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batbabydamian · 11 months ago

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🦇🐥 Batman and Robin (2023) #5 rambling and a conspiracy theory lol

tbh this is the most exciting issue for me since…the first one 💀 i’m going to talk about the story and art separately because Nikola Cizmesija’s one of my favorite action focused comic artists so this issue’s a treat 😭

Alfred used to mediate during a lot of Bruce and Damian’s early relationship, so it’s refreshing to see Bruce take more initiative involving himself in Damian’s life even if it’s for a case lol

a couple instances of Alfred’s fatherly support on behalf of Bruce and Damian from Batman and Robin (2011) #2, 4, 39 and Teen Titans (2016) #1

Damian seems to take Bruce's involvement more as a sign he’s not reliable rather than Bruce finally just. being around to help him. which is fair 😭

this is complementary to Cizmesija’s art, but i love this half of the page so bad 😭 the negative space and the shaded foreground with Damian mid-run gives this feeling of time kinda stopping for us to really feel the impact of Damian’s entrance AND the effect it has on Bruce, like!! that wide eyed expression in the below panel!! 😭

Bruce’s quiet “you can do it, son” to A FULL BODY CHEER OF “GO, DAMIAN!” Bruce witnessing Damian be great outside of Robin, and on top of that it’s just another mundane moment that Bruce has wanted with Damian 😭

this is such a goofy bully line sdfgh though the whole “broken” bit might be a callback to Batman and Robin (2011) #1, in that Bruce is really trying to do his job as a father here or i'm likely reading way too into it

SO the “shocking ending” of Zach being Zsasz’s kid was definitely a surprise but then got me wondering what is up with Williamson doing reveals of new kids for villains lol otherwise, the hints in the issue were neat!

the tally marks!! at least tallying blocks is pretty innocent compared to kills 😭

and Damian would recognize how Zsasz moves, since he’s personally fought him before in Streets of Gotham (2009)!! very much not in a sport, but uh maybe it was to Zsasz

the art!! first a shoutout to the colorist Rex Lokus for giving Damian his green eyes and maybe melanin (it didn’t look consistent throughout so i say maybe)!! 😭 also a Talia by Cizmesija!! even though this panel calls her a “not great” teacher…💀

SUCH A FUN PAGE 😭 i’ve been into montage scenes lately lol and i love how quickly Cizmesija establishes Damian’s routine - Tues, Wed, and Fri are the funniest for me!! Damian grumpily getting lectured by his teacher in the foreground while his classmate’s still visibly steaming from the hit he took LOL, DAMIAN’S BUG EYED STARE WITH HIS SUNGLASSES UP, and then Damian looming. stealthily. in a tree. while some kid is blatantly pointing him out HAHA 😭

Cizmesija’s use of motion lines and effects when conveying movement is so cool!! the shonen manga vibes jumps out!! the smoke/dust trails following the movements; the limbs and soccer ball having a sort of blur effect with the motion lines. V COOL.

which leads to my favorite part of Cizmesija’s work - HIS IMPACT SHOTS!!

more motion lines and effects!! the splatter effects!! the arcs!! the jolting impacts!! GRRAAHH!! the setup to that impact shot of Zach's block is so great, and then following with Damian's reaction!! i almost wish that "???" wasn't there, just because that expression of stunned silence already feels so loud!!

last thoughts about Cizmesija's art is that i'm really hoping for a showdown between Damian and Zach next issue because i need to see a Damian fight scene in Nikola Cizmesija-fashion 😭 we get a taste of it with Orca and soccer but i NEED MORE LOL for now, dropping the moment when Damian overpowers Zsasz, in Batman: Streets of Gotham #11 since it was such an epic moment

okay SLAPPING MY CONSPIRACY BOARD!! so on another note Principal Stone being Shush is starting to feel like a red herring and Ms. Heather Hall could actually be Shush. Shush’s main point about Damian as his instructor was emphasizing how much potential he has, but the “wrong” influence could affect that

Stone and Hall have made the same observation about Damian’s potential, but the difference is how they address that - one wants Bruce to be more involved while the other wants Bruce to back off

Stone acknowledged Damian can take care of himself but still wants Bruce to step up in Damian’s life; Hall says it’s okay to be a helicopter parent BUT implies giving Damian space (which we already know Bruce has given so much of after Alfred’s death to the point of neglect 😭)

Hall even suggests moving Damian on to college, which would estrange Damian further. also idk how Damian kicking his teammates/bullies asses at soccer is really “making friends” lol

and of all the subjects she’s teaching, it’s AP Biology - according to the current case Batman and Robin are working on, which is centered around DNA-sequencing, it makes Hall the perfect accomplice to Langstrom

this is where my brain started reaching because i laughed at first at how specific that comparison is, but then it just made me think of how Shush’s first introduction was sniping Bruce LOL anyway, Bruce’s reaction is me 😭

one more Cizmesija appreciation panel - the lil running effects behind Damian :)

#rambling #CONTINUING CONSPIRACY THOUGHTS adding an anomaly like Zach to the soccer team would justify Damian joining them #otherwise he’d join and then he would find nothing but soccer if Stone really isn’t Shush #if im wrong then WHOOPS LOL i do find Ms. Hall's support for Damian sweet so i wouldnt mind tho Damian being wrong would suck asdfg #now that i think about it Damian going to college would be a neat development. let him study to be a veterinarian or artist or smth lol #the other action focused artist i would LOVE to see give Damian a fight scene is Daniele Di Nicuolo 😭#I EAT HIS ART UPPP #where Cizmesija is heavily shonen manga influenced Nicuolo is heavily shonen anime influenced esp like Trigger studio artists YUM

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drone-season · 6 months ago

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Drone Season Rules Update

ATTENTION, CITIZEN. The Drone Season rules are being revised and updated. NONCOMPLIANCE will result in your SWIFT AND GRIZZLY DEMISE, so READ, MEMORIZE, AND PREPARE TO OBEY. UPDATED RULES BELOW THE CUT:

REQUIREMENTS

You Must Be 18 Or Older: Because this challenge involves explicit sexual content, and the primary country of origin for the event is the United States, all participants must be 18+ at the time of sign up. If mods learn that anyone who has signed up is underage, their signup will be removed, and if assignments have gone out, their gifter will be contacted to provide a substitute assignment.

Read and Follow the Rules: Read the rules in full before signing up. (Even if you have participated before.) Failure to do so may result in the rejection of your signup. Gift Parameters: • You are committing to produce one (1) fanwork for your recipient, which matches one (1) of their requests. You MAY do more than one if you want to, but one full-assed gift is preferable to two half-assed ones. • One-shot fanfic must be at least 1000 words long, and must be complete. • Chaptered fic must have at least the first chapter completed, that chapter must be at least 1000 words, and it should ideally contain smut. • Art must be at least 400 x 600 pixels, full color. • Comics must be at least one page. It does not need to be full color. • Fills may not include images of real people. • We haven't yet had a submission that wasn't either art or fic, but if you have a unique idea for a fill, please contact the mods; we'd love to hear it, and will help establish guidelines as to what counts as a completed work. • If your fill idea includes potentially squicky or triggering content and your giftee did not specifically request that in their prompts, it is best to contact a mod and have it clarified if this is something your giftee would be cool with. We don’t want an otherwise great swap experience unexpectedly soured with surprise squick. • Your fill must be your own work. Plagiarism or AI-generated art/writing is not allowed.

SIGNUPS PROMPTS (what you want to receive): You will receive a gift (fic or art) based on one of your prompts. • Please be aware that all prompts are made public on the AO3 Drone Season page later in the exchange.

• Your signup must include at least 3 and up to 6 prompts for gifts you would like to receive. • You have to request at least 3 Homestuck prompts. Additional prompts can include Hiveswap, Friendsim, Pesterquest, Epilogues and HS^2. If you definitely do (or do not!) want to get involved with post-canon content, say so in your offer. • Only submit your signup once you have at least 3 complete prompts which fulfill all the requirements as stated in the rules. Do not submit empty/placeholder prompts. Failure to comply with this rule will result in rejection of your signup. • If you want to mention specific headcanons (such as appearance, sexuality, gender, etc.), that’s totally fine, but they're suggestions only. Demanding that someone depict a character a certain way is not allowed. This is a gift exchange, not a commission post. • No identity-policing. Requesting that your gifter belong to certain gender / sexual / ethnic / other identities in order to write certain prompts is not allowed. • Since this is a smut exchange, there must be some sexual or erotic element to each prompt. • If necessary, include a list of triggers or squicks for each prompt, or for all prompts. • If you find the explanation of things you do/don't want in a certain prompt getting overly long, you may want to reconsider whether that prompt is a good fit for this exchange. (Again, this is a gift exchange, not a commission post. Prompts should leave participants the freedom to be creative.) • Feel free to include a list of favorite kinks/tropes/etc. as well! • No Self-Inserts, OCs, Or MSPAR. We do not allow self-insert characters or OCs as part of main pairings. Asking our participants to create works that may feature explicit personal details of other people is beyond what we’re willing to ask, and it takes the focus away from the reason we’re all here: seeing Homestuck characters getting their pail on. OCs may still feature as background characters, but the focus should be on canon characters. MSPA Reader is structured to be both a character and a self-insert. We won't accept requests or offers featuring MSPA Reader as a main character, but as above, you may still feature them as a side or background character.

YOUR OFFER (what you want to create): You will receive a list of prompts based on what you offer to create. To the best of the mods' ability, you will be matched 1st to avoid triggers, and 2nd to accommodate your other preferences. (Safety first!) Your offer is visible only to the mods, not to other participants.

• Be clear about what you will not create. Mods will prioritize this over other preferences for safety's sake. (No need to include the reasons for said preferences.)

• Feel free to include your favorite kinks, tropes, pairings, etc. After mods have narrowed down options based on definite NOs, we will attempt, if possible, to hook people up with prompts in their wheelhouse. In order to make sure no one receives triggering prompts, not everyone can match on their top choice of pairing/kink/etc. Be flexible, and remember that this is a gift!

• Tag as many characters as you are comfortable creating for (at least 10 characters). If you are not comfortable with all combinations thereof, please state that in your offer. If you are willing to create for over 20 characters, you can add additional characters in the offer field.

• If you would be willing to receive a set of prompts where some, but not all prompts include your triggers/squicks, please specify that in your offer. (If you do, and the mods spot a prompt they think would be perfect for you, they may assign it to you, even if other prompts in that batch would qualify for your No list.)

CODE OF CONDUCT No Kinkshaming: We strictly follow YKINMKATO (Your Kink Is Not My Kink And That’s Okay, AKA Kink Tomato). The swap and its servers are sex-, kink-, and character-positive spaces; we don't allow judgemental language about things other people enjoy. (This includes the language used in your signup.)

Don't Be A Dick: • Do not sign up and default in an attempt to get free fic or art. You will be banned from participating in future Drone Season exchanges if you do this. • Don't complain publicly about your gifter's writing or art skills, headcanons, choice of kinks, or anything else. This swap welcomes all skill levels, and the participants are putting in their time and effort to make you content for free.

Check Your Email: AO3 will send your swap assignment to the email linked with your AO3 account. DO NOT SIGN UP WITH AN AO3 ACCOUNT LINKED TO A JUNK/SPAM EMAIL; YOUR ASSIGNMENT WILL NEVER REACH YOU. There may be certain instances during the event where the mod team will need to contact you urgently, and email may be the only point of contact you've provided. Please check your email often during the course of the swap, as delays in response time can lead to even bigger hiccups that affect you and the rest of the swap.

Stay Anonymous: This is an anonymous exchange. Do not contact your giftee before authors are revealed. If you need clarification on a request, contact a mod and we will communicate with your giftee on your behalf. Please don't talk publicly about the specifics of your assignment while you're working on it! You can still share with a beta and talk with non-participant friends, but keep your work a surprise to Drone Season members!

And Now: If you have read and understood, and agree to all the rules, please include the word or emoji "magnet" in your offer when you sign up.

#drone season #homestuck #homestuck exchange #drone season 2024 #rules

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beryllineart · 1 month ago

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How2Draw Comics: Story

Last time we learned about conceptualizing our characters, settings, art style, etc. Now we actually have to put our characters in a situation, drive them from point A to point B through a story.

There are many different ways to do this. I'm assuming you have, if not an outlined story, a situation you want your character to experience. If you don't have a story, make your character order pizza but something happens and they have to rescue the pizza (and the delivery guy, I guess.) The first method I'll discuss is my least favorite- the Script Method.

You write a script for your story, listing pages and panels as you go along. I hate this. It feels too limiting, and panels are actually one of the most limiting and intimidating things to a beginner comic artist. Yet most tutorials encourage you to draw your panels first and then squish or stretch your drawings to fit, and that's what the Script Method is based off of. I draw my panels while I do my drawings, or even after I do them.

If pacing your comics is one of the most difficult things for you (what size do I make my panels? Is there too much dialogue on this page?) then I suggest the Storytelling Method.

You do not have to make a full short story or book. Usually I just say something like, "boy is making cake. girl walks up behind him and hugs him, kissing his floury cheek. she walks away, licking her finger. she has stolen some cake batter and he didn't notice." In my head I can see a more detailed story there, but you can tell a story without a bunch of flowery prose.

You may be wondering how this helps with pacing your comics. Well, I have actions associated with dialogue, meaning I know which drawings will have which dialogue, automatically creating a nice balance. Additionally, I know what to prioritize. I know that the panel introducing the manor will be large, because I used the words "large and imposing" to describe it. I know that when I set the ballroom scene in this story, I also need to set the scene in an establishing shot. And I know that I'm going to have Bernice's appearance on the food table be surprising, taking place after she tugs his shirt or something. (This will probably make more sense once I actually make the comic)

The final method is a very flexible one for those who aren't into words and just want to draw- the Children's Book Method.

