about, including his oh so precious gay space rocks. And just for those things existing I have respect for Schulz, his creation and the impact it had on so many people. As such, Dobson “belittling” the Peanuts, at least for me, is a freaking insult. The only way Dobson could have been even more insulting is if he called Schulz something derogative.  Dobson should be glad if his life’s work in total could even amount to 10% of what Schulz has done and achieved.

 Cause Dobson, you are NOT a Charles Schulz. Schulz served during the second world war on the front, fighting actual Nazis instead of calling idiots on the internet fascists for not liking Star Wars. He had integrity and work ethics that drove him to draw and write over 17.000 strips, while you can not even finish one FREAKING story. He knew how to tackle a mature subject, while you make shitty shipping jokes involving Ladybug and Cat Noir and claim Steven Universe knows how to be about psychological trauma, when it just romanticizes abuse. He may have drawn simplistically, but at least he could tell a joke instead of constantly berating others for not sharing his opinion. He did all of that and more without having graduated from college.

 And what have you done, Andrew Dobson?

If Dobson reads this, there is one thing in my opinion he should take away from more than anything else: That if people compare him to Charles Schulz’s work, that it means a) he should not be ashamed of it and b) they overestimate him.

[knifeonmars]

Capsule Reviews, February 2021

Here's some things I've been reading.

The Curse of Brimstone 

DC's New Age of Heroes books, emerging from the beginning of Scott Snyder's creative-flameout-as-crossover-event Metal, mostly constituted riffs on Marvel heroes like the Fantastic Four (in The Terrifics) or the Hulk (in Damage). The Curse of Brimstone is a riff on Ghost Rider. It's... uneven. The first volume is generally pretty good, and when Phillip Tan is drawing it, as he does the first three and a half issues, it's gorgeous and unique, when he departs though, the quality takes a nose dive. None of the replacement artists, including the great Denis Cowan, can quite fill his shoes, and the story gets old fast. Guy makes a deal with the devil (or rather, a devil-like inhabitant of the "Dark Multiverse" as a not horribly handled tie-in to the conceits of Metal), realizes it's a raw deal, and rebels. The characters are flat, lots of time is spent with the main character's sister haranguing him to not use his powers (it is, in my humble opinion, something of a cardinal sin to have a character whose primary role is telling other characters to stop doing interesting things), too many potboiler "I know you're still in there!/I can feel this power consuming me!" exchanges, a couple of underwhelming guest spots (including a genuinely pointless appearance by the old, white, boring Doctor Fate) too many flashbacks, and not enough of the action. There's potential in the classic demonic hero rebelling plotline and its link to the liminal spaces of the DC universe, forgotten towns and economic depression, but the wheels come off this series pretty much as soon as Tan leaves. The really disappointing this is that the series is clearly built as an artistic showcase, so after Tan's shockingly early departure, the main appeal of the series is gone and there's nothing left but the playing out of an obviously threadbare story.

Star Wars - Boba Fett: Death, Lies, and Treachery

I don't care much about Star Wars these days, and I think that most of the old Expanded Universe was, as evidenced by Crimson Empire, pretty bad. Death, Lies, and Treachery, is that rare Star Wars EU comic which is actually good. John Wagner writes and he's in full-on 2000 AD mode, writing Boba Fett as a slightly more unpleasant Johnny Alpha (who is like a mercenary Judge Dredd, for those unfamiliar) right on down to the appearance of a funny alien sidekick for one of the characters. The main attraction is Cam Kennedy's art though, along with his inimitable colors: this might be the best looking Star Wars comic ever. The designs are all weird and chunky, with an almost kitbashed feeling that captures the lived in aesthetic of classic Star Wars, and the colors are one of a kind. Natural, neutral white light does not exist in this comic, everything is always bathed at all times in lurid greens or yellows, occasionally reds, and it looks incredible. In terms of "Expanded Universe" material for Star Wars, this hits the sweet spot of looking and feeling of a piece, but exploring the edges of the concept with a unique voice. It's great. I read this digitally, but I'd consider it a must-buy in print if I ever get the chance at a deal.

Zaroff

Zaroff is a French comic (novel? novella?). It's like 90 pages and it delivers exactly on its premise of "Die Hard starring the bad guy from The Most Dangerous Game." It's pretty good. Count Zaroff, he of the habitual hunting of humans, turns out to have killed a mafia don at some point, and after miraculously escaping his own seeming death at the end of the original story, finds himself hunted by the irate associates of this gangster, who have brought along Zaroff's sister and her kids to spice things up. Zaroff not only finds himself the hunt, but he also has to protect his estranged family as they struggle to survive. Nothing about this book or its twists and turns is likely to surprise you, but I don't think being surprised is always necessary for quality. Zaroff delivers on pulpy, early-20th century jungle action, is gorgeously rendered, and the fact that Zaroff himself is an unrepentant villain adds just enough of an unexpected element to the proceedings and character dynamics that it doesn't feel rote. There's a couple of points, ones typical of Eurocomics, which spark a slight sour note, such as some "period appropriate" racism and flashes of the male gaze, but for the most part these are relatively contained. It's good.

