#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

[bee-and-the-slimes]

2024! (owo)/

First of all, Happy New Year. 🎉 *pfooot*

Second of all, thank you for still flooding my inbox with questions, lol, I'm glad I'm still on your mind, despite having slowed down considerably over the last year. I'm trying to pick and choose the best of them to continue and my "I need to park my butt and work on X" list keeps getting bigger, so thank you to those who have been patient. It's hard to keep up when you have so many ideas percolating and have to juggle a job, a house, hobbies (soooo many hobbies), and friends and family. Here's hoping 2024 can keep me going. Trust me, Bee loves your attention.

Thirdly, I know I've not been very big on talking about the Me behind the slimes, but I originally set out to keep Bee and co as a separate entity from what I normally do. Partially because I have a terrible potty mouth and a lot of my other works aren't really set up for a PG-13 rating, so I kind of wanted to keep that separate for a bit.

That being said, my New Year's goal basically boils down to "Read more, Write more, Draw more" -- one I hit the ground running toward this week. It may be more Bee, it may be more of my other comics, but if I'm silent here, maybe you might be interested in some of the other stuff I do? I haven't stopped doing, I just haven't been doing it here.

Maverick Hunter: Special Forces - Do you like Reploids? I like Reploids. Like, way too much to be considered normal.

SYSTEM.Reload is an attempt to adapt 20 years of RPs and lore building around my and my friend's characters after events of the Megaman X video games. It's a sequel of sorts to an earlier comic RIPtheSYSTEM, which was a collaboration between me and a friend that we started in 2003 and let fizzle out in 2007. .Reload started out as an Ask Blog that never went anywhere, and I just shrugged and drew 250+ pages of characters doing things under the guise of a plot. I don't pretend to know what I'm doing, I'm just kind of enjoying the ride. It's a lot more rudimentary than my actual ART because comics take time and I'm an impatient woman who will physically explode if I don't get my ideas on paper.

My biggest goal is hoping to finish out Part 2 this year. I have the majority of Part 3 written and Part 4 laid out, but I promised myself I'd hit a 2022 goal to complete Part 2 and failed that pretty miserably.... mostly because I keep going back to smooth out wrinkles instead of just finishing the thing.

I genuinely try to keep it censored for Tumblr, but Delta has the temper of a gangster with the mouth of a drug problem.

My DeviantArt - BUT WAIT, there's more! If you aren't sick of OCs or Reploids or OC Reploids you might like my page of art dump. It's where the rest of my stuff gets tossed that isn't Slimes. I don't really draw fanart that much, so mostly my work of upcoming comic panels and ideas that I haven't gotten to work in SYSTEM.Reload yet, commission work, short stories, plushies, or just RP related stuff that I felt like drawing out.

And everything is related.

Everything.

Right now I'm obsessed with working on a short story novella about a vampire named Alecscander St. John, who sucks (hurr) at being a vampire. Born in 1842, he left Texas in 1864, watched his uncle hang for a murder he didn't commit, and 'died' in 1876. I plan to be very mean to him as he tries to build a life for himself while his ex-wife holds a grudge and his adopted sire makes his life miserable. :3c Because I'm a writer. I write. And I've read too much Dresden Files to see everyone get a happy, boring existence...

So... yeah. Here goes... It's 2024.

Wish me luck.

[creepylittlelady]

I need to know more about Lazari in your AU

She deserves more content from fans

Hi! I'm so sorry it took me so long to answer this ask, and also thank you for sending me an ask in the first place! I love answering questions, even if it takes me a bit to respond :3

I agree with you, Lazari deserves better. I mean like, even her own creator did her dirty man, SHE HAS SO MUCH POTENTIAL!!! Her concept is so cool and her own comic did her SO DIRTY. I hate the treatment she gets from fans too.

Yeah I get it her comic was terribly written and was the origin of the 'I HAVE CRAYONS AND PAPER!!!!!' meme and the characters were poorly written and the lore was inconsistent and the fanservice was weird and the story/tone was ALL OVER THE PLACE. But like, don't take it out on my baby Lazari please she deserves better.

I wanna do some more silly headcanons of her this time around, I might make a separate post on more serious stuff about her ;)

So, let's get cracking!

Lazari Headcanons!

-She's on the Autism Spectrum, diagnosed and all :3. She also has ADHD, also diagnosed! She's the representation we deserve to see in this fandom lol.