This particular example is mind-mapping, but you can also do a more organized version by storyboarding (placing each drawing in a square and giving a short description for context). I call these collectively the Children's Book Method because the basic idea is that you don't repeat your drawings like you would in a comic. Instead, you draw those things that feel the most interesting and most dynamic, the things that are most important. (like keyframes in an animation) Children's books illustrate one scene at a time, providing context for many different moments in one picture (and some text). They are less sequential than a comic because they only have one picture per page.

I usually have a mix of the storytelling method and the storyboarding end of children's book method. And usually I tell myself a story only in my head, without writing it out, because that's all I need. And I'll admit, sometimes the stories play out in my head like a movie, which is probably why the script method works for people. Sometimes you don't know which is the most effective way to tell yourself a story until you try to draw the comic and see what is giving you the most trouble.

If you have any questions, feel free to ask me! I know I'm kind of rambly and don't make much sense, so if you need clarification or other tips, I'll do my best to help.

Next is Panels and Pacing: Drawing the Comic (which will probably happen in multiple posts, but this art block will make it nigh impossible for a while, why doesn't it just go away?)

#how2draw #how2draw comics #art tutorial #comic #mouse #art block is the worst!#it's kind of hard to describe how you do things #when you just do it in your head #i may make an example of how i actually use the children's book method to help me lay out my comic pages #you could call the children's book method the keyframe method if you want

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feminerds · 2 years ago

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04 March 2023

After seeing Bikini Kill live @ The Tivoli, Brisbane 03/03/2023 w/ Bec & Mei.

Page 2 - There’s not much that can compare with a room full of women, queers, femmes, themmes, young and old singing along, word for word, with Kathleen Hanna “That girl thinks she’s the queen of the neighbourhod, I got news for you SHE IS!”

The magic of that song - being and desiring to be that girl.

The shaking floor, the dense inner-ear pressure, the upward unified motion of the crowd. The certainty and the support.

There’s something about the sometimes indiscernible lyrics, that makes me think of Humyara’s Comic about everyone putting their little yell into the world - is that heteroglossia?

It is interesting to me that so many of Kathleen Hanna’s projects, say simply -

You should do it

You can do it

Here’s how you could do it

We will support you doing it

The night had a clear intentionality. Lovingly structured to suggest -- you can do this! It’s not so hard, here are the broad steps. And if we can do it, you can too.

Page 3 -

A Gig that is a Zine recipe monograph a play with a thesis a concept gig

Art Accessibility and a Gig that is Auto-logical Self Supporting.

Chapter 1 - The opener - must select a support act that is a small local band, and I mean really quiet small.

Chapter 2 - Come on stage, be fun and cool. Be rockstars.

Chapter 3 - Mutuality of the good vibe. “I can be here because you like me”. Express gratitude for the crowd, they make it possible. The punk-band-you-love is the vibes you bring to the show.

Chapter 4 - Make mistakes, share, be scrappy, “it doesn’t have to be perfect”.

Chapter 5 - Encourage the crowd to literally just think of a band name.

Chapter 6 - “Say you’ll play a gig - then start writing songs”.

Chapter 7 - Remind them criticism will come, new bands get criticised, established bands get criticised. “Let the haters give you inspiration”. Some people won’t get what you do, you’re not making it for them.

Chapter 8 - Making your own isn’t that hard.

Chapter 9 - Support small and local, we need to lift each other up. Mention bands that you’ve supported before, Kathleen name dropped “Minimum Chips” who were a support act to them, last time they toured so-called Aus.

Chapter 10 - Get Lifting!

Chapter 11 - Reap and Repeat.

A (cool and amazing) friend of mine saw the Punk Singer 10 years ago and invited me and couple of friends around to her place, because after seeing it she wanted to start making a zine.

I don’t imagine Bikini Kill would necessarily call themselves a prog band (or maybe I mean that they wouldn’t apply a ‘prog lens’ to their own music) BUT their intentionality of texture (like when look at them without attempting to focus - I just see furious, exciting, incomprehensible woman) puts me in mind of it. When I let my eyes unfocus, and I stop trying to grasp the untamed lyrics - I see, or receive, the sexy, angry women-supporting-women of it all, and it washes inexorably over me. Maybe is a Prog music lens? Maybe it’s Maybeline? Maybe it’s McLuhanism? I love the efficiency and directness of the message I’m receiving in these unfocused moments. How it self supports - how in granularity and in wide shot - word and deed - Bikini Kill says Yell as Well.

Hot Dog Theory of Art Accessibility.

Art accessibility is an enormous topic, but I think about it as a hot dog. Being that it can be tackled from either end. Highly glossy, easily discoverable, eminently digestible, polished products at one end, that say “I’m for everyone!” - think streaming a MCU movie from Disney+ - whose tricks and technology are almost indistinguishable from magic; at the other end, zines. The accessibility of making zines (and by extension art and by extension anything), is their incredible power. That anyone would look at a zine I’ve made and think - “but, I could make this” - is for me, a zines‘ greatest power.

Page 1 -

Juniper of the support act to Bikini Kill - Queerbait - at the Tiv. They were great, you should check them out!

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sofiadragon · 11 months ago

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The power scaling is way off in this. They treat her like a horror movie villain. When a vengeful spirit pops up and starts doing some random shit like breaking out of a room that can't be escaped, it adds to the horror aspect and works as rising action. It doesn't matter if it isn't used again, the supernatural scare works and then they move on.

When Wanda does something never before seen as a one-off, we are confused. The MCU has a soft magic system, but we've established some rules. Worse, Stephen suffers from this one-off showcase as well, and he's supposedly the protagonist. So we have our two main characters doing random things. Wanda's break established rules, making her seem all powerful. Stephen's are mostly comic book references, but he too often comes up with absolutely nothing and just runs for that to feel like power and creativity. He's too outmatched.

I ask myself: Can I do my plot hole pave-over fanfic/headcanon fixit? No, this needs more than my usual tweaks.

For Wanda, just say it is the corruption of the Darkhold breaking reality, or something. She can do these things because she's not anchored to this universe or something. That also fixes the incursion issue on her end, but this has to be in the characterization as well as the look. Let the implied threat that she will find "her" kids, destroy that universe by being in it, and then use America's powers to do it all again in another reality until the multiverse is destroyed, be an on screen explicitly stated thing that raises tension instead of just having her effortlessly destroy so many supposedly high-power characters. It isn’t as scary to introduce someone and then immediately kill them as it is to have Stephen realize the domino effect world destroyer that's about to start rolling. Lean into the horror! You have Sam Raimi. Let this be a horror movie. Give me some dread.

This means changing the cameos. This means giving Wanda a weakness that can be exploited to give them time, perhaps known only to Xavier the OP telepath so the cameos have plot relevance. This means fixing the book of Vishanti, which instead of being dust and disappointment just gives them what they need in a very old-school fey-style "but not what you want" manner. America looks in it and just sees encouragement. Throw in a gag shot that's just "You go girl!" on one page and "You've got this!" on the other. She thinks it's useless. Stephen figures out he needs to encourage her to use her power.

For Stephen, have them reach the book earlier in the movie. We can trim down some action and, no matter how cool it is, get rid of a few of the really universe breaking OP moves Wanda does. Have the fight start right there in the orchard, smaller scale between just them, and she follows immediately when he retreats. Leaving them a day to fortify is a flex that doesn't work at the beginning of the second act, it's way too much. Do I love the visuals? Yes, but the story suffers. You don't start there, because where can we go to raise the stakes after that?

This way, we have more time for Stephen to have a story about accepting that Christine doesn't want him, or maybe handle something else because we've done the control freak thing with him before and they finiahed the last movie with their toxic on and off relationship sorted out as just friends now. It would be better if he's ready to be a mentor instead of just a leader, but doesn't trust himself- this makes America's plotline match his. An ironic lack of confidence for a very competent character with a lot of ego, but it fits after the trauma of the Infinity War duology.

It's also relatable as hell! Lots of confident, high skill people freak right out about having to deal with a kid. Did we do this a bit with Tony Stark and Peter Parker? Yeah, but Stark went full domestic in the MCU after that. This mentorship is far more professional from square one and won't go that way, so it isn't just a remix of what we've had before.

Keep Zombie Strange, that's the kind of awesome spectacle we want to see in these movies, but fix the way he shows up a bit. Yes, Chekov's corpse at the beginning sets it up, but we need to hear that this kind of thing is taboo more than 60 seconds before Stephen does it or the ghosts have no stakes attached to them. Have him suggest it as a way to communicate with Wong, but discard the idea because things aren't dire enough just yet. It's too dangerous, they'll just find a way back and Wong can hold out. With fewer ass pull powers and a bit of time to let the idea marinate, we can have something really grotesque at the end that is an exciting crescendo.

The story retains the same shape generally, but definitely needs a few more dents banged out than my usual "if you just tweak this one thing the movie improves a lot" style plot hole fill.

Have you this concept art for MOM👆?.

Turn out raimi really wand make Wanda look possessed or totally corrupted that she look like can't thinking straight again but well we got poor scenes that basically said that 'Wanda is evil from beginning and darkhold just something push her but still she is evil and no need help'

No, I hadn't seen it, thank you.

What I don't get is one thing. Well, two. This movie was supposed to be about Stephen, did they ever care about that part? Because all concept art or ideas or what have you are ALWAYS about Wanda - and maybe two or three about him. Stephen is like a damn afterthought, it's insane. As if he doesn't have enough lore to explore and... ugh. Anyway.

The other thing I don't get is they seemed to care about showing her corruption in her clothes and looks... anything to not have to actually address her corruption in the movie. It doesn't matter how scary she looks if 85% of the film is everyone around her treating her like a character with agency who is acting out of her free will.

I wouldn't have minded some super evil freaky Scarlet Witch at some point, but only if that is combined with proper characterization and a purpose for that character. Wanda's presence serves no purpose at all besides being a villain, killing innocent people (and murdering the Illuminati, that's my girl, will forever be grateful for that) and using cool spells that look good on screen. Dress her however you want, that's a terrible and boring character.

I wonder what other female character was brought to the spotlight in somebody else's show but was given nothing to work with and pretty much no personality at all... Is that Waldron's MO? Oh man, if he does end up writing the Avengers movies it's going to be hilarious in a very bad way...

#dumb walnut #this was in my dradts way too long

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superman86to99 · 3 years ago

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Earth-Prime: Superman & Lois (April 2022)

We’re taking another time jump because we couldn’t resist talking about Tom Grummett’s return to Superman comics! For one issue, but still! This is a tie-in comic set in the world of the current Superman & Lois TV show, and we’ve known for some time that we have at least one fan of the ‘86-’99 era in the writing staff (there’s no other logical explanation for including freaking Sam Foswell). So, we were delighted but not surprised to see some shout outs to our favorite era in this issue. The comic includes three stories:

The Anniversary

Clark and Lois tell their kids the story of their first anniversary, which happened several days after it should have because one of them is a busy investigative reporter and the other is a busy investigative reporter AND a superhero. References we spotted:

We find out that this Clark shaves by reflecting his eye lasers on (presumably Kryptonian) metal, just like ours does, as established way back in 1986′s Man of Steel #4. Don Sparrow says: “Tyler Hoechlin (who plays Superman) has joked about how fine-tuned Superman’s heat vision would need to be to get his signature 5 o’clock shadow look, and here we see it in action.” Maybe he wants to do a full shave but his heat vision isn’t just as strong as comic book Superman’s?

Also, we see the Planet offices in the panel above and that’s obviously Ron Troupe there, but I wonder if the blonde is Andrea the intern, a secretly fascinating minor ‘80s-’90s character we gotta write an article about at some point (”Andrea” was a fake name; she was actually a supporting character in another comic who ran away to Metropolis).

Don: “Page 10 is a treasure trove of triangle era terrors, as we see not only Toyman, but also Hi-Tech, Killgrave, Barrage, Loophole, (another personal fave) Sleez, and Supergirl TV series Vigilante Philip Karnowsky all in one shot.” Barrage and Karnowsky being there is funny because Barrage’s name in the comics IS Philip Karnowsky, but the Supergirl show turned him into Vigilante. Also, are you sure that’s Professor Killgrave in the back, Don? Kinda looks more like Roger Stern to me.

Don again: “Superman also later faces off with Lobo (making me wonder if it’s the Irish SyFy version of the character, who I’d love to see on a proper Arrowverse show -- along with the excellent Brainiac from that series, while I’m dreaming). Lobo in turn makes reference to a female ‘redhead’ who has hired Lobo to track down Superman, which must be Maxima, given how often one of this issue’s writers talks about her on Twitter.”

Lobo then takes Superman to a place he “borrowed” from an old drinking buddy. Don: “This is it, ladies and gentlemen! Our first Arrowverse reference to Bibbo Bibbowski, albeit in the form of a Bubba Gump shrimp like restaurant, which Lobo steals entirely, Carmen Sandiego-style.” Wait, is this really the first reference to Bibbo in this universe in 10 years?! For shame. I would have started there.

Lois investigates a crooked politician who turns out to be in league with Intergang and the late (in our continuity) Bruno “Ugly” Mannheim. Also, just noticed that the cabbie below looks an awful lot like Professor Hamilton, who perhaps had a harder time finding work after his prison stint in this universe. (It was a missed opportunity not having him say the cab ride was $6,50, but I guess those prices are no longer realistic.)

Finally, the last page continues the long tradition of ending stories with a shot of Superman flying away from the Kent farm, started in Man of Steel #1. Don says this “should have been the issue’s cover” and I agree!

Father’s Day

A short story revealing how Pa Kent (and Robert Redford/Dustin Hoffman) inspired Clark to become a reporter and help people. No specific ‘86-’99 shout outs that we could spot.

Controlled Burn

The previously unrevealed origin of the evil Superman from the reality the show’s version of John Henry Irons hails from, who wears a black costume reminiscent of our Superman’s post-resurrection suit. Speaking of that storyline, we see a familiar scene regarding the DCU’s unluckiest city... Don: “Man, Coast City just can’t catch a break!”

This story includes an important appearance by “Morgan Edge,” but if you’ve watched the show you know the character is very different from his comic book counterpart. Also, a cameo by Magog, but since we’re living in 1994 we don’t know who that is (yet).