Batman: Gothic

Long before Grant Morrison did their Bat-epic, they wrote Batman: Gothic, an entirely different, but then again maybe not so different, kind of thing. It starts off with what must be called a riff on Fritz Lang's film, M, only where that story ends with a crew of gangsters deciding they cannot pass moral judgment on a deranged child-murderer, in Morrison's story they go ahead and kill him, only for the killer to return years later to rather horribly murder all of them as a warmup for a grandiose scheme involving unleashing a weaponized form of the bubonic plague on Gotham City as an offering to Satan. Along the way it turns out that said villain, one Mr. Whisper, is a former schoolmaster of Bruce Wayne's, who terrified the young Batman in the days before his parent's deaths. It's an earlier Morrison story and it shows. Certain elements presage their later Batman work; Mr. Whisper as a satanic enemy recalls the later Doctor Hurt, and the cathedral Mr. Whisper built to harvest souls recalls what writers like Morrison, Milligan, and Snyder would do concerning Gotham as a whole years later.The art, by Klaus Janson, is spectacular. If you're familiar at all with his work collaborating with Frank Miller you'll see him continuing in a similar vein and it's all quite good, even when he stretches beyond the street milieu which most readers might know him from. There's one particular sequence where Janson renders a needlessly complicated Rube Goldberg machine in motion that manages to work despite being static images. The writing by Morrison though, is not their finest. The M riff doesn't last as long as it could, and Mr. Whisper's turn in the latter half of the story from delicious creepy wraith to a cackling mass murderer who puts Batman in an easily escaped death trap feels like something of a letdown from the promise of the first half of the book. Gothic is good, but not, in my opinion, great. It's certainly worth checking out for Morrison fans however, and I imagine that someone well-versed in his latter Batman stuff might be able to find some real resonance between the two.

Green Arrow: The Longbow Hunters

For a long, long time, Longbow Hunters was THE Green Arrow story. It is to Green Arrow as TDKR is to Batman, deliberately so. Mike Grell wrote and drew the reinvention of the character from his role as the Justice League's resident limousine liberal to a gritty urban vigilante operating in Seattle over the course of these three issues, which he'd follow up with a subsequent ongoing. Going back to it, it certainly merits its reputation, but its far from timeless. Grell's art is unimpeachable absolutely incredible, with great splashes and spreads, subtle colors, and really great figure work. The narrative is almost so 80's it hurts though, revolving around West Coast serial killers, cocaine, the CIA and the Iran-Contra scandal, and the Yakuza, and it's hard to look back at some of this stuff without smirking. The story begins with a teenager strung out on tainted coke sprinting through a window in a scene that's right out of Reefer Madness. In the cold light of a day 30+ years later, parts of it look more than a little silly. The 80's-ness of it all doesn't stop with that stuff though, even the superhero elements smack of it. Green Arrow realizes that he's lost a step and has be to be shown a way forward by an Asian woman skilled in the martial arts (recalling Vic Sage's reinvention in the pages of The Question), and Black Canary gets captured and torture off-panel for the sake of showing that this is real crime now, not the superhero silliness they've dealt with before. The treatment of Black Canary here is pretty markedly heinous, it's a classic fridging and Grell's claims that he didn't intentionally imply sexual assault in his depiction of her torture is probably true, but still feels more than a little weak considering how he chose to render it.The final analysis is that this book is good, but it exists strictly in the frame of the 1980's. If you're a fan of Green Arrow, there are worse books to pick up, or if you're interested in that era of DC Comics it's more than worth it, but as a matter of general interest I wouldn't recommend it very highly.

SHIELD by Steranko

Jim Steranko is sort of the prodigy of the early Marvel years, a young guy who came up through the system, blossomed into an incredible talent, and then left the company, and by and large the industry, behind. He would go on to dabble in publishing, work in other mediums, and generally kick around as the prodigal son of Marvel Comics. This collection, of both his Nick Fury shorts in the pages of Strange Tales and the four issues he drew of the original Nick Fury solo series, charts Steranko's growth as an artist. The book starts off with Steranko working from Jack Kirby's layouts with Stan Lee's dialogue and writing, and Steranko might be the one guy in history for whom working off of Kirby's blueprints is clearly holding him back. The first third or so of this collection really isn't much to write home about, as Steranko is obviously constrained by someone else's style, and at the end of the day those early stories still read as somewhat uninspired pulp compared to the highlights of early Marvel. There are flashes though, of techniques and ideas, which foreshadow what Steranko is capable of, and when he finally takes over as solo writer/artist it's like he's been unleashed. He immediately has Nick Fury tear off his shirt and start throwing guys around over psychedelic effects. He writes out most of Kirby and Lee's frankly uninspired boys' club supporting cast, he makes Fury visibly older, wearier, but also so much cooler. It's the birth of Nick Fury as a distinctly comic book super spy.By the time he finishes wrapping up the previous writers' plotline with Hydra and Baron von Strucker, Steranko is firing on all cylinders. By the time it gets to Steranko's Fury solo series, he's somehow surpassed himself, turning in effects, panel structures, and weird stories which make the earlier installment about a suit-wearing Man from UNCLE knockoff and its strict six-panel layouts look absolutely fossilized.I can't recommend this collection highly enough for any fan of the artform, even if the stories themselves might not be everyone's cup of tear. It's truly incredible to watch Steranko emerge as an artist over the course of this single collection. The book itself has a few problems, it's not the most elegantly designed in its supporting materials and index, but the content of it more than outweighs that. It's great stuff.