-She's Chibiworks. Okay, let me explain:

SO, when Lazari first came into the Mansion, she was just an 8 year old girl with demonic tendencies who was abused by her hyper-religious mother who hated her. She hated herself, she was shy, and she believed that she was nothing more than a monster, a mistake. But all of a sudden she goes from that to the DAUGHTER OF THE EMPEROR OF THE UNDERWORLD, a literal DISNEY PRINCESS (cuz yk she's his daughter), and now she literally lives in a Magical Forest in a Magical Mansion of Serial Killers, Ghosts and Demons.

She thought that the world around her was super interesting considering she never got to see much of the outside. She loves drawing, so she drew about it. She drew about the potential greater stories unravelling around her, making her own characters based on concepts she learnt about whilst exploring.

She made I Eat Pasta for Breakfast as a way of letting her imagination go wild around this new environment she found herself in. She made characters to interact with the people that already existed, and gave them purposes.

(Btw, several of the weird stuff and the not kid-appropriate scenes in the comic are retconned out of this version.)

She also made Creepy Frozen Pasta, just saying. She also wrote The Seer. She wrote every Creepypasta comic in existence. Found a cool Creepypasta comic series? Lazari wrote it.

-She LOVES drawing. Her artstyle is very much manga-inspired and she loves creating her own OCs, which are littered throughout her work. A lot of them are directly based on concepts, such as many of Zalgo's followers in IEPFB being based on the idea of Zalgo having a cult of personality around him.

-She's definitely an animation meme kid. I'm deffo self-projecting but she is the DEFINITION of the weird kid. She makes animation memes of everyone in the mansion. She makes animatics of actual stuff that happened. She makes amateur dubs of her own comics.

-Manga is her biggest hyperfixation. She collects TONS of them, and directly draws panels from her favourite manga to improve her drawing skills. Her favourite Manga series of all time is Fruits Basket :3. Her room is basically just all of her drawing scattered around the place.

She specifically likes Horror and Shoujo anime, despite the fact that they're basically polar opposites. Alongside Fruits Basket, she really likes Madoka Magica!

-She definitely makes AMVs of her favourite animes. She deffo writes terribly written fanfiction about her favourite anime couples kissing and giggles whilst writing it.

-She's also a Gacha Life kid FUCKING FIGHT ME SHE DEFINITELY MAKES GACHA OCS. She definitely stays up until 2am with Sally watching 'Hated Child turns into Hybrid Princess' videos. Lazari gasps in shock every single time and Sally is just sitting there extremely confused.

-Sally is her best friend. She lore-dumps to Sally all the time about her special interests, and Sally listens intently and nods along. She even writes notes about the lore of her favourite series! Sally is a super supportive best friend, and any time any of the ghost kids make fun her for her autistic behaviour she puts them in their place.

-Despite this, the two of them argue a lot, because they're kids and just of course they do. Fun fact! The reason why Sally only appears like once in IEPFB is because Lazari initially wrote her in, then the two got into a fight and she took her out of the story. They made up soon after but Lazari thought it would be too awkward to add her back in and Sally just accepted it.

-She has a very unorthodox form of common sense. With that I mean she has none at all. Once the mansion was on fire, and Slender screamed at her to get up and evacuate. Her reaction? She told him to leave her alone and let her sleep.

-She really likes Vocaloid, and her favourite Vocaloid isn't even a Vocaloid. Her favourite, uh, singing bank, is Kasane Teto! She claims that her robotic voice (before the SynthV AI transfer) was pleasant to her ears.

-Her favourite Vocaloid Song is Kasane Territory, because of the animation meme of course >:D.

-She also definitely tried to make a Storytime Youtube Channel but everyone in the Mansion made her delete it because she was sharing personal information about them all. Like genuinely she'd be like 'SO THE OTHER DAY MASKY AND HOODY WERE ON A MISSION FOR SLENDERMAN AND THEY KILLED THIS ONE GIRL WHO LIVES AT THIS ADDRESS IN THIS STATE'.

She has like zero concept of Internet Safety.

-She's a massive Melanie Martinez fan. She got Sally into her music, and back when Melanie Martinez was like just getting popular she'd sing all of her songs super loudly in the shower. Once Slenderman referred to the house as a 'Dollhouse' and Lazari screamed 'DOLLHOUSE BY MELANIE MARTINEZ? HEY GIRL, OPEN YOUR WALLS, PLAY WITH YOUR DOLLS-'.