Don has much more to say on this issue, including references to other Superman eras and movies! Incidentally: Those who have read this issue, try to guess which page Don had signed by his personal friend/fellow Canuck Tom Grummett...

Art-Watch (by @donsparrow):

We begin with the cover by Kim Jacinto, and it’s… bad. Not good at all. I do appreciate that they included Tyler Hoechlin’s signature stubble, but otherwise, it’s a complete turnoff, especially in an issue where the interiors are drawn by the legendary Tom Grummett. To get pedantic: neither Hoechlin, nor Bitsie Tulloch have brown hair in the series. Tyler’s hair has no spit curl, his eyes are green, not blue. Jordan Elsass has light brown hair, not bright yellow, and no human being has faces like the super-sons are shown to have here. But I get that there are just as many readers who would prefer this cover over the interior art, and art appreciation is totally subjective. (And I admit, it’s entirely possible, and likely, even, that I’m just flat out envious, and wishing I could do a cover like this one.)

Inside, we’re thrown immediately into familiar surroundings, as we see the Kent farm in the moonlight, and it’s a great, comforting image to kick off the first chapter.

Everything we see is screen accurate, somehow without just looking like they’re tracing still images from the show. The cast here is a perfect blend of actor resemblance, and classic cartooning, so that you know who each character is, without slavishly looking identical to the performers. If pressed, I’d say Tom’s Lois looks the most like on-screen, but there’s not a wrong note for any character. The page layouts take a repetitive rhythm as you read the book, with the layouts being so similar page to page that it almost reads like an animatic as you turn the pages. The left page always has an action splash page taking up about 3/4s of the page, with a three-panel sequence of either Clark or Lois missing the other as they cover the tumultuous events of their lives as heroes and journalists, while the right side has a similar grid of the couple making plans, and doing their usual sleuthing. There’s no shortage of Easter eggs throughout, especially for a blog as devoted to the triangle era as this one! Page 4 has Superman taking on the Mechanical Monsters, looking for all the world like the ones in the old Fleischer cartoons (even the font on the newspaper on the following page matches the one from the cartoon).

Clark’s outfits and posture generally look more like Tyler Hoechlin than a traditional comic book version of the character. Page 8 is my personal favourite, as Superman goes toe-to-toe with Superman IV’s Nuclear Man, a character I love, as I’ve shown my young children that movie more than any of the other, more sophisticated Reeve films. That’s why I chose that page to be signed by none other than Tom Grummett himself at a recent signing. I did ask if I could buy the page, but he's hanging onto it for now!

Page 10 is a treasure trove of triangle era terrors, as we see not only Toyman, but also Hi-Tech, Killgrave, Barrage, Loophole, (another person fave) Sleez, and Supergirl TV series Vigilante Philip Karnowsky all in one shot. Superman also later faces off with Lobo (making me wonder if it’s the Irish SyFy version of the character, who I’d love to see on a proper Arrowverse show—along with the excellent Brainiac from that series, while I’m dreaming). Lobo in turn makes reference to a female “redhead” who has hired Lobo to track down Superman, which must be Maxima, given how often this issue’s writer talks about her on Twitter.

The story ends with a couple of great splash images, none better than Superman flying his bride to sunny Hawaii, in a spectacular image, which should have been this issue’s cover.

The next story, “Father’s Day” short though it is, is filled with still more great stuff. The opening page grabbed some headlines, perceived by many as a rejection of the over-protective Kevin Costner version of Jonathan Kent, as the TV Jonathan praises his son for saving a young boy, symmetrically from a bus disaster.

Grummett does a great job on the second page, with a glimpse at an unnamed Robert Redford and Dustin Hoffman in their roles as Bob Woodward and Carl Bernstein in All The President’s Men. While I normally eschew real world politics in these pages, the leader of the free world being brought to justice through journalism is a fitting inspiration for this generation’s Superman, no matter which party to which he belongs.

We get another Easter egg as the helicopter Superman rescues (in a great image—dig the shadows falling from his arm, and bent leg!) recalls the red one from the Lois rescue/meet-cute in the first Reeve film.

The final story in this issue is well-drawn throughout, as loathe as I am to see yet another evil Superman. The story not only hints at the now-revealed Magog as the big crossover villain for this comic series, but also indicates that (spoilers from last season here…) John Henry’s red sun missile didn’t actually kill the Kal-El of his and Nat’s Earth. [Max: Is it me or would this story have rocked if they’d gotten Jerry Ordway to ink it? I’m a big fan of Norm Rapmund but I feel like Ordway’s shades could have added a lot to the atmosphere here.]

STRAY OBSERVATIONS:

It’s a cute callback to both Action Comics #1, and the first appearance of the Tyler Hoechlin Superman, that a green toy car is responsible for shutting down the press at the Daily Planet.

There’s some equal opportunity sex appeal, as both Clark, then Lois, then Clark, then Lois again are featured in a steamy shower conversation to move the plot along. I feel like a lesser story would only have Lois.

I wonder if Lobo’s comment about preferring Superman’s old outfit is a voodoo-doll like nod to fans like me, who miss the trunks on the otherwise perfect Hoechlin suit.

Superman & Lois is by far the best show on TV for my money, and my favourite part of the show is Lois’ journalism (indeed, the only thing lacking from the show is Clark-as-reporter, but you can’t have it all). So naturally, I love Lois in an Alias-like wig to get the scoop on the mayor’s dalliance with another triangle-era figure, Ugly Mannheim.

Plastino’s restaurant is of course a reference to longtime Superman artist, Al Plastino, perhaps best known specifically for his work on Supergirl, the character that birthed this TV show!

There’s an interesting symmetry with the Father’s Day story and the Controlled Burn story—the Clark Kent we know champions the meek reporters defending the world with holding the powerful to account, while the black-suited Superman of the alternate Earth still enjoys the support of the people, despite his growing authoritarianism, at least until he teams with his half-brother and destroys Metropolis.

The inverted newspapers with the cube “globe” are a wonderful and subtle nod to the Bizarro world storyline, even if “square” is misspelled on that second one.

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theskeletongames · 4 years ago

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How do you figure out how to panel each comic page? Do you think of it before hand or do you just go with the flow as your drawing?

Think of it beforehand and Write a script. Write out what is happening in each panel beforehand and any dialog that goes in that panel.

I don’t follow my panel descriptions 100%, but having that script really helps.

My panels are a combo of the script and going with the flow because some things just don’t always work how you plan them out beforehand, but you need a building block.

I also think in terms of pages, but this took me a while to get use to, and I wouldn’t expect anyone to be able to do this right away with their first comics. Page layout also doesn’t apply to web comic design which has different paneling techniques than comic pages which are meant to be turned rather than scrolled.

(Note: I’m all self taught. I’m pretty sure there are rules out there somewhere about paneling, but I’ve not found any in English yet. I have found some small rules from Manga artists but I’m sure there’s a beautiful set of standard paneling rules that would be amazing to get ahold of if only I could)

Every comic artist has an art style, but most people don’t think about panel style. This highly effects the flow and drama of a story. Just think about how Jo Jo’s Bizarre Adventure can make anything dramatic. This is due to perspective and of course, panel selection :)

I’ve seen artists with amazing skill not have the best paneling, but I’ve also seen some average artists have amazing paneling. I’d say the ability to panel means the story is interesting and people will be more forgiving of the art if the story is good, so... do some panel studies from comic/manga artists you love and figure out what they’re doing with the panels to make the story better. Everyone has their own panel style and it makes a huge difference. (Also read Understanding Comics, by Scott McCloud)

Here’s my tips.

Each page should encompasses an idea. Don’t start a new idea halfway through the page.

In manga, the last panel on a page is called the page turner. End the last panel on a page with something that would make you want to turn the page.

Large panels are for important ideas. Small panels are for minor actions with very little text.

Irregular panels can create motion or distortion. A panel that is pressing down on a character can make the character feel weak. A panel that is pressing up diagonally on a character makes them feel actiony. (this is the panel shape, not perspective, which can also help with these feelings)

There are such things as full bleed or open panels. These are panels that are drawn to the full border of the page and not contained by black lines. These are good for establishing shots or setting the scene or tone.

Panels can have a double line “gutter” or one line separating them. I’ve found that gutters are better for when the camera makes a jump to a different idea. Single line separated panels are for a string of consecutive thoughts that somewhat tie together.

Some panels can have borders, but bleed to the side of the page. IDK why I do these yet, but I feel like it’s mostly for either more space or a hybrid of open and closed panels.

Plan for where your text will go. Text should force the reader’s eye to travel through the panels. The order of reading the text and looking at the picture affects the readability. Sometimes you want to hear the text in your head first before looking at the image, and sometimes you want to see the image and then read the text. This depends on what is going on, but for joke punchlines, it can really have an impact.

I’ve found a general rule of 6 panels per page is good for pages with less action. Aim for 6 panels unless you have an impactful scene. For me, splitting the page up into thirds and then further sub splitting those panels works best so that you have one large panel and 5 smaller panels.

Try to have a panel that shows where the characters are in relationship to each other and the background every page, or every other page. This will keep your readers from becoming confused. I’m bad at this!

If you’re starting out, my first suggestion is to ask if you are still at the point where you are ordering your panels with numbers for the reader. Work on not needing to do this. The reader should naturally know where to read. Then work on leading the reader’s eye with text. Then something else I stated one at a time.

Do not start your big comic all at once. Do some small jokes or a short few page story's the first time. This is what I did till I felt more comfortable paneling. If you have a big comic idea, you aren’t going to be able to do it justice if you haven’t practiced, and you’ll end up putting it off in fear of not doing it right. Aim for small comics till you feel more comfortable about the process.

Finally, watch this video, and other’s by the same channel

https://www.youtube.com/watch?v=MIUWPqxmD2w

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kmclaude · 3 years ago

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Forgive me Father, I have no awful headcanons for you, only a general question on comic making. How do you do it, writing-wise/how do you decide what points go where, how do you plot it out (or do you have any resources on the writing aspect that you find useful?) Not to get too bogged down in details, but I attended a writer’s workshop and the author in residence suggested I transfer my wordy sci-fi WIP into graphic novel script, as it might work better. (I do draw, but I don’t know if I have it in me to draw a whole comic—characters in motion? Doing things? With backgrounds? How dare, why can’t everyone just stand around looking pretty)

I was interested but it quickly turned into a lot of internal screaming as I tried to figure out how to compress the hell out of it, since novels are free to do a lot more internal monologuing and such compared to a comic format (to say nothing of trying to write a script without seeing how the panels lay out—just for my own sake, I might have to do both concurrently.)

As an aside, to get a feel for graphic novels I was rereading 99RM and was reminded of how great it was—tightly plotted, intriguing, and anything to do with Ashmedai was just beautifully drawn. I need more Monsignor Tiefer and something something there are parallels between Jehan and Daniel in my head and I don’t know if they make sense but it works for me. (As an aside, I liked the emphasis on atonement being more than just the word sorry, but acknowledgment you did wrong and an attempt to remedy it—I don’t know why that spoke to me the way that it did.)

I thought Tumblr had a word count limit for asks but so far it has offered zero resistance, oh well. I don’t have much else to say but on the topic of 99RM, Adam getting under Monsignor’s skin is amazing, 10/10 (about the Pride picture earlier)

wow tumblr got rid of the markdown editor! or at least in asks which means the new editor probably has no markdown....god i hate this site! anyway...

Totally! So first, giant thank you for the compliments! Second, I have a few questions in turn for you before I dive into a sort of answer, since I can give some advice to your questions in general but it also sounds like you have a specific conundrum on your hands.

My questions to your specific situation are:

did the author give any reason for recommending a, in your words, "wordy" story be turned into a graphic novel?

is the story you're writing more, like you said, "internal monologuing"? action packed? where do the visuals come from?

do you WANT it to be a comic? furthermore, do you want it to be a comic you then must turn around and draw? or would you be interested in writing for comics as a comic writer to have your words turned into art?

With those questions in mind, let me jump into the questions you posed me!

Let me start with a confession...

I've said this before but let me say it again: Ninety-Nine Righteous Men was not originally a comic — it was a feature-length screenplay! And furthermore, it was written for a class so it got workshopped again and again to tighten the plot by a classroom of other nerds — so as kind as your compliments are, I'm giving credit where credit is due as that was not just a solo ship sailing on the sea. On top of that, it got adapted (by me) into a comic for my thesis, so my advisor also helped me make it translate or "read" well given I was director, actor, set designer, writer, editor, SFX guy, etc. all in one. And it was a huge help to have someone say "there is no way you can go blow by blow from script to comic: you need to make edits!" For instance, two scenes got compressed to simple dialogue overlaid on the splashpage of Ashmedai raping Caleb (with an insert panel of Adam and Daniel talking the next day.) What had been probably at least 5 pages became 1.

Additionally, I don't consider myself a strong plotter. That said, I found learning to write for film made the plotting process finally make some damn sense since the old plot diagram we all got taught in grammar school English never made sense as a reader and definitely made 0 sense as a writer — for me, for some reason, the breakdown of 25-50-25 (approx. 25 pages for act 1, 50 for act 2 split into 2 parts of 25 each, 25 pages for act 3) and the breaking down of the beats (the act turning points, the mid points, the low point) helped give me a structure that just "draw a mountain, rising action, climax is there, figure it out" never did. Maybe the plot diagram is visually too linear when stories have ebb and flow? I don't know. But it never clicked until screenwriting. So that's where I am coming from. YMMV.

I should also state that there's Official Ways To Write Comic Scripts to Be Drawn By An Artist (Especially If You Work For A Real Publisher As a Writer) and there's What Works For You/Your Team. I don't give a rat's ass about the former (and as an artist, I kind of hate panel by panel breakdowns like you see there) so I'm pretty much entirely writing on the latter here. I don't give a good god damn about official ways of doing anything: what works for you to get it done is what matters.

What Goes Where?