[blackfemmecharacterdependency]

12. On Your Side

Decided to publish what I had worked on before my hiatus, mainly for Tina and nem, as a Xmas thing. Ion celebrate that shit, happy holidays or whatever. I was hoping to have completed the story by now, but with my break for mental health, I guess it's either pushed back or gonna be abandoned. Will know in a couple of weeks or so what, if anything I intend to do with it. Its an Apex centered chapter. I'm still on hiatus. You can leave a review if you want to, but don't message me about Simon or this story. Thanks.

*The Grace St. Catherine Playlist, featuring songs used in chapter and songs that inspired the chapter*

“Even through the darkest phase

Be it thick or thin

Always someone marches brave

Here beneath my skin…” Grace let the music play in the background as she tried to do all of the things suggested to her by her “spiritual advisor,” Sunny, whenever she moved into the place. She was doing more drawing - mostly sketches of carnage and rage. She was journaling a lot, mostly in the form of a narrative told by a hypothetical fictional character, because admitting to the things that she was doing on paper was a huge no-no, so she simply projected her life through her journaling character, The Saint, whom would never be referred to by name in any of the entries. In this particular one, The Saint was contemplating calling The Shadow. What would the conversation even be like? He would tell her how bad she was for being mad at him. She would tell him that she only hurt bad people, but he hurt a friend… he hurt her. That was different. So different. But she MISSED him.

She had began to sketch him. She was more of a doodler/drew cartoons and comics on her phone and stuff… but she was shut up in this place for hours at a time and hadn’t really used a pencil and a sketch book seriously in a while. Then, it got away from her. After a few days, she had almost filled up a sketch book with drawings of Simon. She winced when she thought of his name. She had been avoiding speaking it and thinking it. “And constant craving has always been…” She stared at the phone, then changed the track. The last thing she needed was to think about craving, of all things…

Now, that the phone was in her hand, she glanced around, feeling that paranoia that she had since she left home. Nobody was watching her here, but she felt obligated to check, anyway, and upon verifying what she already knew - that nobody was fucking watching her - she went to visit his social media. Private? Since when? She checked another. Same thing. A third, same fucking thing! “UGH!!!” She threw her phone onto the couch and went to go chop wood. She didn’t really like to chop wood, but it did make her feel better to swing a tool and see destruction come out of it.

“Old wounds

Old fights

Another day goes by

I'm not playing by the rules

They can't take me for no fool…” Her phone continued singing as she went outside.

.

Jalicia Barrett was not the same type of watch as Grace was. She obviously wasn’t as upscale as Grace, so she wound up having much to do that was necessary, unlike Grace’s schedule of playing a typical woman. Now, to say that Jalicia was typical would be a stretch of the imagination, as Simon knew that none of Grace’s people were that and she had possibly an unreasonable amount of tiger items, but she was closer to an average person than Grace was.

She went to Seattle University, but hadn't selected a major. She was still doing general studies after taking a few years to get her GED (She began trying at 16 and only successfully received it less than a year ago), so.. a freshman in college, which wasn't bad. She was 19. She worked on campus and seemed to have other odd jobs, like being a delivery driver or personal cab, and stuff at that Infinity Foundation place.

She didn’t have rich parents. From what Simon was able to find, she was never reunited with them, whoever they were. If they had lived in Seattle when she was taken, there was nothing on file to indicate that she was reported missing. Of course… he didn’t know what her real name was. The name Jalicia Barrett only became a name for her in the year after Grace left the mental institution. He knew that was likely connected.

Maybe… she wound up in the system after Grace touched base with them? At any rate… whoever the girl who was brought into trafficking had been, she was now Jalicia Barrett, a girl who began existing when she was 13 or 14 and obviously probably didn’t know her DOB either, as it was on record as the day that her name was given, her documents were created all around the same time, so she had to either have been a baby whenever she was taken, or simply never knew her personal information like birth date and full name.

BUT, she did have prints on file, so she probably had birth records that could be matched to them somewhere. He didn’t know if he wanted to get into that… or if she hadn’t done so herself and simply decided that life was easier being the person that she knew herself to be now. He certainly couldn’t imagine separating from his loved ones and then not finding them for a decade or so and then just… trying to pretend that they were family after all or something. She had the family she wanted… Well… she lost one. He felt bad for her. It wasn’t the same, but whenever he lost Grace, he felt like his world collapsed. To even pretend to understand how this woman must feel losing her life partner after years of being together, he wouldn’t insult her like that. Instead, he looked into the details surrounding that. Whatever happened to that investigation?