-She used to be a massive Roblox kid in 2017 and was also an MSP kid. Christ she was on so many virtual worlds, she was even on Animal Jam sort of.

-Fanon Masky, Hoody and Toby were invented by her. Fanon Masky was made PURELY out of spite for him. The first time they met was not pleasant, as he called her a brat. Lazari vowed to humiliate him in every way possible from that point forward. She found out that he hated children, hated Slenderman, hated Cheesecake, hated the texture of Crayons, and hated jokingly being called a twink by Toby.

All of that combined? You got the Crayon-having, Cheesecake-eating, Skinny, Scrawny, Slenderman dick-riding Fanon Masky that we all know and love. The other residents found out about this strange new version of him and it became so popular she drew individual fanarts of him and handed it to all of the residents. Even Slenderman has a picture of Cheesecake Masky on his Office Wall. Somehow Masky didn't find out about this until a long time after the fad ended.

In my AU Hoody is a selective mute who doesn't verbally communicate with anyone besides the Proxies, so he was deathly silent when he first met Lazari. She misunderstood this as him just being shy and so Shy UwU boy Hoody was made.

Fanon Toby is just a sarcastic persona Toby puts on to piss other people off. She misunderstood this as his REAL personality and alongside the waffles thing that Jeff and Ben always mentioned (Toby stopped liking Waffles long before Lazari came), Fanon Toby was made.

-She made the Dollmaker (yeah he exists) make her plushies of everyone in the Mansion + The Zalgo and a few of her OCs. What does she do with them, you may ask? She roleplays with them with Sally. They've made a bunch of random ships with this, and now they're both avid Slender x Zalgo shippers. They also ship EJ with a lot of people as he has such a versatile personality, but they mainly like EJ and Jeff.

Lazari also found out that Masky was sort of intimidated by Nurse Ann so she shipped them very vocally in front of him.

-She's a massive Sanrio-girl, and her favourite character is My Melody :D. She's watched the entirety of Onegai My Melody at least like sixteen times already.

-She tried to learn Japanese, and failed miserably. She can sometimes read Hiragana if Kagekao writes it really carefully.

-Her own handwriting is really terrible, almost illegible. It's a gift to be able to read anything she writes.

-She's a part of the Mansion's Literature Club, and Ben nicknames her the Natsuki of the club, as she's always insisting that Manga is literature.

-She argues with Slender, as he believes that comics and Manga shouldn't be considered literature, as they're all pictures and barely any words. Lazari TO THIS DAY debates him about it.

-About her demonic urges, they're manageable as long as you give her a random body part to chew on every once and a while. She doesn't lose her control like she once did when she first came, and she's not as dangerous anymore. She's like a saint compared to EJ.

-As she's a half-demon, she has some godly amount of brute force strength. She can carry someone thrice her size and force open any door, no matter how many locks are on it.

She also has an incredibly high pain tolerance. Once she got scratched up pretty bad by EJ when he was in a particularly bad Demonic State, the girl didn't even notice until Lulu noticed.

-About Lulu, she was actually assigned to show her around when she first arrived at the Mansion! Lulu had told Slender earlier that she wanted to take charge of whoever came after her, and has a really good relationship with Lazari. She's one of Lazari's favourite people.

-Her relationship with her dad is...strange. On one hand when she does get to visit they generally have a nice time, however due to how much she reminds him of his deceased little sister, sometimes he'll accidentally call her 'Lily', which dampens the mood a little bit.

-Stripes ADORES her. The two sisters are very close and Stripes just loves her so much, she even made her her Teddy Bear that she's famous for carrying around :3.

-She had a phase where she called herself an irl Yandere. Thankfully she stopped after like a month but it was very funny lol

-She loves Nightcore! And Trance Music, oddly enough. One of her favourite songs is 'Be Alive!' By Stian K. (Search up the song. If you recognise the song from a certain animation meme of her then you deserve all of my respect).

-Her favourite food is Chocolate Strawberries.

Okay, if you want to ask some more serious lore-related questions then go right ahead and I'll answer! I just have so much of Lazari since she was one of my comfort characters when I was little and first got into Creepypastas. I see a lot of myself in her and I'm so peeved that the fandom either completely ignores her or dislikes her, like she's got so much potential! She's an incredibly important character in my AU actually, and one day I'll make a post detailing her correlation with the greater story :3

Hope you enjoyed! If you're new to this blog and are just seeing this post, then I have an AU named 'Puppet Strings', with its own lore and interpretations of the characters. If you're curious, come check out my blog and you can ask me questions!