Like I said, 99RM was a screenplay so it follows, beat-wise, the 3-act screenplay structure (hell, it's probably more accurate to say it follows the act 1/act 2A/act 2B/act 3 structure.) So there was the story idea or concept that then got applied to those story beats associated with the structure, and from there came the Scene-by-scene Breakdown (or Expanded Scene Breakdown) which basically is an outline of beats broken down into individual scenes in short prose form so you get an overview of what happens, can see pacing, etc. In the resources at the end I put some links that give information on the whole story beat thing.

(As an aside: for all my short comics, I don't bother with all that, frankly. I usually have an image or a concept or a bit of writing — usually dialogue or monologue, sometimes a concrete scene — that I pick at and pick at in a little sketchbook, going back and forth between writing and thumbnail sketches of the page. Or I just go by the seat of my pants and bullshit my way through. Either or. Those in many ways are a bit more like poems, in my mind: they are images, they are snapshots, they are feelings that I'm capturing in a few panels. Think doing mental math rather than writing out geometric proofs, yanno?)

Personally, I tend to lean on dialogue as it comes easier for me (it's probably why I'm so drawn to screenwriting!) so for me, if I were to do another longform GN, I'd probably take my general "uhhhhhh I have an idea and some beats maybe so I guess this should happen this way?" outline and start breaking it down scene by scene (I tend to write down scenes or scene sketches in that "uhhhh?" outline anyway LOL) and then figure out basic dialogue and action beats — in short, I'd kind of do the work of writing a screenplay without necessarily going full screenplay format (though I did find the format gave me an idea of timing/pacing, as 1 page of formatted script is about equal to 1 minute of screentime, and gave me room to sketch thumbnails or make edits on the large margins!) If you're not a monologue/soliloque/dialogue/speech person and more an image and description person, you may lean more into visuals and scenes that cut to each other.

Either way this of course introduces the elephant in the panel: art! How do you choose what to draw?

The answer is, well, it depends! The freedom of comics is if you can imagine it, you can make it happen. You have the freedoms (and audio limitations) of a truly silent film with none of the physical limitations. Your words can move in real time with the images or they can be a narrative related to the scene or they could be nonsequitors entirely! The better question is how do you think? Do you need all the words and action written first before you break down the visuals? Do you need a panel by panel breakdown to be happy, or can you freewheel and translate from word and general outlines to thumbnails? What suits you? I really cannot answer this because I think when it comes to what goes where with regard to art, it's a bit of "how do you process visuals" and also a bit of "who's drawing this?" — effectively, who is the interpreter for the exact thing you are writing? Is it you or someone else? If it's you, would you benefit from a barebones script alongside thumbnailed paneling? Would you be served by a barebones script, then thumbnails, then a new script that includes panel and page breakdowns? What frees you up to do what you need to do to tell your story?

If I'm being honest, I don't necessarily worry about panels or what something will look like necessarily until I'm done writing. I may have an image that I clearly state needs to happen. I may even have a sequence of panels that I want to see and I do indeed sketch that out and make note of it in my script. But exactly how things will be laid out, paneled, situated? That could change up until I've sketched my final pencils in CSP (but I am writer and artist so admittedly I get that luxury.)

How do I compress from novel to comic?

Honest answer? You don't. Not really. You adapt from one to another. It's more a translation. Something that would take forever to write may take 1 page in a comic or may take a whole issue.

I'm going to pick on Victor Hugo. Victor Hugo spent a whole-ass book in Notre-Dame de Paris talking about a bird's eye view of Paris and other medieval architecture boring stuff, with I guess some foreshadowing with Montfaucon. Who cares. Not me. I like story. Anyway. When we translate that book to a movie any of the billion times someone's done that, we don't spend a billion years talking at length about medieval Paris. There's no great monologuing about the gibbet or whatever: you get to have some establishing shots, maybe a musical number, and then you move tf on. Because it's a movie, right? Your visuals are right there. We can see medieval Paris. We can see the cathedral. We can see the gibbet. We don't need a whole book: it's visually right there. Same with a comic: you may need many paragraphs to describe, say, a space station off of Sirius and one panel to show it.

On the flip side, you may take one line, maybe two, to say a character keyed in the special code to activate the holodeck; depending on the visual pacing, that could be a whole page of panels (are we trying to stretch time? slow it down? what are we emphasizing?) A character gives a sigh of relief — one line of text, yeah? That could be a frozen panel while a conversation continues on or that could be two (or more!) panels, similar to the direction [a beat] in screenwriting.

Sorry there's not a super easy answer there to the question of compression: it's a lot more of a tug, a push-pull, that depends on what you're conveying.

So Do I Have It In Me to Write & Draw a GN?

The only way you'll know is by doing. Scary, right? The thing is, you don't necessarily need to be an animation king or God's gift to background artists to draw a comic.

Hell, I hate backgrounds. I still remember sitting across from my friend who said "Claude you really need to draw an establishing exterior of the church at some point" and me being like "why do you hate me specifically" because drawing architecture? Again? I already drew the interior of the church altar ONCE, that should be enough, right? But I did draw an exterior of the church. Sorta. More like the top steeple. Enough to suggest what I needed to suggest to give the audience a better sense of place without me absolutely losing my gourd trying to render something out of my wheelhouse at the time.

And that's kinda the ticket, I think. Not everyone's a master draftsman. Not everyone has all the skills in every area. And regardless, from page one to page one hundred, your skills will improve. That's all part of it — and in the meantime, you should lean into your strengths and cheat where you can.

Do you need to lovingly render a background every single panel? Christ no! Does every little detail need to be drawn out? Sure if you want your hand to fall off. Cheat! Use Sketchup to build models! Use Blender to sculpt forms to paint over! Use CSP Assets for prebuilt models and brushes if you use CSP! Take photographs and manip them! Cheat! Do what you need to do to convey what you need to convey!

For instance, a tip/axiom/"rule" I've seen is one establishing shot per scene minimum and a corollary to that has been include a background once per page minimum as grounding (no we cannot all have eternal floating heads and characters in the void. Unless your comic is set in the void. In which case, you do you.) People ain't out here drawing hyper detailed backgrounds per each tiny panel. The people who DO do that are insane. Or stupid. Or both. Or have no deadline? Either way, someone's gonna have a repetitive stress injury... Save yourself the pain and the headache. Take shortcuts. Save your punches for the big K.O. moments.

Start small. Make an 8-page zine. Tell a beginning, a middle, an end in comic form. Bring a scene to life in a few pages. See what you're comfortable drawing and where you struggle. See where you can lean heavily into your comfort zones. Learn how to lean out of your comfort zone. Learn when it's worth it to do the latter.

Or start large. Technically my first finished comic (that wasn't "a dumb pencil thing I drew in elementary school" or "that 13 volume manga I outlined and only penciled, what, 7 pages of in sixth grade" or "random one page things I draw about my characters on throw up on the interwebz") was 99RM so what do I know. I'm just some guy on the internet.

(That's not self-deprecating, I literally am some guy on the internet talking about my path. A lot of this is gonna come down to you and what vibes with you.)

Resources on writing

Some of these are things that help me and some are things that I crowd-sourced from others. Some of these are going to be screenwriting based, some will be comic based.

Making Comics by Scott McCloud: I think everyone recommends this but I think it is a useful book if you're like "ahh!!! christ!! where do I start!!!???" It very much breaks down the elements of comics and the world they exist in and the principles involved, with the caveat that there are no rules! In fact, I need to re-read it.

Comic Book Design: I picked this up at B&N on a whim and in terms of just getting a bird's eye view of varied ways to tackle layout and paneling? It's such a great resource and reference! I personally recommend it as a way to really get a feel for what can be done.

the screenwriter's bible: this is a book that was used in my class. we also used another book that's escaping me but to be honest, I never read anything in school and that's why I'm so stupid. anyway, I'd say check it out if you want, especially if you start googling screenwriting stuff and it's like 20 billion pieces of advice that make 0 sense -- get the core advice from one place and then go from there.

Drawing Words & Writing Pictures: many people I know recommended this. I think I have it? It may be in storage. So frankly, I'd already read a bunch of books on comics before grabbing this that it kind of felt like a rehash. Which isn't shade on the authors — I personally was just a sort of "girl, I don't need comics 101!!!"

Invisible Ink: A Practical Guide to Building Stories that Resonate: this has been recommended so many times to me. I cannot personally speak on it but I can say I do trust those who rec'd it to me so I am passing it along

the story circle: this is pretty much the hero's journey. a useful way to think of journeys! a homie pretty much swears by it

a primer on beats: quick google search got me this that outlines storybeats

save the cat!: what the above refers to, this gives a more genre-specific breakdown. also wants to sell you on the software but you don't need that.

I hope this helps and please feel free to touch base with more info about your specific situation and hopefully I'll have more applicable answers.

#writing #making a graphic novel #writing a graphic novel #tutorial #writing tutorial

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framecaught · 4 years ago

Text

Cataloguing Homestuck’s Art Styles

Hussie deploys a number of distinct art styles throughout Homestuck, each serving different purposes in the narrative. A number of these, especially those mentioned in the published book series’ author commentary, have been catalogued in the Homestuck wiki [1]. These officially named styles are well-known enough to appear in quora answers. However, Homestuck employs a much larger variety of stylistic manipulations than explicitly mentioned in the book commentary or wiki. While scanning through the comic again for this project, I wanted to catalogue the rest of them!

This post constitutes a working list of all distinct art styles present in Homestuck. I’ve chosen not to include the distinct styles of the fanartists/outside artists who contributed to the comic; that will be a project for another day. As far as I know, this list only comprises the different styles Hussie develops throughout the comic. I have tried to bring a degree of specific formal analysis (also known as art-historical language) into my description of each style.

1. “Classic” Style

Page 1 of Homestuck

Page 1349 of Homestuck

Page 4227 of Homestuck

The “Classic” Homestuck style appears on the first page of the comic. Although not officially described by the wiki, it is widely understood as the comic’s typical graphic norm. Characters have simplified faces and clothes, and they frequently lack arms. Elements are often outlined in a black stroke, especially to differentiate them from other adjacent, similarly-colored elements. In more colorful panels, scenery may be made up of solid blocks with bright colors. Sprites (base character illustrations) and elements are repurposed from panel to panel in new combinations. Homestuck even takes up the repurposing of sprites as a gag, as in page 1349 above where the ability to flip one’s sprite allows Noir to regain his lost wrist barcode.

This style obviously shares characteristics with Hussie’s style in Problem Sleuth. General characteristics that frequently appear in Hussie’s art are present, such as circular faces and rounded edges on quadrilaterals. The Classic Style umbrella actually covers the broadest range of visuals out of any style catalogued here. The uber-simplistic sprites, such as John on page 1, have typically been lumped in with, for example, the illustration on the cover of Homestuck Book 1, or the two other examples I pulled for this post. So, in the Classic Style, characters can sometimes appear with arms, sometimes without, and in outfits of varying detail, but they retain the same facial features and simplistic quality. The circular facial shape is especially characteristic of this style, along with the lack of a neck. The neck-less quality, static poses, and simplistic detail chiefly differentiate some instances of Classic Style from Hero Mode, though there are still some grey areas.

2. Scribble Mode

Page 1931 of Homestuck

Page 1937 of Homestuck

Page 1798 of Homestuck

Page 3140 of Homestuck

This style is recognized by the Homestuck wiki, which describes it as emphasizing “a particularly silly/stupid moment in the story, particularly those to be imagined by a character.” That is to say, this style often denotes imagined scenarios which do not actually occur in the comic but instead in a character’s imagination, and especially those which form the butt of jokes. It is also employed simply to highlight silliness. This style is constructed to appear as if the author has “scribbled” rapidly between the outlines of forms to fill in color, creating gaps in those forms. Generally, strokes are made to seem more careless, and less detail is used. While the style is meant to mimic a scribbling motion, it does not always end up crude or parodic. For example, in this “charming vignette” (in Hussie’s words) depicting the Mayor’s dream, the scribble style actually illustrates a remarkably beautiful and almost impressionistic series of panels. Although the dream vignette has certain obvious scribbley elements and certainly depicts an imagined scenario, I would argue that it combines aspects of both Scribble Mode and Hussnasty Mode (#4 in this post) throughout.

I have also identified two distinct styles within the Scribble Mode umbrella. One always uses a thin, apparently single-pixel-wide black line to outline forms, while the other uses a thicker stroke for both its filling and outline. You can see the difference between these in the four examples I’ve pulled; they are sometimes even combined within one single Scribble Mode panel.

3. Hero Mode

Page 1815 of Homestuck

Page 2063 of Homestuck

Hero Mode was officially named as such by Hussie. The Homestuck wiki page describes it as cropping up to “emphasize a particularly epic moment in the story.” Hussie originally called the style “action panels” before hitting upon the current name, emphasizing the link to action scenes and dynamic poses. Along with dynamic posing, characters are drawn in greater detail and tend to have elongated limbs. Some crossover can be seen between Hero Mode and Hussnasty Mode. I would argue that characters in Hero Mode usually retain the original style’s characteristic lack of a neck, while Hussnasty Mode often adds one. Compared with the Classic style, Hero Mode always adds arms. The degree to which Hero Mode drawings include the “hatching-type effect” characteristic of Hussnasty Mode varies from panel to panel. The difference between Hero Mode and Classic Mode can be observed clearly on these two pages, where Damara shifts between the two styles at the behest of Scratch, who asks her to “render [herself] in a more symbolic manner.”

The wiki asserts that “Hero Mode dispenses with the black outline that typifies sprite-style animation and scribble mode,” but I don’t think it can actually be characterized as the only lineless style. Scribble Mode and Hussnasty Mode also sometimes feature a lineless graphic style depending on which part of a character is being depicted, or the need for a line to differentiate two features of a similar color. A willingness to move between lined and lineless blocks of color characterizes Hussie’s art as a whole.