He’d provided an alibi for them and the police never spoke with him again. He’d done his best playing ignorant and pretending that everything was casual. Whenever they asked him about Heath, he said that he didn’t know Heath. “I’ve only met him once and he didn’t show up to the gathering… Is he alright?” They didn’t answer, just wished him a good day.

Now, he was looking through their paperwork and he was sure that he might find something interesting, if not useful. Simon had no idea what he was looking for with these other people. Something that led him back to Grace’s trail, and he had to figure out how they worked to even presume that…

Here’s the thing… Simon wasn’t going to write himself off as wrong or going too far. For crying out loud, the things that these people did, and they felt justified in their reasonings, so he wasn’t going to allow himself to feel bad. Grace might need him, and Xander was keeping her away from him. He cursed himself over that gun, though. However, IF she would have just let him explain that he only had it to keep Xander from getting it! He didn’t know what to think when he holstered it, but it wasn’t for her! Why would he hurt her? He scanned through paperwork, trying to take his mind off of Grace’s lack of faith in him and then, he was sure that he found what he needed. If not; he’d found something interesting. “Huh.”

.

Grace called Sunny for more tips. She was doing everything that she told her to, and reading all these books and articles, ordering all sorts of holistic woo woo shit, and trying SO HARD just to not lose it out there… Sunny was always a mood lifter for her though. They would talk for however long, laugh, joke, sometimes get entirely too serious and cry… they hadn’t done this in a long time, but Grace had been calling her more frequently lately and, well… it was necessary for her to be available.

“It’s like… I don’t want to use this word lightly, and I especially can’t tell Xan, but I feel like I’m like… addicted… Does that sound stupid?”

“Xander doesn’t own the word addicted, Grace. He’s struggled with a few drugs over the years, but one of the reasons is because he’s sick. Some people can try things and never really become addicted to them because those things didn’t appeal to them in that way. This dude appealed to you in a way that your body wasn’t used to. He got into your mind, and most likely changed the chemical balance. Affected your hormones and shit, only to find that he wasn’t what you thought and now your chemicals gotta try to balance back out without his influence, so no, it doesn’t sound stupid. Perhaps melodramatic, but I don’t know. You could be addicted to the way that he made you feel. Going through dick withdrawals is a struggle that people don’t give enough credence, too.”

Grace snorted. “I’m… not… going through that. We weren’t like that. I don’t even know if he ever was into me that way? It was like… I don’t know… I never got the feeling that he desired me physically.”

“What feeling did you get?”

“For the most part, that he wanted me around. I don’t know why. He never seemed to be asking anything of me but to let him be near me. He was very good about not entering my personal space, and even when I got comfortable, he still never made any move on me or anything like that. He just seemed to like to be… present.”

“Okay, but what would he be doing when he was present?”

“Sometimes nothing, really. Just looking at me, or listening to me. Sometimes, we were doing our own thing - me reading a book. Him playing video games or writing, or… Idk, working on a cosplay outfit.”

“Girl, on what?”

“He’s a fantasy fanboy before he’s a fantasy writer, so he you know… makes cosplay costumes and stuff for conventions. Whenever he’s not scheduled to be on a panel at one… This is something that I’ve observed, not something that he’s said. He… doesn’t talk about himself a lot. Not at all, come to think about it.”

“Xander makes him out to be a literal serial killer.”

“Xander hates him. What about 808? What does she say? Xan seems to think that he “got to her” or played some kind of mind games or something?”

“Well… she didn’t say anything to me about him, except that he was very talkative and apparently worships you. She was pretty thrown off guard at how comfortable he seemed with being caught and held hostage. She said that he is either the most nonchalant person ever or the craziest fucking person that she’s ever drawn a weapon on, because he acted like they were buddies just chitchatting, and we all know that he knows what we do to people.” Grace didn’t reply. Sunny offered, “Well, whenever I think about the shit that I went through with Xander and how we always seem to find each other in the dark, it's usually in terms of No Angel.”

Grace said, “Beyonce’s No Angel?”

“”Is… Is there another one? Because, if there’s anything AND a Beyonce song, just go ahead and assume that I am only speaking of the Beyonce option.” Grace laughed. Sunny recited, “ I love you even more than who I thought you were before.” Grace held her breath, unsure of what to say to this. Sunny continued, “All I mean to say is that sometimes people aren’t who we initially thought. Sometimes they’re worse. Sometimes they are seriously fucked up. Sometimes, they’re absolute trash… But… you might still love their ass.”

“Damn, Sis… Is this how you feel about Xan? Because those are some hard descriptions.”

“No. Xander is definitely a hot mess, but I was absolutely describing your… thing… over there. Jimony?”

“Simon,” Grace said, trying not to laugh.

“Right. I knew it had “mon” in it.”

.

Jalicia didn’t know what it was about that station that made her put it on all of the time, but her streaming service generally stayed on an old r&b from the 60s and 70s station, and sometimes 80s and 90s, whenever she was at work. She had a journal with a tiger on the front that she was writing down poetry in, but she could never think of titles for any of her work, and she didn’t feel like she was that artistically creative, so she’d title everything, “(Song Title) Plays in the Background,” whether or not the song had any bearing on the poem. Today’s? Let’s Groove Plays in the Background.