[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.

[ghosthan]

hello!! i saw that you made a lot of stuff for 1872 and i was wondering if 1872 tony is similar to regular comics tony?? i know mcu and comics tony are different and i want to get into 616, but if 1872 comics are more easy to read i might try those first! 😅

Hello, hello! 

Thank you for asking, and sorry it took me so long to get back to you! I wanted to think about it and put together a thoughtful response because I am desperately trying to convert MCU fans to 1872. Or comics fans who just haven’t gotten into 1872.

This post will contain some 1872 spoilers, but not the Big Spoiler that you probably already know about anyways. 

Anyways, let’s get into it. Yeehaw.

What is 1872? It’s Steve/Tony in the wild west.

1872 comics are very easy to read, very short, and you need absolutely no prior knowledge to get into them; I highly recommend these as a start point for MCU fans who are curious about dipping their toes into some of the other Steve/Tony universes. And 1872 is, indeed, a Steve/Tony universe. It’s really gay, (and dramatic.) Uh. So gay, in fact, that one of the comic artists who drew pages even occasionally shares Steve/Tony shipping memes. So.

Marvel 1872 is a four issue series released as a part of the Secret Wars event; you really do not need to know anything about this to enjoy 1872, because it is a self-contained alternate universe in a “pocket dimension”, meaning it’s totally separate from the 616 cannon but technically exists in the expanse of the multiverse!

Here’s the summary:

In the Battleworld zone of 1872, Sheriff Steve Rogers faces corruption and fear in the boom town of Timely. Can Anthony Stark pull Rogers' fat from the fire? Probably not, since the only thing he seems capable of pulling is a cork from a bottle. Things in Timely are bad, and getting worse — and when a stranger arrives in town, Timely will be changed forever.

Now, to compare “regular comics Tony”, or 616 Tony, with 1872 Tony.

The main difference? 616 Tony wears this sexy little under suit (or nothing) under his armor, like this:

And 1872 Tony wears dirty, stinky one-piece pajamas under his armor (not sexy):

He’s so gross, he’s a mess. I love him. You’ll love him, too. 

No, okay. Being serious.

 616!Tony’s backstory is a lot more complicated just due to how long the character has existed, and the decades of cannon (much of it self-contradictory at points.) Like MCU Tony, 616 Tony used to manufacture weapons, experiences something life-changing, and becomes who he is as a result of this as a catalyst. 616 Tony’s backstory has been rebooted a few times, and I’m definitely not the definitive source on Iron Man lore compared to people who have read all of his comics, but I’ll try to touch on the basics.

Originally, 616 Tony Stark is shaped by his experience in the Vietnam War. This is later rebooted and changed to war in the middle East (we see this in the MCU when Tony is held captive in Afghanistan.) In both circumstances, he is taken captive after being in the air for war technology, and then he creates the suit to save his own life (losing a beloved mentor in the process, the guilt of which stays with him after.)

Tales of Suspense #39

In 1872, Tony’s formative event is the Civil War in some ways, but in other ways, this is only half of it, because this is not the event which causes him to build armor or set him onto his “become a better person” trajectory, like in the other comics. Mainly, the Civil War functions to cause Tony to stop weapons manufacturing and throw his life away down a bottle.

We get a flashback of Tony in the year 1862 with his female companion, picnicking and about to watch a battle, (rich people from the North did this in real life. If you’re interested, read more here!) We don’t get much of his past, but we discover that he is a rifle manufacturer and that he has created something called the ‘Stark Repeating Rifle’, and it seems that he has done so with the hope of encouraging a cease-fire, more than a slaughter.

Well. We don’t always get what we ask for.

Tony vows to actually never touch a weapon ever again, and this personal oath means so much to him that he gets creative at times during 1872 when he’s being chased by baddies:

Witnessing the extreme bloodshed of the Civil War, and feeling responsible for a huge amount of deaths, Tony turns to drinking, (and presumably moves to the west to escape the Pain of his Past, but this is not shown explicitly on panel; I have assumed, though, that Tony’s weapons manufacturing company was in the East, probably Boston or New York, since he comes from family money and because the American West was still “young” at this point in time so it would be unlikely that an established business would be supplying a war from lawless territory with little infrastructure.)