4. Hussnasty Mode

Page 2805 of Homestuck

Page 2976 of Homestuck

This art style is also named by the author. In his commentary on page 2805, he writes: “Someone asked me what I called the style, and I replied by naming it "Hussnasty Mode" myself, because well… it's a bit nasty, isn't it? Kind of raw, a little over-illustrated, and making use of a lot of jagged aliased pixel edges for a hatching-type effect. It was sort of the point to make it a little nasty, kind of aggressively incongruous with the other styles previously established.” This quote sums up the style’s characteristics pretty well. Hussie also describes how this style is more naturalistic, or less symbolic, and was meant to work in direct contrast to the extremely symbolic RPG Sprite Mode. He writes that “drawings like this are introduced in contrast with this simple RPG sprite mode, which was also established very recently as something that Homestuck was "allowed" to use as a stylistic presentation of characters and settings… Every time HS does something like this, it's widening its own umbrella in terms of what it's allowed to do stylistically, which includes dramatically simplifying and abstracting its forms. Which implicitly asks another question: Can HS "allow" itself to go in the other direction? To render characters with higher degrees of definition, regardless of congruity, and freely navigate this full artistic palette at any time, resulting in sharp stylistic contrast and a certain amount of visual thrashing? The answer to that question, almost immediately after it's asked in the form of dropping RPG-sprite Rose into a standard panel shot, is yes, HS can do that, and clearly it WILL do that.”

5. RPG Sprite Mode

Page 2804 of Homestuck

Page 2824 of Homestuck

Despite being officially described by the author, RPG Sprite Mode hasn’t gained much representation as a distinct style (it does not have a wiki page, for example). This style appears after Homestuck’s first walk-around game, now incorporated as a style for static or gif panels. After their joint introduction, this style is juxtaposed against the Hussnasty style. The quotes pulled above in the section on Hussnasty Mode nicely describe the contrast between these two styles and their greater impact on Homestuck’s graphic norms. RPG Sprite Mode always shows characters from an aerial view, mimicking the style of the first walk-around game, which in turn mimics a wealth of RPG sprite games (such as the original Pokemon games). Sprites from these sorts of early games can be characterized by their almost pointillistic use of individual pixels to carefully construct forms.

6. Terezi’s Perspective

Page 2756 of Homestuck

Page 2128 of Homestuck

This style hasn’t been officially described yet. It only crops up as a representation of Terezi’s perspective, conveying some of her experience tasting and smelling colors. While it only appears a few times in the comic, I think it is uniquely visually interesting, and it includes “blurring” techniques which are only rarely employed in the rest of the comic. I’d guess that the effect is created by layering low-opacity strokes over one another and then sliding the different layers’ opacity up and down.

7. SBAHJ Style

Page 8 of Sweet Bro and Hella Jeff

Page 3451 of Homestuck

The SBAHJ comic, featured both within Homestuck and as a spin-off, has its own recognizable style. In the first few pages it has a lot of commonalities with Homestuck’s two versions of Scribble Mode, but later takes on distinct characteristics. It can be characterized in part by its image clipping, an effect where an element is made to look like it has been selected within a square box (in MS Paint or Photoshop) and dragged around the page with little care for the size and accuracy of the selection box. Commenting on page 3451, Hussie describes this effect as follows: “In the SBaHJ comics, one of my cool tactics—which I'm almost positive I invented as a sequential artist—was to elaborately render someone ‘turning around’ by taking one shot of them and gradually altering the pose by crudely rectangle-selecting pieces of their face and nudging them around until they're facing the other way in a totally unconvincing and utterly hideous manner.” Different from Scribble Mode, the SBAHJ style also frequently features blocks of color that appear to be filled with the “paint bucket” tool. When the paint bucket tool is used to fill anti-aliased stokes, it creates a small transparent space between the filling and the original outline, visible in the SBAHJ graphics. Finally, SBAHJ comes to include image compression and glitching, created through “deep frying” compression techniques. Overall, the breadth of manipulative techniques made apparent to the viewer in SBAHJ is much greater than any other style. SBAHJ panels are reproduced wholesale or hyperlinked in Homestuck, but on these two pages Gamzee is also drawn in the SBAHJ style.

8. Caliborn’s Styles

Page 5075 of Homestuck (hyperlinked in pesterlog)

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While Calliope’s in-world art was contributed by Shelby Cragg, Hussie gives Caliborn has three styles of his own. The first is his “angular” style, which Calliope aptly characterizes on page 5109 as containing “inscrutable squiggles” and demonstrating a “penchant for arbitrary, completely baffling straight lines and right angles, almost as if trying unsuccessfully to begin constructing a grid.” The second is the style he uses in Homosuck, which retains elements of his original “baffling right angles” but generally takes on the black outlines characteristic of Homestuck’s Classic style, while employing even cruder detail. Finally, after reading a “How to Draw Manga” book, he develops his “manga” style which uses black strokes, somewhat messy coloring (usually with the paint-bucket tool), and shows an attempt at naturalistic representation despite a complete lack of understanding of human anatomy. This style is specifically meant to emulate manga styles, so it features the characteristic white dots as highlights in the eyes, among other features.

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As becomes apparent through Hussie’s commentary, the different art styles employed in Homestuck do more than just emphasize certain moments; they form part of the comic’s visual language and ask us to question our understanding of graphic representation. The scope of this post also illustrates the attention paid to Homestuck’s visual elements throughout the story’s production and within its readership, even if these visual distinctions have received less attention in scholarship. Despite the variety of styles, we can see Hussie’s characteristic artistic tools, techniques, and sensibilities reflected across the comic.

If you find any styles recurring in the comic that I haven’t mentioned here, feel free to shoot me a message! Again, I haven’t included styles from other contributors; only those developed and drawn by Hussie.

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As we approach the close of the semester, I’ll probably be putting out one more post sometime soon! If you liked this post, you can follow the blog on tumblr for updates or, if you don’t frequent tumblr, sign up for the mailing list to receive an email whenever I publish a new mini-essay!

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[1] These include Hussnasty Mode, Scribble Mode, and Hero Mode.

#essay post #homestuck analysis #art styles #art history

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thanksjro · 4 years ago

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More Than Meets the Eye #32 - Nobody’s Ever Actually Dead in Comic Books

Our band of merry guys-who-weren’t-on-the-Lost-Light-in-issue-#1 approach the shattered husk of the Lost Light, in a gruesome scene that is only slightly marred by the graphic design.

Font doesn’t really suggest danger, does it? Here, for comparison, is something I slapped together in fifteen minutes (including recreation of background) using a font I got off a free font site.

Now, one could say that my version is rather derivative, flat, and arguably cliche, but you know what else it is? Appropriate for the fucking mood of having found a destroyed, hemorrhaging ship after everyone you knew disappeared.

I’m available, IDW! Hit me up.

Theorizing that this is the ship that the Coffin Rodimus came from- remember that? It was a few issues ago- the gang flies in for a closer look. The ship blood is actually something called quantum foam, which allows for quantum space travel to happen. It’s not supposed to be outside of the quantum quills, but the ship’s pretty junked up, so it is.

Because the ship is so very full of holes, the gang can set down for repairs pretty easy. They land in Swerve’s, finding it in less-than-pristine condition. They also find evidence of Crosscut having gotten creative, as a poster for the play he was working on is hung up in the room. Considering he was still writing it when he disappeared, this might seem a bit odd. But then you remember that this is a ship from the future, and it stops being so odd.

Because this is a future ship, with evidence that Crosscut did some stuff, it stands to reason that, at some point, everyone is going to come back from being disappeared.

Just to die.

Which is a bummer, but one crisis at a time.

Megatron disembarks the Rod Pod, with Ravage following, and everyone is just a touch put off by the duo. Everyone but Nautica, who proceeds to commit a microaggression.

Nautica, that’s Soundwave’s father you’re petting like a common animal.

Ravage, angered by this over-familiarity, swats at her. Skids questions letting an active Decepticon roam around, but Megatron brushes off these concerns, saying that finding any still-living crew members is more important. With that, the search begins.

The gang splits up to look for clues, despite Riptide thinking this is a horrible idea. They’re on the clock for this one- the quantum foam is liable to explode if it touches anything, and there’s an awful lot of the stuff floating around right now.

Nightbeat and Nautica leave the rest of the group to their own work, seeing as Nautica has the most appropriate alt-mode for traversing the gaps in the ship.

Man, that’s pretty cool. Wish Nautica hadn’t been regulated to being “girl best friend” for her character arcs, I would have loved to see her do some neat stuff for her own development. Guess that’s what happens when you get introduced as main cast late, and have to compete with all the faves who had dozens of issues to be established and who also don’t have to deal with the whole “token girl character” thing.

The rest of the gang- Megatron, Ravage, Riptide, Skids, and Getaway- start looking in the area they’re already in. Seems a little lopsided, but whatever.

Ravage finds someone almost immediately, identifying Ultra Magnus through smell alone. Only, it isn’t just Ultra Magnus.

The Magnus armor lays not terribly far away, having had its hands cut off to prevent the recall signal from being activated before being gut-murdered.

Gut-murdered wiTH A FUSION CANNON, MEGATRON

Of course, Megatron was forced to destroy his fusion canon after it was decided he would be joining the Lost Light, but you can buy these things off the black market like it’s nothing. Hell, I wouldn’t be surprised if Brainstorm had a few stashed in his lab.

As it currently stands, nobody can trust the guy who has a storied past of killing Autobots, on a future ship where the only folks who could stop him are dead. Megatron, at least, has the good sense to not argue this fact, and suggests that the boys lock both Ravage and himself up until they suss out exactly what happened.

Meanwhile, over with Nautica and Nightbeat, we run through all the weird shit that’s happened in the last day or so.

Nautica, you’ve been on this ship for months now. How did you miss the fact that the only couple within 800 miles got annihilated by way of Phase Sixer? I feel like that attack might have come up at some point.

Since they’re on the subject of spouses, Nightbeat asks Nautica if she’s married, or if she has friends. Though noting that such a direct line of questioning might get him slapped with someone else, Nautica reveals that she is single, though she does have a best friend. Nightbeat is also single, probably because he pulls shit like this.

While this conversation is going on, Nautica uses her Sonic Screwdriver wrench to open a door with the literal push of a button. Brainstorm tricked out her wrench so hard it turned into a magic wand, which is good, because they’re going to need all the help they can get now that space is literally warping around them thanks to the quantum foam.

Nautica kicks something on the elevator, and that something turns out to be Brainstorm’s mysterious briefcase. Too bad Swerve is gone, he was so invested in what it contained. Luckily, Nightbeat is just as interested.

Back over on the other side of the ship, it seems as though Megatron kept his word about not resisting, as both he and Ravage have been locked in a cabinet. Wonder how that’s going for them.

Oh, better than I expected.

Ravage is fucking pissed that Megatron joined the Autobots, thereby turning his back on everyone who supported his cause during the last four million years. Despite this grievous betrayal though, the Decepticons haven’t stopped moving. Turns out, Galvatron’s in charge now.

But only if Autobot Megatron isn’t some sort of ploy.

It’s at this point that we learn just why Ravage is here to begin with- to see if Megatron’s truly given up the Decepticons, and if he has, to murder him. But first he’d like to know why this is happening.

Megatron views himself as a monster, having perpetuated a war that ended the lives of billions, destroyed the Cybertronian way of life, ostracized his race from the rest of the universe, and killing just to have something to do. He doesn’t like feeling this way about himself, so he decided to walk away from that life by joining the other team.

Don’t think it’s quite that easy to do, but okay.

Ravage isn’t so sure that this change of heart is going to stick, still convinced that Megatron will snap back to his old self with just a bit more time. Problem is, Megatron may not have a ton of that resource left.

Didn’t they build that body in like an hour so you wouldn’t die? Yeah, no wonder it feels as ill-fitting as a twenty-dollar suit. Thing’s probably made out of pig iron and duct tape.

The lights come on before further self-reflection can be done, and the duo realize that they’ve had guests this whole time.

Someone put the kettle on.

Obviously some fucked up shit happened on this ship. Megatron isn’t so sure that it’s him who did these dirty deeds, however, as he reaches into Ratchet’s mouth and pulls out his brain. Which feels like something that doesn’t really absolve one of guilt, but okay.

Also, ew.

Back with Nautica and Nightbeat, things are getting weird.

Now, this sequence might seem confusing at first blush, but this is because the laws of reality are collapsing around them. Going by clues in the background, we can find the proper, linear progression of time, and thus is conversation. This is what is actually happening:

With the mystery of Brainstorm’s briefcase eluding us once again, we move on to see more graphic aftermaths of violence. Poor Tailgate has been nailed to the wall with a chunk of a metal beam that’s almost as big as he is. The mood lighting for this scene is gorgeous, but I’ve hit my limit for exposing y’all to gore for this issue, so you’ll just have to trust me on this one. Then they find something even more interesting.

Who’s ready for Under Cold Blue Stars… 2!

Back over on the opposite side of the ship, Riptide’s found something nasty. It’s a bunch of dead bodies!

Including, uh, Pipes.

Who already died a while ago.

Hm.

All the bodies in this room are in their alts, and it looks like they’ve all been shot and drilled into, for some reason. Skids brings up that he had a friend who could identify the placement of any robot’s brain module just by knowing what they turned into. Then he reaches into a corpse to see what the drill-hole’s all about. It makes him sick, though maybe not for the reason you might think. He gets on the phone with Nightbeat, who’s called to tell them that they’ve found Overlord.

Still locked in his weird body harness.

And decapitated.

Megatron is on the other line, calling because he’s figured out the same thing Skids has. Someone paid a visit to this ship. Someone nasty.

The gang regroups, and Nautica gets the basics on the DJD, because I guess nobody’s mentioned them even in passing in the last six months, either.

God, what do they even talk about on this ship? Certainly not their feelings.

The reason that one room was filled with alt-modes was because of Tarn’s addiction to transforming; t-cogs are easier to remove when they’ve been used recently.

We get a quick 4/5ths-page gore-fest, then it’s back to making it all about Megatron.

Maybe you should have thought about that before you FUCKING DEFECTED, YOU POOL NOODLE.

Nightbeat’s beginning to put two and two together. There’s an Overlord in the basement. That shouldn’t be, because Overlord got exploded by Chromedome when he mercy-killed Rewind. Something is off about the past of this ship.