Work was a little bit overwhelming, these days, but only because of the things that had nothing to do with it. The fact that she wouldn’t just receive flowers sometimes and have her coworkers wonder why her boyfriend was this thoughtful, but they never saw him. Or the days where she would pout about being broke and having to pack a stupid sandwich and he would insist on having something sent to her at lunchtime, if he didn’t just make her a different, more fulfilling lunch instead. The way that she would get a text whenever he went on his own lunch break, and it would just be some hilarious video or a new thing that they just HAD to buy. Work was overwhelming, because what she had leaned on every shift was the fact that he’d interrupt it with something nice and that she would leave there and get to see him every day.

Now, she was listening to Earth Wind & Fire, in a gray pantsuit and fooling around on her computer while she waited for something to do. She heard the tone of the doorway and she got up to see if somebody needed help. It was a college bookstore and she was often far overdressed, but all she had aside from her typical attire were the pantsuits she wore when she had to do something other than be casual - like functions and interviews or whatever, so that was what she wore to work.

The O. He looked at her like they were friends or something. A polite smile and warmth in his eyes. She stared him down and reached for her phone. “Hi. Can I just have a moment?” He asked. She texted: The O is here and hit “send” to 747. “It won’t take long, I just wanted to give you something.” The O reached into his bag and Jalicia had already identified four common objects in her immediate surroundings that she would definitely use as a weapon against him if he tried something slick. He handed her an envelope, one of the big yellow ones and she frowned.

“I’m not taking whatever that is. For all I know it’s got anthrax in it.”

He laughed and opened it himself, pulled out the paperwork and handed it to her. “I figured out a better method of tracking people down than Heath had the resources for. I know that Xander is trying his hardest, God help him, but he’s not much on a computer and some of these things are hard to find.” She took the pages and glanced through them. Simon helped her find a certain page, “I’ve guessed that you maybe didn’t know much about this part of the situation that you all walked into. The… X, I suppose you’d call him, was very paranoid that he might be on your list and he hired protection.” He pointed out a few key lines that he had highlighted. “Professional protection, and yet when the time came to protect him, Heath wasn’t shot in the arm, or hell, if they didn’t want him to escape, the leg is an option as well.”

“They killed Heath on purpose,” She said, the wind knocked out of her as she did. She tried to take a seat, but just fell back onto a table and leaned against it, knocking down several books.

“They wanted to send a message and since you all slacked up since then, I’m sure that they think that they did.” She started crying angrily and wiped her face. “Flip to the next page.” Her hands were shaking and she wasn’t sure of what she might see, but she flipped to the next page anyway. “That’s your shooter. Since he was on the job, he confessed to being the one who fired and because Heath was breaking an entering and had no family to intercede for an investigation… the cops seem to be fine with what happened to him, despite the fact that our laws state that a person may not use more force than is necessary given the situation.” She shut her eyes and squeezed out tears, her fists tightly holding onto the phot0 of the man. “Next page are his personal details. Do with it whatever you think is best. I just thought that you would want to know.”

She shivered and cried, “This doesn’t mean that I owe you anything. I didn’t ask you for this and I don’t feel indebted to you for it.”

“Jalicia… I’m on your side. Whatever side Grace is on, that’s where I am. I did this because I want to help.”

“Well… This is the most help you’re getting from me - Xander’s on his way.”

“Then, I’ll be on my way.” He had that polite smile again and she was almost terrified how easily it came to him. He left quite a few minutes before Xander arrived.

She instantly fell apart as soon as she saw him, handing him the papers and explaining to him what he was looking at. She left work and was going to call Grace, but Xander snatched her phone while he was driving. “No, what if he. like, cloned your phone or something?”

“What? This ain’t Person of Interest, Boy. What the fuck are you talking about, Bro? He’s rich but it’s not like he’s Lex Luthor.”

“We can’t chance it. He’d do anything to find out where she is.”

“Give me yours, then.”

“Just hold off. I need to check this dude out. For all we know, Simon is just blowing smoke up our asses to get us to lead him to Grace.”

“The fact that you think it’s more likely that he falsified a bunch of police documents than that he simply sneaked them away is making me wonder about you .”

“I let him get too close to her before, and I’m not doing that again.”

Jalicia snatched her phone back from him and they wrestled for it but, he eventually heard Grace on speaker.

“What is happening on that end?” She asked, laughing a little bit nervously.

“We need to talk about Simon,” Jalicia said.

“I disagree with that sentiment!” Xander said in the background.

There was a pause. Grace was panicking a little bit. Did they know that she was trying to check his pages? That she was trying to see if she could make a temporary account just to try to get to them? How would they know that, Girl?

Jalicia added, “It’s about Heath.” Xander turned red in the face and he shook his head and tried to breathe. “Oh, fuck you, Xan. You left him there to die. The least you could do is chill out while I speak to Grace about this.”