In 616, it’s worth noting that Tony builds the armor to save himself from danger in a war scenario; this is not the case in 1872, things unfold a bit differently. The Civil War certainly sets in motion the chain of events that eventually lead to the creation of Tony’s armor, but he’s not in physical danger or physically traumatized by the war in this verse as he is in other verses, and 616 Tony seems to have a stronger sense of duty than 1872 Tony, but this might be a complication of the depression/apathy related to the alcoholism.

What I mean by this is that both iterations of Tony struggle with alcoholism, but differently. Mainly, while 616 Tony has several alcohol themed arcs, and hits rock bottom with his alcoholism to cope with his trauma, he is sober more than he is drunk in the comics. His drinking almost kills him, and he almost loses everything because of the drink. It’s a source of enormous shame for him.

In fact, during this time in 616, I think Tony at his lowest reminds me a lot of 1872 Tony; 616 Tony is not an apathetic person and he holds himself accountable for an obscene amount of responsibility, but during what is referred to in fandom as The Second Drinking Arc, Tony basically gives up. This is the most “like” 1872 Tony, at least at the start of his arc. Rhodey takes over the mantle of Iron Man, and 616 Tony spirals, not caring whether he lives or dies, not hero-ing certainly.

We see both versions of Tony express similar sentiments, a certain cavalier attitude about their lives (and outright suicidality at other points) with nothing left but the drink.

Iron Man Vol. 1 #182

Compare with:

And you can certainly see a resemblance between this set of panels from IM v.1 #176 and in 1872:

Iron Man Vol. 1 #176 and Marvel 1872 #1

It’s a little different in 1872, where his drinking really is purely a result of his existing despair, and it doesn’t cause enormous problems for him, (minor problems, sure. He spends a lot of time drunkenly singing to Sheriff Rogers, or bothering him from the inside of a jail cell.) But this Tony lives at rock bottom, whereas 616 Tony only stays at rock bottom long enough to get his life back together (as many times as it takes.)

This Tony really doesn’t show any outward shame about his drinking; presumably, the people he knows in Timely have only ever known Tony as a drunk, and none of the people from his old life are here to see him like this. 

This is a Tony who has essentially given up on himself and has moved out West to hide from his shame and his past; this is not a Tony who is scared of letting down his friends by drinking, or scared of shirking his “duty”, because this Tony has moved away from all of his friends and has given himself no duties. He’s a bit more apathetic, but I would argue that this is not because he inherently is a less moral version of Tony, but because in this verse, he was drinking for a very long time and circumstances unfolded differently so it took him a longer time to find that sense of purpose and responsibility (beyond just shutting down manufacturing guns,) which is awakened in him by Steve Rogers. 

616 Tony’s sobriety is a major part of his character, and a conscious choice that he makes, even during some lowest points:

Civil War: The Confession

He takes some amount of pride in his sobriety, and when he does fall off the wagon at times (or magic makes everyone think he did,) it absolutely tears him up because 616 Tony cares very, very much about his sobriety and does not like who he is when he’s drinking. We do not know if 1872 Tony’s father had been a drunk or not, but we know 616 Tony’s father was, and that the drink lead to him treating Tony abusively.

Iron Man Vol. 1 #285 

Avengers Disassembled #1 (This was when ~magic~ made Tony drunk and it wrecked him breaking sobriety without ever having actually drank. Oof.)

616 Tony’s long struggle with alcoholism is a major part of his character and he has had relapses over the years and throughout the reboots, but in general, he does not drink.

1872 Tony starts drinking in 1862 and doesn’t stop until the last pages of the story, so in terms of the cannon we have for him, he is a current drunk, rather than a former drunk. This isn’t to say he doesn’t stop; but since it’s in the last page or so, it sets the reader up to imagine his sober future, rather than exploring his sobriety as 616 does. (Calling all fanfic writers!)

Anyways, both Tony’s are excellent. Both are damaged and traumatized, both are Iron Man in their own ways, both (eventually) find sobriety, both have some cute, quippy dialogue (though 616 Tony tends to be more reserved/polite for sure, in general). 

The last thing I’ll point out, is that both Tonys’ narratives are intertwined with and influenced by their respective Steve Rogers. I’m not saying soulmates but I’m saying soulmates.

Anyways. Sorry this post got super long, and I apologize if any of it is confusing or redundant, I am not functioning at my highest capacity currently. Please read 1872. Let it rock your world. Create & consume the fanworks, I would love to see a boom of 1872 content (more than the fics and art I keep making!) And my ask-box is always open!

[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~