Before he can establish his MTMTE everybody-lives-but-then-dies AU though, the quantum foam fucks with the ship. These sons of guns need to get the hell out of here, pronto.

Oh god, what now?

Ravage smells someone inside the Magnus armor, someone who isn’t a part of the usual nesting doll lineup. Megatron reaches into the Crackerjack box and pulls out one hell of a prize.

HE LIIIIIIIIIIIIIIIIVES

Chromedome would be so thrilled, if he still existed.

#transformers #jro #MTMTE #slaughterhouse #issue 32 #maccadam #Hannzreads #incoming analysis #text post #long post #comic script writing

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harlequinmoss · 4 years ago

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How would you rewrite season 3 so it would be more coherent? I'm not talking about a full on rewrite of the entire episodes, I just mean how to make the plot lines and development flow better or changing them to be satisfying for all the characters.

Okay this is a really good question. I was going to say to make it more centered on FOWL but going back and reading the episode titles, it already kinda is. Like there's not that many episodes that don't tie into the finale in some way. I do have tweaks here and there that would help with plot and character development throughout the season. This ended up being a lot longer than I thought so here's a page break lol

Going in a linear format, Steelbeak should have made himself smart in Double-O-Duck instead of making the ray to make everyone else dumb. He'd be a more competent villain and more in line with his character in the original DWD. Maybe he could have even played a roll in LGD. It also would have avoided both him and Launchpad being mostly comic relief characters. I think there's too many jokes at Launchpad's expense about him being dumb. If he went back to his "normal" level of intelligence at the end, he could have told the family about FOWL without jeprodizing the search for the rest of the season. All they'll know is that FOWL is trying to take down the family and where the secret headquarters is. There's still the search for the leader and why FOWL is doing what they're doing. This makes it so that Huey has more to do and accomplish in what is supposed to be his season.

Next, The Rumble For Ragnorok. I'm just going off of memory here. I don't think that this episode did very much in the way of developing characters. Or at all. It was a forgettable filler episode where Dewey learned a lesson about humility or something and then it didn't come into play ever again. This episode could have been removed entirely to make room for an episode after LGD to give the Mallard-McQuack family more screen time and development. A general plot of this episode could be: Huey is helping Fenton and the other adults search the other realities for Gosalyn's missing grandpa. They end up finding him but he's either dead/a totally different person with different memories that doesn't remember Gosalyn at all. This event causes Gosalyn to give up the search and accept that her family is gone. Dewey has an emotional moment with her aside where he comforts her and relates the situation back to his mom and talks about found family while looking back at Launchpad and Drake. (Not really integrating this into any of my other points but if Della died on the moon in season 2 and the kids knew about this, it would make the interaction more impactful) At the end of the episode, its shown that Gosalyn has her own room, either in the lair or in a house similar to the original DWD, and Drake tucks her in while singing her lullaby.

The Phantom and the Sorceress. Oh God, what a mess. There's way too much wrong with this episode. Soup-Du-Silence had a good idea on how to fix it from Lena's perspective, which you can read about here. As for Gladstone, he could have still lost his powers and come to the mansion for help. But instead of him asking literal children, its Della and Donald (and maybe Fethry is there too) and then its a cousins adventure! Donald revels in Gladstone being unlucky but still wants to help. Gladstone doesn't seem so pathetic and played for comic relief. They track down the Blot together after Lena and her family fight him out of the Saberwing house, or they're about to find him when the Blot's gauntlet breaks and Gladstone magically gets his luck back for seemingly no reason, much to Donald's dismay. It might have to be two different episodes because cutting back and forth between the two plot lines would detract time from each and make the episode harder to follow. Idk but there's so many things they could have done that would have made the episode actually good and coherent

Let's Get Dangerous. It was good but it felt rushed. It needed to be longer. The timeline was hard to follow. Instead of the cheap shot at the end were Heron picks Bradford up in a FOWL helicopter, have the triplets being suspicious of him and figuring it out for themselves. Maybe they're all wary for different reasons and talking about it in a group huddle and Huey connects the dots in a dramatic reveal. They confront Bradford who does an evil villain slow clap congratulating them on figuring it out, but before anything else can happen, he's able to escape.

How Santa Stole Christmas. I don't think we needed this backstory. Instead, give us the opportunity to see bonding between characters. Its Della and Donald's first Christmas back together. Let us see that. Give us an interaction about the sweater. "You still have that sweater?" "Of course, wear it every year." And then they hug or something. That's literally all they had to do. Instead of following a Santa storyline that ends in Scrooge leaving an impoverished child alone in a house with nothing but a lump of coal when he could have given a tiny portion of his wealth to help her, let Scrooge learn the true meaning of Christmas through his family. Or even better yet, let him throw a party, inviting over recurring characters, and have it double as a brain storming session on how to defeat FOWL. Show them coming up with the plan for Webby's birthday party. Give us interactions with characters who haven't been there all season. Penumbra can help. Where has she been? She was building a ship back to the moon before, right? Give a conclusion to that. If she's decided to stay on Earth like it seemed in the end of her episode, all we really need is a short two second clip of her hanging out with the other Moonlanders, having their own form of Christmas or Hanukkah or whatever else.

As for the last few episodes leading up to the finale, I get what they were going for. Give each of the triplets one last centric episode. However, I think that the messages fell short in the Dewey and Louie episodes. I think they should have taken more of a Beaks in the Shell approach where the selected triplet still gets to shine, while also setting up high stakes for the finale. Don't be adding new characters so late in the game, be wrapping up storylines with already established ones. There wasn't really a point in adding Kit or Poe, other than the writers wanting to make reference to as many characters as possible. Same with April May and June.

Now for the finale. My main thing: don't make Webby a clone. It messes too much with all the dynamics in the show and ruins the found family message they've had this entire time. It would have been a lot better if Webby's parents were FOWL agents who had a change of heart after having their child and got killed by Bradford or Heron when trying to leave the organization. That's ample reason for Beakley not wanting Webby to know. I think the finale did a pretty good job of wrapping things up outside of that, honestly. Again, there wasn't really enough time to give all the characters a proper ending, like Gene who just disappeared once he was saved, never to be seen again, but if time was managed better in the episodes leading up to the finale, it would have made it so that more characters could have accomplished what they needed to. And what was with Bradford getting turned into a real buzzard at the end? You really going to just undomesticate him like that? Give him some poetic justice, push him into the void that makes people cease to exist.

That's about all I can think of at the moment. Thanks for the ask! It was fun to go through everything and think about what could have been done better

#ducktales #ducktales season 3 #dt season 3 #ducktales critical #ducktales criticism #dt criticism #dt critical

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prettywarriors · 4 years ago

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Fate The Winx Commentary

Good morning internet! Today is the drop of Winx: Riverdale edition! I sure hope you're ready for my aggressive and unnecessary commentary, because it is coming for you either way!

The netflix landing page lets us know:

Fate The Winx Saga

6 episodes, 48-53 minutes each

"Genres: Fantasy TV Shows, Teen TV Shows, Italian TV Shows"

"This show is: Emotional"

As mentioned elsewhere, my Winx knowledge is limited, so I will be coming into this fairly fresh and will try to be unbiased. As I have seen trailers, the keyword here is Try.

Episode 1

'To the Waters and the Wild'

CW: Animal Death, Swears, Implied Child Death, Blood, Implied Teen Sex, Burns, Weed, Fatphobia, Whatever the term pussie falls under

Episode 1 TL;DR: We meet everyone, learn their dynamics, have the basics of the magic system beat into us, meet our monsters, and name drop Harry Potter. Standard first episode stuff.

I do want it on record before we start that I got about halfway into the first season of Riverdale, and the first season of Netflix Sabrina. They were, well, bland and boring imo? I did get through a few seasons of Teen Wolf, but that's because it was capable of Fun and Jokes. My current expectations are a few unintentionally funny lines, maybe some almost decent magic effects, and because it's 2021, one whole gay character (I did hear one of the boys (there are boys?) is bi, but also an asshole so I'm hoping for some wlw)

TV-MA LANGUAGE AND SMOKING OH FUCKING BOY Almost full moon (waxing) in opening shot- I Will be tracking moon inconsistencies if it keeps showing up that is a pet peeve but hey look a bunch of sheep That's a good start (it's ominous though. don't hurt the sheep) Swears count: Feckin' 2 Mystical portal barrier. Oh yeah s5 of the magicians is on netflix now WELP THOSE ARE SHEEP GUTS RIGHT OUT THE GATE HUH For CW it's up a tree, and the dripping blood is a good warning of what's about to be seen :( oh and then the man who was looking for the sheep dies offscreen save for a spray of blood. THIS ISN'T YOUR CHILD'S WINX CLUB it seems to say. I assume. How much blood was in the original winx because this is already at least a full cup. (Also the monster noises for whatever was chasing the man (werewolf it was a werewolf trailers are bad guys) were not very good)

Opening credit scene is 5-6 different blooming elemental wings. They're pretty, but it's unclear if the last one is secret 6th member wings (because the second to last ones are fire which is the main character's element right?) so maybe we'll get a late 6th addition? (I am in I.T. please give me the most relatable character you cowards)

KIDS IN THE CORNER BY AMBER VAN DAY PLAYING I like where they shot this but that might just be european woods pretty. The opening location was nice and mossy save for the sheep blood Fancy big stone school establishing shots (it's nice, and huge) and we land on a red head who seems less than pleased to be here Courtyard shot of... whatever the name of the replacment plant girl is, holding a tray of various potted plants for an older man (father? first day of school send off maybe?) Aisha(?) walks by, not talking to anyone, Stella(?) is taking Magical!Selfies with at least 3 other girls, Musa(?) has a suitcase and headphones and smiles at a passing girl Oh boy a boy with a pocketknife doing little tricks with it! Nothing says edgy like an actual knife edge. Gonna take this moment to point out I have some level of face blindness and while the girls all look fairly different from one another, if there is more than one tall blonde white boy as I fear there may be, I WILL NOT be able to tell them apart. Not through maliciousness, just general incompetence, so anything I say about the boy characters (I want to say they're the knights to the girl's faeries? is that right? this whole thing smacks of gender) should be taken with a heap of salt I've come to accept tv just. displaying text messages on screen as a storytelling method. It's never my favorite but it just Is a modern story element. Also Bloom needs to meet stella at the alfea gates Alfea I presume is the school- does the name mean something? It sure feels like the word elf and therefore fae but I don't feel like googling anything this early in Oh look two more blondish tall white boys. Pocketknife was wearing something else i think, one guy has a brown jacket and pink shirt (bad combo), the other looks old even by tv highschool/college standards and his jacket has a jock vibe. Jock jacket also has an earring? Is this the bi character who is an asshole? From this one second of him, only in profile, I will assume yes, he is an asshole I like Bloom's backpack Pink shirt looks at Bloom from across the quad. I am already tired of this romance Cool he walks up to someone he has identified as lost, and is 'impressed with [her] confidence in the face of complete ignorance' COMING OUT OF THE GATE WITH A NEGG HUH PINKY He even states he wasn't offering help Then Why Are You Talking To Her Jackass Subs are going with the fairy spelling, and Bloom confirms she is a fairy and we confirm this is College. Unless this is a european thing where they call schools different things. I think that's just for public and private? And maybe just england? I'm American all they teach us is 1492-ww1 over and over for like. 10 years sorry Rest of the World 'What Realm are you from?' 'California' Speaking of ameri-centric, I'm gonna Guess that original Winx, the italian cartoon, didn't have their main character be from cali usa? I am presuming this is a side effect of making this property for a more global distribution than I'm guessing winx was originally conceived as back in the early 00s The Otherworld. I assume this is the fairy realm and whatnot? And the magic school. Seems to be located behind a magical barrier in the earth realm?? If that's right it seems weird if basically everyone who goes to the school is from the otherworld Pinky doubles down on his rudeness but in a Fun and Cute way because :/ and the Specialist hall is Very Pretty, oh and there's a fairy hall. Are specialists the boy...things? magi knights? bros of the blade? guys who wear those 'here come a special boy' sneakers from that one comic? Stella sees this conversation which is great because they drop the term mansplain. why would otherworlders know that term even??? Edgey(?) sees Pinky and they hug it out Stella knows Americans are the type to wander off so I guess there's a lot of inter-world connections?