“Whoa… That’s not extremely fair. The Apex protocol is that if somebody is hit, we leave and regroup. We go in with the expectation that if we’re hit, we would slow everyone down and jeopardize everything. So, Xander and I both left him,” Grace said the last statement laced with sadness and guilt.

“He pulled you out and sped away,” Jalicia said.

Xander scoffed and then burst into tears, “I’m glad that you’re telling us how you really feel.” His voice was surprisingly calm, but the ladies knew that hurt him more than anything ever had in this world.

“Tell me what you need to say,” Grace said.

“Simon found Heath’s killer.”

“Simon found a person he alleges is Heath’s killer.”

“He had all of the paperwork to corroborate it. More than Heath has ever collected on any X.”

“He had paperwork on a man who works in security who may have shot Heath dead, but as far as we know is not a bad person. He probably was just on a security job. Somebody broke into the house he was guarding and he shot!”

“WHY DID HE SHOOT HIM IN THE HEAD???” Jalicia squealed. “I’ve been over this myself, before Simon EVER said anything about it, but WHY didn’t they shoot him to survive and answer questions about what is one of the most infamous string of serial murders to ever hit the city? Why would he risk his job to kill someone that way in security, if there wasn’t a reason that Heath needed to be dead?”

“You… you think that the security dude is old Apex?”

“I think that at best, the security dude wanted to kill a person that he didn’t HAVE to kill and he used Heath as a perfect excuse, making him a shitty person, in my opinion, and at worst, he didn’t want us saying anything to anybody, because he knew why we were there!”

“But, we did release what we had on the X. The information is out there now. Nothing was done about it,” Grace added.

“Precisely! Just as nothing was done about this trigger happy buttfuck, even though our laws state that you’re not supposed to kill motherfuckers if you don’t have to!” Jalicia said. She looked at Xander, poked him in the arm and reminded him, “You were the first one to claim you’ll avenge him”

“And you told me to go fuck myself.”

“Emotions were definitely running high, but if you’re looking for the chance to make good on your word, you’ll have to suck it up and just live with the fact that Simon gave us this, like I have to live with the fact that Heath is never fucking coming home!” She got louder than she intended. Xander wiped his tears with the back of his hand, but more just poured out. He nodded, but he was still extremely upset.

“Send me what Simon sent you. I’ll let you know what I decide from there.”

“Thank you, Grace.”

Grace sighed, paused, then said, “Heath would have wanted us to get out, but even if you had driven away and left us all, we wouldn’t have faulted you… That’s the protocol. Heath knew that…”

“Does that make it easier for you?”

“No. But, we shouldn’t make it harder on each other, either…” Jalicia sighed, rolled her eyes and let more tears fall. “I’m sorry, Jalicia. Heath was the first person in the warehouse that I ever cared about. I would trade myself for him, if I could.”

“He’d never let you,” she hung up and reached out for Xander. He accepted her hand. “I was mean to you…”

“You were honest. It just fucking hurts. Heath was the backbone of this family, and everyday he isn’t here, I lose more and more respect and control. He kept me grounded.”

“Doesn’t Sunny do that too?”

“That’s not the same thing.”

“Maybe you don’t let it be. Maybe the reason Heath was your rock was because you thought that you only needed one. That’s what I did, too. I didn’t even realize how much of my life revolved around him until I was just spinning in space, with nothing to pull me back. Why do you think I moved in with your ass?”

“To split rent.”

She gave a resigned shrug, but shook her head, “I thought that it would make things better, if even just to put me in a spot where I could just not think about it and not be alone. I figured I wouldn’t get over it, but that at least I would logically be able to grant myself some peace because you’re there too, and that there would be some type of comfort. Not emotionally. That’s gonna take more time than I even believe that I have left in this world. But… at least I wanted that solid ground to stand on, to be able to say, Heath would want his two favorite people to lean on each other and find some strength in his absence.” Xander sniffled. She finished, “But it didn’t matter, and I don’t even know what to do, because I thought that being around you would guarantee some balance, even if it didn’t truly help… I still have all of my grief, and I’m..” she whimpered, “So tired. And empty. And distant. My closest living friend is sitting right next to me, and I have been so alone…”

Xander pulled the van over, unlatched his seatbelt and hugged her. She wasn’t done. She was so focused on her train of thought that she hadn’t even actually noticed that Xander was hugging her. “Heath was always in my life. Before any other human that I can remember. Like, logically, I know that Grace took care of Todd and Heath took care of me… but… I don’t even remember anybody else until maybe I was 5 or 6. I know he wasn’t the only person around, but in my mind, he was. I have NO frame of reference that doesn’t involve him. He was…” She finally realized both that Xander was already holding her and that she was crying again.

She remembered something. She was 4 or 5, her brain was never good at that part. She wasn’t in school or anything. All of her special days were simply moments and occurrences. This particular occurrence. A boy with light hair, getting hurt really bad by the stewards. Heath covered her eyes and started talking about flowers. He found a new book about them. He’d help her try to read later. The noise of the boy being beaten up was in the background, but at the time, she was too young to pay any attention to it and listen to Heath. So, she listened to Heath and the beating was background noise filtered out. Afterwards, he took her to the side of the building and let her pick flowers for their new friend. The new boy was mean. He was mean to Heath and Grace had to help Heath. Then, he was nice. She looked at Xander’s face and saw that same boy, just as hurt and just as angry as the first day she recalled a memory of him.

“He wasn’t always in mine… but he was the first person who was ever just nice to me for no reason other than to be nice,” Xander said. “There’s nothing that I want more than to punish a person who would take him away from us, but to have Simon, SIMON, give us that…” He was red in the face and shaking his head. “He’s using it to get to Grace, and I just didn’t want to give him that kind of power.”

“Then why didn’t you just say, ‘Hey, lets not tell her where we got the information?’ If you had just sent it to her with X confirmed, instead of fighting me in traffic…”

“You didn’t give me a chance!”

“I just… This ONE thing, then maybe I can move on.” He nodded and buckled back in. “I’ll get to work on the logistics. In case Grace gives us the go ahead, I want to be ready to move as soon as possible.”

.

Simon pulled his hair up into a high ponytail. He was going to try to get it into a bun, but it had been getting longer and thicker, and while he’d normally just pull the top part into a pony and let the rest hang, but it was windy and he was going to be pretty active, so high ponytail, it was. He had been checking out the X that he gave Jalicia, to see if they were going to make a move on him. He wasn’t positive of the typical turnaround time on an X, so he simply went to watch every night. He wasn’t going to do the car. Dude was in security. He’d probably make him.

Instead, he parked around the block and went to a big tree across the street from the X’s home to post up. He had binoculars and an awkwardly applied hunting tree seat. It wasn’t made for him to be up this high, but he situated it only to have a seat that wasn’t tree bark. He spent the time that he wasn’t watching the house on social media, checking out Sunetra’s pages… which… apparently she went by “Sunny…” which… Simon noted to himself that he had seen a little sun tattoo on Xander, and whenever he came across Sunny’s very tasteful artistic nudes, he saw that she had a little tattoo, as well, on her chest, of an “X.”

Her photos were really nice and she seemed to… possibly be a stripper? He checked a few of her posts and captions. She hashtagged #burlesque in some of them, so maybe not a stripper, but something risque. She was in the fine arts program in college, for dance and had many posts from the Infinity Foundation of her doing dance workshops, yoga, and stuff. She had a lot of witchy posts, too. Simon rolled his eyes, but kept scrolling. Several of her posts were really funny. He noticed a yoga and meditation program that she would be doing at a community center and saved the post.

He watched the X for about a week and a half when he saw the van pull up. In the dark, he couldn’t tell who people were, but two had gotten out and through the binoculars, he could tell that Xander was one and the other was Jalicia. He checked the van. That was an unfamiliar one behind the wheel, but he presumed that it was Sunny or 808, and that he simply couldn’t see them... There was a loud noise and screaming in the house. He turned to see that Jalicia had a knife to a woman’s throat while Xander was escorting the X out, with his hands up. He got him to the van, injected something into his neck and tossed him in. Jalicia unhanded the woman, but appeared to take a bag along with her and the woman ran next door.

Jalicia had taken all the phones with her. The woman had to run next door to call the police. Simon realized that she was probably doing that, and he got out of the tree to get back to his car. If he hurried, he might be able to catch the van!

He went the direction that they had, and when he came to what he thought might be them, he put on a mask of his own, but it was a medical mask, just because that was… possibly not as weird as if he wore like a clown mask or something. They had NOT handled that in the way that he expected. Something told him that they either were rushing or desperate. He wondered why.

But, whenever they pulled the van into an old train station, he parked behind the building and got out of his car. This is fucked up. This is fucked up. This is fucked up. This is fucked up. This is fucked up. This is fucked up. This is fucked up. This is fucked up.  

He could hear their voices, and he followed the sound of them, but didn’t come from the shadows of the building. They were dragging the bag into a field that Simon knew that he had passed several times in his life, but never paid much attention to. Nobody really did. Was this where they buried them? He wondered. He only saw Jalicia and Xander, pulling the body bag with one hand and carrying shovels in their free hands. Where was the driver? He went around the other side of the building and the van was pulling off. Where were THEY going? He couldn’t start his car. Jalicia and Xander weren’t far enough away to not hear him. He groaned and went to look back towards the field. He couldn’t see anything beyond the tall grass, but he used his phone to try to record where they were… maybe he could find it in the daytime. Besides, they were now far enough away that he could start his car without alerting him. He felt like he had enough.

Simon drove home, wary of a van behind him for a portion of the way. He took some loops and turnarounds that he wouldn’t usually take before he was comfortable that they weren’t following him and it wasn’t the van… but after he got home, he noticed at the bottom of the hill a van, and it looked like the van that they used. It looked like the van that he was nervous might be following him. But. There was no way that the van had found him after those turns. Was it one of them, just letting him know that they knew he had followed them?