Miss Dowling- is this teacher going to be like the pedo in riverdale who got *checks notes* killed off by one of multiple serial killers later on? Dowling is the headmistress, gotta keep the otherworld a secret from earthers, time and place for portal making. all standard fantasy stuff so far, nothing to make this stand out Stella has a gateway ring, and frankly isn't too nice? all the backgrounders clothing is Bland and very normal 7 realms of the otherworld, Solaria is where Alfea is, i like magic globe Incase you forgot this was a modern tale, people update their insta stories here. 'I was kindof bummed I didn't see a single pair of wings' YOU AND ME BOTH BLOOM 'We had wings in the past, transformation was lost, tinkerbell was an air fairy' This is either a cop out for your glittery cowardice, or a set up for the main girls re-finding transformation magic later. I did like the Tink bit Bloom is a fire fairy and the subtext of this conversation is that bloom's magic did Something bad. I hope it was burn down her old school's gym a la buffy movie I like miss Dowling but in the I wouldn't Be Surprised if you turned out to be Evil way, and I guess Alfea is a very privileged upper crust school. What types of college do normal fairies go to then huh? damn privileged fairies 'our students have gone on to do amazing things like re-discover long lost magics' We Get It. You will give me Wings, but Only If I'm Patient Dowling throws a jab at Bloom about power control, but I like her necklace so It's Fine

Bloom video calls her parents while unpacking in the dorm, which may have come pre-fit with a heck ton of board games? Love it. Or new plant girl brought them along with her many plants Stella has a fancy mirror and lots of jewelry and fashion photos and makeup, Musa has a laptop and apparently not much else, gotta get those establishing personalities down I guess 'Ladies of the Flies honey don't be sexist' Bloom's dad for feminist of the year (these jokes are bad but i guess we can call it a dad joke as justification) Asiha gives Bloom a look and saves her from the call with her parents- yay friendship step one achieved Blooms parents think she's in the alps because magic secrets and what not Aisha asks bloom if she's never read harry potter and I guess Bloom is a potterhead (that's the term right?). Is this self awareness that all magical school fantasy series have the same basic bricks? Bloom is a ravenclaw sometimes slytherin, Aisha is a Gryffindor Stella is changing because she's the fashion one and has a fun pastel rainbow skirt, and uses magic to make a real aggressive lamp. She's also a mentor (maybe older than the others by a bit?) I am assuming Stella here is something along the lines of a diplomats daughter the way she talks about appearances. She better get down and dirty later on to show her growth about how some things are more important than looks yada yada Fairy magic powered by strong emotions, i am waiting for bloom's backstory to be movie x-men rogue style tragedy Terra! Which. Of course is the Plant Fairy's name. Stella is a little mean to her about the plants and she takes it with a smile and some subtle snark back using classic literature Oh that's fun Terra points out the name-plant thing, and name drops her cousin Flora. That's. The one they replaced with Terra right? Terra's dad works in the greenhouse at the school which explains earlier (and her mum is named rose) Stella is indeed a second year and Musa's eyes change for. Lie detecting magic? and loves her headphones (Overstimulation?) Aisha wants somewhere to swim and we cut to a 'pond' by specialist training. Assuming she wants to sim because she's a water fairy, why Don't they have a pool? also this pond looks. Unpleasant for swimming

Girl specialist! Does that mean we have boy fairies? Boys. Fighting. Talking about girls. All gingers are nuts. Thanks edgelord AMAZING SHAGS THOUGH 'I didn't realize your hand was a red-head' it's not truly edge if we don't talk about sex every 10 minutes Subtitles earlier only said boy 1 boy 2 but now pinky or edgy is Riv Edgy smokes weed, and pinky is a big brother figure to him, and the head? of the special boys doesn't like edgy. Me neither older guy Bit of swordplay, more girls, every specialist has black training outfits, very military Pinky is Sky who is son of Guy of Place. an important lad. without context this is meaningless to me There's a giggly boy who laughs at the idea of a war in the future and gets a talking to. I suspect this boy will be re-occurring enough to die- he has those tertiary character elements with his intro and such (and he's black so I am prepared for your standard racist murder choices) Burned Ones exist outside the barrier, which makes me wonder if dead shepard was in the otherworld? There was nothing establishing that he was in any type of Other place but :/ Oh look edgey is having a smoke cross the barrier while we learn about the creatures that live beyond it. Time to find out these creatures no one young has ever seen are still kicking Specialist leader had to kill his own pa after a burned one got him. They also. Used a shotgun when trying to fight it. Do specialists even have powers or are they just good with weapons? Edgey finds the shepards corpse. Mostly blood 'it's been 16 years since the last sighting' 'Rosalind killed all the burned ones' ahh magical creature genocide hey when is abarat 4 coming out. and is rosalind hot?

School, gossip, Aisha and Musa are snarking at Tera for thinking the guy died of natural causes because we need to have these characters not actually like each other to make it stand out when they do Aisha talks about how she eats a lot and if she didn't swim she'd be massive and we cut to the plus sized tera looking uncomfortable are we really doing this? Tera points out that Musa was ignoring her earlier and it's all just uncomfortable and not great character conflict (but I thought I saw Musa holding an honest to god ipod? it's blue but it could be a phone case. Her hand is in the way) tera and dad interaction is nice, i'm also convinced they couldn't afford more than 3 magic adults

Girl with braids and metal in her hair! There were witches in winx right? Like 3 minor antagonist girls? I assume this is one of them. Because she has alternative fashion and is therefore evil /s Beatrix. Names in this series leave something to be desired (that something is subtly. I get it, they're carry overs from a series for a younger audience, she-ra had the same issue, but i can still poke fun) Swear count: Arsehole 2 Bollocks 1 Shit 1 She's a weird ass kissing with clearly ulterior motives

Bloom is Studying and her notebook is just FAIRY MAGIC POWER = EMOTIONS LOVE FEAR? HARTED? FIRE FAIRY CONTROL? in case you weren't paying attention Oh a flashback already to the magic triggering event? Her mother had pointed out she's an introvert, and past!Bloom doesn't Party. She goes Antiquing and is a Weird Loner (her 'basic bitch' of a mom's words) Swear count: Bitch 1 Bad daughter count: 1 Bad mother count: 1 Magic glowy eyes for Bloom: 1

Bloom Hates Parties and asks Pinky I mean Sky where she can be Away from People and he fears he'll be Mansplaing to her to. vague that it's dangerous outside instead of saying 'hey there's monsters and someone was just killed by possible one of them stay in the barrier' Stella wants to talk to Sky because they have History. I did hear there was a love triangle between these three. I am bored and everyone at this party is a nosey bitch who is watching their tense conversation. Also Something? Happens when Stella gets upset [mystical warbling] Random magic effects in the (very pretty) forest Bloom is trying to practice her magic on her own, and to do that she's gotta look at sad teen pics. And look, her burnt bedroom from her first power usage The fire magic is pretty good. I think fire is like. the opposite of water when it comes to cg where it almost always looks pretty good, while I swear i've seen the actual ocean look like a shitty render Magic out of control, bloom can't control her emotions, Aisha can stop her with water magic which makes some nice steam Bloom is angry at aisha for saving her. So far 3 of the 5 girls are abrasive at best remember when people made characters likeable? Swear count: Shit 1 (but it doubles as the literal meaning because of flooded toilets) Swear count: Bitch 1 Ass 1 Taking away your teen's door is. Really shitty. Not almost burn down your house worthy but damn cheerleader mom I do not understand sleep shirts with buttons. That seems painful if you lie the wrong way? Her mom was seriously burnt by first magic usage that's a backstory Shit count +1 Main character aspect time: dormant fairy blood line? awfully strong magic for that. baby who died day after it was born and now she's here? ...I was going to say changeling thanks aisha A Barbaric practice loving hints at long term world lore Hell is a bad word for kids!! Cutting to headmistress and her secret passage after finding out bloom is secret pureblood? this really is a harry potter thing

edgelord offers giggly some booze, and says pussies twice because he's Edgey and does peer pressure Tera calls him out and knows he's a sad nerd in disguise not a 'badass' and he says she's 'three people in disguise' because fatphobia shit +1 arehole +1 tera. chokes out edgelord with a vine because she's had enough of this shit. good for her edgelord is Riv, and he lived

OBLIGATORY GOOGLE SEARCH FOR THE TERM CHANGELING REMEMBER BELLA'S VAMPIRE GOOGLE GOD I LOVE TEEN FANTASY AND THEIR INSTANCE ON GOOGLING COMMON FANTASY TERMS OH hey the lamp bloom brought with her is the one she was fixing at home that's a nice touch Stella bonds with Bloom about homesickness, and the takes a selfie Musa is a mind fairy. So she. Is a telepath with purple eye magic? Oh there's types of 'connections' Memory, thought (others but i am cut off from the lore) Stella did Something to someone who Talked To Her Man last year and now lent Bloom her teleportation ring to send her some because miss mentor really cares more about her shitty man then helping the girls she's in charge of First World- earth Old Cemetery? Very Sexy. and bloom sweetie don't leave a mystical gateway open, and how will you explain to your parents how you're back so fast Wait she's only 16? SO this really is some european college where that's a funny way of saying High School Fire guilt, bad feelings about life shattering revelations, better connection with mother. I gotta say I have low expectations of this show carrying the family connection through the rest of this. That conversation felt more like a Hey We Made These Movements Onto Other Stuff Now

Lighting choices are interesting, with green, orange and purple for creepy warehouse. THE Creepy Warehouse where she would sleep without her parent's knowledge wow right that GIRL DROPS THE DAMN RING AT THE FIRST SIGN OF burned one looked more alien than werewolf-y here Decent Horror movie looks, and dude stole her ring. Rude. Saved by the headmistress, and tera/aisha/musa are here to great her Stella can't be here though because she has to greet a half naked freshly showered sky because life is suffering and producers insist people like to see teens half naked (who. Who?) shit +1 and she dumped him. pity part of one and using it to try to get your bone on. HEY A SONG I KNOW. IT'S WHATSITCALLED FROM THE BAYONETTA COMMERCIALS WAY BACK WHEN. in for the kill la roux. I do wish netflix would either commit to telling you what song was playing or didn't tell you at all

Riv offers Beatrix a hit from his joint because what Is a Bad Kid hasn't changed in like 70 years Blowing pot smoke into someone's mouth isn't as sexy as ya'll seem to think it is Musa has cute sleep socks with little pom poms, and I love Tera's floral jammies Tera offers a bluetooth speaker so they can listen to music together Musa also calls out Tera's fake happiness this is the good shit character interaction i live for Musa Empath Mind Fairy 'somber indie music'

If you kill a burned one in the human world Something? Extra bad happens? So the headmistress knows Bloom's a changeling, and ohhh that's the last time a burned one was spotted. Is Rosalind the famed Monster Slayer the birth mother of Bloom? Tera text flirts with Giggly who IS NAMED DANE and has a thing for. Sky? Riv? I told you these boys all look the same to me so if it's a half naked pic on fairy insta i'm out of context clues. Crymeariv is the insta name that answers that. Is this the slow burn enemies to lover mlm i can't finish this sentence i don't care riv is a dick Stella and Sky are in a bed and she doesn't seem to have a top on so Implied sexy times? MYSTERIOUS HOODED AND ROBED FIGURE CROSSES THROUGH THE BARRIAR AND SHOOTS THE BURNED ONE WITH LIGHTNING MAGIC OH IT'S beatrix

alt-J – Adeline as an ending song

#fate the winx saga #text #commentary #hey tumblr thanks for deleting all my text because I resized this window #we're off to a great start #fate episode 1

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stranger-who-writes-fiction · 4 years ago

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Gonna make full use of my ‘comic rant’ tag and roast Future State: Superwoman.

Spoilers! And yelling! Of the disgruntled kind!

So a few things at the start here: 1.) I wanted to love this book. I wanted it to be great. I wanted to give it the benefit of the doubt, in spite of some iffy stuff in the solicit text. So this rant is not coming from a place of having decided this was going to be awful ahead of time. 2.) My tolerance for bad Supergirl comics is pretty high! Takes a lot for me to actually come out and say that a particular issue is trash. Reader: This story is trash.

It’s not ‘middle-aged white guys writing/drawing a story about sending a minor to a potentially hostile planet fully nude’ trash, mind you. It’s the compost bin, rather than the landfill. Slightly nicer trash, but it still stinks to high heaven. Allow me to expand!

PROLOGUE - SUMMARY: ...I actually can’t summarize this comic b/c it would devolve into a lot of senseless yelling. We’ll just have to tease out this terrible plot as we go along.

PART I - DEAD DOGS TELL BAD TALES: The comic opens with Kara standing at Krypto’s grave. That’s not why this comic is trash, but it bears mentioning. Because why. Why would you do this.

PART II - IN WHICH IT ONLY GETS WORSE: So, Kara has a running inner monologue, and the main thing we gather from Kara’s thoughts is that it was Krypto who taught her to be a hero. On paper, that sounds very sweet! In practice, it reads as Kara having no moral center whatsoever—whatever good qualities she might possess, she did not learn from her parents, or her foster parents, or friends, or fellow heroes. Nor do they come from within Kara herself. Nope, t’was Krypto who taught Kara not to be a jealous rage monster. That is not hyperbole--Kara’s walking around angry about her cousin all the time and she’s like, ‘It was you, Krypto, who taught me not to judge, and to let go of anger.’ Listen, I love Krypto, but this? This is, as the youth would say, a bad look.

PART III - THOSE CERTAINLY ARE...SOME THEMES: The set-up here is that Kara is on the moon, and has established a sanctuary for alien refugees. That’s a dynamite idea! I love that! Buuuuut Kara didn’t look at the plight of alien refugees and say, ‘I want to help!’ Really, she didn’t even look at herself and say, ‘I don’t want others to feel like I’ve felt.’ No, she said, ‘Earth won’t accept me as a hero, and Clark didn’t name me protector of Earth, so. I’m out!’ (Honestly, if your moral compass is so whack that you need a dog to walk you back from Hulk-Smashing...can’t say I blame Clark for not picking you, Kara!) But apparently, the people on the moon don’t really like her either. And it is literally never explained why. There’s a whole montage of Kara fixing stuff and saving lives and all the moon folk just glare at her. This makes both the moon people AND Kara look like a**holes, because they come across as ungrateful, and she comes across as a glory hound. Thanks! I hate it! So the ‘peace’ Kara’s found on the moon isn’t really peaceful at all, cause she still resents her cousin, and people still don’t like her, in spite of the fact that she’s constantly performing acts of service for them.

Also, side note, I’m just now realizing this is an entire population of alien refugees...and Kara is somehow still the odd one out. Like, Earth I get, because everyone else is a human and maybe freaked out by the super powers. But a bunch of aliens? WHY. Why did you do this. Why did this need to be set on the moon with alien refugees if you’re not going to interrogate Kara’s identity as an alien refugee herself AND all of the aliens are inexplicably humanoid in appearance and utterly ordinary in terms of power levels.

Like. This is not the CW show, where they have a budget, and a huge ensemble cast to serve. YOU HAVE NO EXCUSE. AAARRRRRGHHHH.

PART III CONT’D: There’s also this weird ‘birthright’ element introduced...like, Clark and Jon stole Kara’s ‘right’ to be earth’s defender which is...a terrible reading of Kara’s modern origin. It brings in the idea that Kara is a ‘chosen one’ and because she didn’t get to be that chosen one, all of her hero work is for nothing. Never mind the whole central conceit of what makes Clark and Kara heroic...that they have this incredible power, and choose to do good with it. Nah...it’s all about her ‘right’ to protect the people of Earth! And mean ol’ Clark took that away! THANKS. I HATE IT.