He rushed inside and looked out of the curtains. They were there for a moment. They turned the van off and he took a deep gulp and reached for one of his guns. They got out of the van and stood, staring up at the house. DEFINITELY APEX. This is fucked up.This is fucked up.This is fucked up.This is fucked up.This is fucked up.This is fucked up.This is fucked up.This is fucked up.This is fucked up.This is fucked up.This is fucked up.This is fucked up.This is fucked up.This is fucked up.

They stared, wearing a gold mask, a tam hat, and the all black outfit that he had gotten used to, but then not seen for a while. “Grace!” He said. He put his gun down and rushed out of his door. “Grace?” He called, but she rushed back into the van, tossed something out, and peeled off. “Grace…” He ran down the hill and out to the road. She was gone… He looked down to see what she had thrown down on her way off. It was a Stop sign with a red squiggly line underneath the word “Stop.” He picked it up, roared and began to smash it against the pavement, before flinging it into the middle of the road and going back into his house. He called Jalicia and she looked at her phone, not recognizing the number, so she answered it. “Hello?”

“Was that Grace?” a voice asked.

“What?”

“The person who just followed me home and told me to stop. Was that Grace?”

“No,” was all that she said. He hung up. She put her phone away.

“Who’s that?” Xander wondered.

“Non issue,” she said. It wasn’t a complete lie, and there was no way that she was about to ruin their night with… whatever that had been about. She and Xander were still digging when their third came walking up, her gold mask on her face and a shovel in hand. “Girl, where did you rush off to?”

“I knew he was gonna still be alive,” she said and pulled up the mask onto her head. Sunny. “Had to make a stop,” she said with a shrug. She and Jalicia stared at each other a moment, and Xander kept digging, oblivious to the exchange of them questioning each other with their eyes. It was short lived, because Grace was connecting for the video call. “Hey, Girl, Hey!” Sunny cheered.

“Bitch, I’m so mad that I’m not there right now.”

“Be mad at Jimona,” Sunny said.

“Simon!” Grace said, laughing. Then, more solemnly, said, “Draw a squiggle right across his face, for me.”

“Sure will,” Sunny said, pulling her knife out. “What are you listening to, Woman?”

Grace checked the info on her streaming, “Hurts by Emeli Sande.”

“That’s dope. Send me the link to that.”

.

Simon was at the apartment now, crying and sitting in front of the cameras. He wondered if she would return with them, but looking at the feeds he had placed to check the outside of their homes, he noted that the three entered Xander and Jalicia’s home at 3:47 am… and that… wasn’t Grace. It was the woman that he had initially identified as, “One who looks like Grace.” It was Sunny… He flared his nostrils and set an alert to remind him about the yoga and meditation at the community center.

His phone began to ring while it was in his hands. It was a private number. For a moment, he let his heart accelerate. “Hello?” He answered.

Silence. He sighed and almost hung up, but… he felt something. His tears stopped, he sat up erect and waited. She was silent, still. He was afraid to break it, but more afraid of her losing whatever nerve she had at the moment and hanging up. So, he dared to speak. He kept his voice soft and low. Gentle, like he knew she would remember him being. “Hey…” He said. He heard her sniffle and it tore at his heart. “Hey,” he managed to say even softer. “Are you okay?” She sniffled again. “Tell me what I can do to make you okay?”

“Why did you do that, Simon? Why did you?”

“I wanted to be close to you. I wanted to know you. I wanted you… I didn’t know what to do. I was desperate. I am desperate. Please, tell me where you are…”

“You let Xander catch you.” There was the longest pause since the conversation started. Eventually, she spoke again. “I feel like the kids walked in on me doing something dirty…”

“I feel like it’s none of ‘the kids’ damn business what we do.”

“They can’t see stuff like that. They can’t see me being followed and watched, obsessively. They can’t just move on from that. You have no idea the kind of people who… Why did you have a gun?”

“Because, I had just been attacked by somebody that I know is a murderer and I was on edge…” They were quiet again. “I can keep them out of sight from now on. I can keep them away from you, at all times…”

“If I come back into town, my crew is gonna get… difficult. It won’t be safe for you.”

“I can’t prove myself to them? To you? Did you see what I found for them? For Heath? For Jalicia?... For you?”

“Yeah. Yeah, Jalicia told me right away…”

“You sound like you’re smiling,” he observed, daring to smile, himself.

“I can’t help it… but… we can’t… do this, Simon.”

“Don’t…”

“We’re both in really weird places and us coming together isn’t good… for either of us, I think…”

“Please…”

“We shouldn’t be together, see each other, anything. You should… get on with your life.”

“No!”

“Bye, Simon.”

“NO!!” She hung up. He bit into his lip so hard that he drew blood, trying to keep his composure. He couldn’t even go to the gun range right now! But.. He could… go back to that field. He knew where it was. He knew where the bodies were now… he… was running out of patience, but he reminded himself that it wasn’t her fault. The longer they kept her away from him, the more confused she would be. She just needed to understand that he was on her side. If she couldn’t… she would have to learn that there were consequences for going against him.

13. A Shot in the Dark Pt 1