PART IV - A POOR USE OF SPACE: So, all of the Future State books kind of struggle with the issue of too much exposition, which is understandable. They have to introduce an entirely new status quo in a very limited amount of literal page space, so you *really* have to have a handle on how you allocate your time and focus.

Introducing a brand new, lore-heavy heroic character who gets all of the development and dynamic art and pulls focus away from the character you’re meant to be writing is a bad use of a two issue limited series.

Like, this is a crappy Supergirl comic but it’s a great backdoor pilot for a Lynari ongoing, I guess.

Imagine if in the Jon Superman book, they introduced a random, brand new best friend for Jon, and he got the big character arc instead of Jon. That’s something you save for an arc in an ongoing title, NOT A TWO ISSUE EVENT COMIC.

Back to said new character, there’s a lot of forced attempts to parallel Kara and Lynari, but Lynari’s backstory is so confusing, rushed, and poorly explained that it’s like: okay, they’re both...angry? And the moon jerks hate them? ...uh. Okay.

(I’m gonna bring back my ‘why is this set on the moon, even’ question so that my ‘poor use of space’ header becomes a better joke.)

PART V - I'M HOLDING OUT FOR A HERO...B/C THERE SURE AIN’T ONE HERE: I’ve already mentioned that Krypto was apparently Kara’s conscience so when Lynari’s aunt arrives to...kill them? (again, everything about Lynari’s backstory is rushed and poorly explained) Kara gets real mad and basically pulls a Gothel: ‘You want me to be the bad guy? Fine! Now I’m the bad guy.’ But thank goodness Lynari is there to tell Kara no! Don’t murder the giant aunt eel! Lynari then steals Kara’s powers and gives up the swamp jewel that’s been hidden inside their body and now their aunt is less murder-y!

WOW. Couldn’t even give the big damn hero moment to Kara in her own book, huh?

So the day is saved. It takes Kara a while to regain her powers, and it’s only then, when she’s no longer ‘above’ the moon jerks, that they’re like, ‘oh, we like her!’ There is a bit of narration about how that attitude is awful. But that narration is provided by Lynari. See, the inner monologue is no longer Kara’s thoughts, but rather it has switched to Lynari’s point of view. They’re telling us this story. And do you know why?

PART VI - WHY THIS COMIC *SUCKS*: KARA DIES. SHE’S THE FRIGGIN’ ‘SECOND GRAVE’ OF THE TITULAR ‘TWO GRAVES’

Fudge this comic to heck.

See, Kara dies on the moon, presumably of old age. She’s buried next to Krypto. And this random character who we’re suddenly supposed to care about tells us her story. Not Clark. Not the Danvers. Not Brainy. Not even one of the supporting cast members from her solo title. No one from Kara’s life is mentioned at all, save for Jon and Clark, and they’re pretty much relegated to flashbacks of Kara punching them.

PART VII - TIME TO COMPARE DEATHS, I GUESS: First and foremost can I just say that I hate that’s a sentence that I’m typing about Kara in the year of our lord, 2021. But okay: Kara’s big famous death in Crisis stopped the entire DC universe cold. Everyone paused in the middle of the destruction of the multiverse to mourn her loss and honor her (GENUINELY HEROIC) sacrifice. Clark and Barbara--two established characters with a strong connection/relationship to Kara--offered lovely eulogies.

This one: Kara gets to die of old age in obscurity after a lifetime of striving to be recognized and only achieving it by de-powering and serving a population of jerks.

Not the warm and fuzzy ending you think it is!

(Meanwhile, Clark lives for millennia and spawns an entire dynasty of Els, all of ‘em out there, protecting the cosmos. I was looking forward to House of El in the hopes of maybe seeing some Kara stuff but NOPE. Thanks to Superwoman, we’re probably not gonna see any future Kara stuff beyond this! G R E A T)

And like, the argument could be made that this ending makes Kara happy. This is the life she chooses! She wants to be alone and garden on the moon! Except, we get zero insight from Kara regarding the remainder of her life. We only have Lynari’s narration and some montage shots...nearly all of which focus on other characters. But honestly, even if we did get Kara’s side of things, I doubt it would shed much light on her feelings, bEEECAUSE...

PART VIII - SUPER BLAND: This Kara really has no personality outside of ‘detached and vaguely bitter.’ I like Sauvage, I think she’s an incredibly talented artist, but here, Kara is stiff and her expression often reads as aloof. She’s very pretty, but it comes at the expense of being expressive. (And I know Sauvage can do expressive stuff...because Lyanari gets to be expressive.) Like...I love that shojo manga vibe but this is a Kara devoid of spark and warmth.

...Like...Melissa Benoist’s portrayal of Kara is right there...

I’ve already sort of touched on this but her inner monologue doesn’t have much personality either. She’s just parroting the same, ‘I need to do as Krypto taught me!’ nonsense for both issues. Until, of course, we shift to Lynari’s narration, and lose Kara’s thread entirely.

PART IX - LET’S WRAP THIS UP: This book frustrates me to no end because it had a lot of stuff going for it. It’s got a female writer and artist--still a rarity for the Supergirl book--it’s a limited series mostly free of continuity and character baggage, and it’s not tied down to the grimdark cyberpunk stuff happening in the Gotham books. YOU COULD’VE DONE ANYTHING. And, once again, DC goes with a pitch that’s: Kara is angry, Kara resents Clark...and Kara dies.

It’s also happening...right as Kara has no dedicated ongoing title, the movie’s been shelved, the TV show is entering its sixth and final season, and all promotion has shifted to new CW and HBO shows.

*screams into the void*

MAAAAAAN I hate this book. I hate that it retroactively makes me hate the Andreyko run a little bit--a run that I took to be about a traumatized young woman forced to confront her grief, and who leans on a beloved animal companion for comfort. Here, Krypto is L I T E R A L L Y the reason Kara’s not constantly frying folks with her heat vision.

I hate that this book has made me use the word ‘literally’ so much in this rant.

I hate that this could possibly be more in continuity than Millennium.

Remember Millennium? Where Kara was in like...five pages? And she was warm, and kind, and promised to help Rose because it was the right thing to do, and oh yes, WAS PRESIDENT OF EARTH?!??! AND A CLASSY OLD LADY!?!?!?!?! WHO WAS STILL ALIVE AND KICKIN’ IN THE FAR FLUNG FUTURE!?!?!?!?!

I hate that I’m using my lunch hour to rant about how much I hate this comic.

I hate that DC editorial seems hell-bent on erasing the interesting aspects of Kara’s character to sand her down to ‘the angry one’ or ‘Batman 2.0′

PART X - LET’S END ON SOME (?) POSITIVES: Don’t read this book! Don’t do it! Don’t waste your time and money!

Instead, check out ANYTHING ELSE. If you want mom!Kara, read Tom Taylor’s ‘Last Daughters of Krypton’ in the DC Nuclear Winter special. If you want heroic oldlady!Kara, read Millennium. Honestly? Pick up anything by Bendis that has Supergirl in it. It is miles away better than this. You want angry Kara working through her grief? Andreyko, Red Lantern, even Infected. ANYTHING BUT THIS. HECK, grab Superman of Metropolis instead! That has bad Kara characterization but at least she doesn’t end up dead.

Anyways. This comic is bad. I wish it wasn’t! And this is now the SECOND TIME IN A ROW that Kara’s book ends on a terrible note before the character disappears from monthly comics for an unknown period of time.

*screams into the void again*

#SG post #future state #future state superwoman #comic rant #and oh it is a RANT

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comicaurora · 4 years ago

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aaaa this is not technically a question, but I love how you draw fight scenes/action in both the comic and in all the legends/myths summarized videos!! It's so goodddd even tho you like to say how much you get tired of the process of choreographing fight scenes i think you really pull them off spectacularly!! do u perhaps have any tips... besides the usual looking at a bunch of refs and such- do you take inspo from action movies maybe? id love to know because like ur just so skilled red how

!!!! this is such a sweet question!

I’m so glad the choreography works! It’s difficult for me to gauge how engaging they are to read - I’m usually just focusing on making sure the movement makes sense from panel to panel. I’ve read a lot of manga where the fight scenes are beautifully drawn but frankly incomprehensible, because I have no idea how the characters are supposed to be moving in relation to each other. Because of this, when I choreograph a fight, I try and make sure the movement is clear from one panel to the next.

When drawing fight scenes for videos, I tend to exaggerate the movements a bit more than I might in a comic, since I’m usually trying to communicate the entirety of a fight scene in only one or two frames. Especially in the Journey to the West videos, I tend to give the characters very stretched poses - legs bent all the way up to the chest or stretched all the way back, arms completely extended, etc. In real life, overextending a limb is a very bad idea in a fight, but in the wonderful world of visual art, it usually looks a lot better than the more safe and realistic partially-bent option. I try to make sure the poses are all plausible, but for me, that stretch component is very important. It gives the illusion of effort - you can almost feel how the character would feel.

This frame demonstrates the stretch factor with Monkey’s entire pose, but it also demonstrates another important factor - flow. Anywhere there’s movement, I want there to be something flowing to show it. Monkey’s tail and sash and Tripitaka’s robes are very useful for this, and having a lot of characters with long hair or flowing capes also makes my job a lot easier.

Stretch makes the poses feel lively and full of movement. Flow makes it clear to the audience how the characters in this still image are supposed to be moving. Between those two factors, it becomes pretty intuitive to communicate a lot of energy in any given panel.

Of course, chaining panels together to make sure the movement is actually coherent is a different skillset altogether, and one I’m still working on. In my experience, the easiest way to make that work is coherent direction of movement.

This post is getting long, so I’m gonna try putting in a “read more”:

Using that fight scene as an example, the direction of movement shifts at the top of the page when Kendal rounds the tree. In the first panel, movement is from right to left. He pivots in panel 2, and then in panel 3, he’s abruptly attacked in a sudden burst of left-to-right movement. This is a new action; it’s fine that it’s moving in a new, opposed direction.

Kendal catches himself as he falls forward - this is still a left-to-right movement, because he’s still falling from the events of panel 3, so continuity of movement is to be expected. But the middle panel shifts focus again, because something new and unexpected is happening - his attacker is about to get kicked in the face.

In that center panel, the direction is no longer left-to-right - it’s out-to-in. We’re essentially zooming along the movement to accentuate its suddenness. Even if you can’t quite make out the detail of the boot, the movement is still pretty clear. The next panel brings us back to our familiar arrangement from panel 3, but this time, the movement has been reversed and is moving right-to-left again, as Kendal kicks back and gains the upper hand.

Finally, in the last panel of the page, the movement becomes a bit more directionless. His attacker is still moving right-to-left, continuing the flow from the impact, but the focus has shifted. The movement and overall flow is unclear, which reflects the fact that, at this point, the fight has become a stalemate.

Chaining movement together like this is tricky, as is representing clear movement in a single panel. You know it’s tricky because a lot of otherwise good media kinda sucks at it. For instance, I quite like My Hero Academia, but I’ve been keeping up with the manga for months and I have literally no idea what’s happening in these protracted superhero fights.

This next bit is going to contain spoilers from the most recent chapter, but it demonstrates my issue way too well for me to leave out:

This image has a clear direction of movement, but I have literally no idea what’s happening, except that someone might be about to get punched. (The next set of panels is not someone getting punched. It’s a flashback that lasts eight and a half pages.) The next panel that continues this action is this one:

It follows through on the clear right-to-left direction of movement established from the earlier panel, but it’s (a) still totally unclear what just actually happened, and (b) interrupted by eight and a half pages of other stuff. The panels individually look phenomenal (if a little speed-line-heavy for me) but it’s hard to know what’s actually happening. All we know is that movement happened; we can’t actually tell what happened in that movement.

In contrast, for a comic that does movement INCREDIBLY well, I recommend Usagi Yojimbo. It’s a comic about a wandering samurai who happens to be a rabbit, and all the Kurosawa-esque antics he gets into in his wanderings through ancient funny-animal Japan.

Uh oh! A setup for a fight scene! And that’s a lot of left-to-right movement I’m seeing! Even the swords in shot are all pointing that specific direction!

Oh, never mind. He’s fine. See all that right-to-left movement our hero is doing? See how the bad guys are suddenly pointing in all different directions and their movement has become chaotic and uncertain? That’s how you know the fight’s literally going our hero’s way.

This is a random encounter from a random issue of the comic. Fights happen frequently, and most of them follow the same structure - right down to the direction of movement. Bad guys move in from the left, good guy fights back from the right.

And when the fight proper starts, the background usually vanishes into a vague white void so the characters can take center stage - no visual cluttering, not even any speed lines.

These fights aren’t important. These random background mooks aren’t plot-relevant except as temporary roadblocks. As such, most of these fights play out roughly the same - no background, page-wide panels, minimal dialogue. But the serious fights? Those look pretty different.

Environmental shots! Close-ups! Banter! Backgrounds! The direction of movement is even reversed from the norm! This immediately sets the fight apart from the standard. Characters move around each other, the environment come into play, and each panel is a very clear beat in the progress of the fight.

Usagi Yojimbo is probably my favorite comic ever. But it’s also not the only very useful resource when you’re looking for media that does well-choreographed fights. Comics are good (even if a lot of them are just good bad examples), but animated media is built on a lot of the same principles as comic art. While they have an easier time showing movement (since they involve actual movement, rather than static images) they still need to chain shots together in a way that’s coherent and gives the audience enough information to understand the movement and progression of the situation. Movies and tv won’t help you much with drawing individual static images that communicate dynamic poses, but they can help a lot if you’re figuring out how one phrase of the fight should chain into the next.

While I’ve seen plenty of media that does this well, rather than making you analyze this stuff from the ground up, allow me to recommend a youtube channel that can do the analysis for you:

https://www.youtube.com/watch?v=mACKHGfdLlo&ab_channel=JillBearup

Jill Bearup has a wonderful channel with a criminally small subscriber base. I only found her within the last month and I think she’s amazing. Everyone should watch her videos about fight choreography.

This answer got much longer than I expected, but I hope it was helpful!

#aurora #asks #art

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