#comic artists are at a whole other level

[abbeyofcyn]

False Memory (7)

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Thanks for reading <3

[reimenaashelyee]

Campaign to make The God of Arepo an award winning work and win a literal brick as a trophy for the authors and for Tumblr community as a whole (SUCCEEDED!!!! Update below)

As the artist for one of The God of Arepo comics, my version is up for consideration for the Ignatz Awards for Outstanding Online Comic.

For those of you who don't know the Ignatz is one of the highest industry awards that "recognize outstanding achievements in comics and cartooning by small press creators or creator-owned projects published by larger publishers".

The thing is, winning the award means winning an actual literal brick. Because the mascot is a brick-throwing mouse. So they have to make a bit where the trophy is a brick. Like. Look.

For a long time I thought it was just plain bricks they were handing out, but my friend who won a couple of bricks two years ago had theirs stamped (I saw the bricks in person at their house). So now I am obsessed with the idea of The God of Arepo winning an Ignatz trophy. It will have the honours stamped. On a freaking brick. That's the most Tumblr level meme trophy this comic/story could win (which is also a legit high honour industry award on its own btw don't get me wrong). But wilder than that, the brick allows me to do something. It allows me to smash that break into 5 pieces and ship one of each to the authors plus myself. Writing Prompts, sadoeuphemist, ciiriianan, stu-pot and me will get a piece of clay in recognition for our work with the farmer who built a temple out of stone. The full circle moment.

Imagine the value of this win to the lore of this Tumblr sacred text/folklore. This brick will be smashed and given to the creators, but as a collective folklore, it's also dedicated to all of us on this hellsite too. AWARD WINNING. If The God of Arepo wins I will document the entire process of smashing that brick here.

But we have to make this happen. We need to gather our collective energy and make this campaign work. Please help make The God of Arepo an award-winning story and vote for it in the Outstanding Online Comic category (link). You will need to request a ballot, then submit your vote. I recommend checking out the other nominated comics too. The Ignatz really shortlists good stuff. The voting closes September 8 2023 . LET'S GET THE GOD OF AREPO A BRICK FOR HIS TEMPLE!! LET'S GO!!!! REBLOGS HELP TOO!!

[aliensfuckmeup]

winks cutely

DROPS THIS ON THE TABLE AND COLLAPSES DEAD ON THE GROUND.

Illustration for chapter 10 of In Blood And Stars by @actingwithportals.

[hybbart]

Hey guys, I would really appreciate it if you stopped sending me messages about Lizzie's appearance. I get that most of you are just happy and/or think it's a compliment, but I've literally never had so many weird comments on a woman's body before, and it's getting really uncomfortable.

While I know I'm not always as good about it for men, as a character artist and as I hope is made clear in the design sheet I did for all the hermit and empire girls, I have always and will always draw all sorts of body types. That includes not just fat people, but fat people with different distributions and shape language- different everything. Lizzie and Cleo and Stress may all be fat and round but I like to think I did a very good job of making them all distinct in shape from each other in a way that converys their character.

I redesigned my Lizzie recently because I was wanting to draw her more, and I wanted her to allign better with my mental idea of her. She hadn't before because 1) I started off drawing her as the ocean queen and mayor who are very unlike her base self and monstrous, because she's cool like that. And 2) I never sat down and made a design sheet for her, so I constantly drew her differently and mixed her up with my Gem design. (which, go firgure, as a fan of sister characters, when I finally worked it out that mental idea ended up having a body type similar to my own little sister. Which makes it extra uncomfortable on a personal level.)

The fact is, when I draw women people casually comment on their body a LOT more, which is already a bit uncomfortable- and baffling, given that most of my sexualized pictures are of men. I get similar comments about how tall Pearl is, I've probably gotten more comments about how tall Pearl is than I have about how tall Jimmy is, and I draw him multiple times a week. But those comments are often at least done with a bit of amusement and not just straight up ogling her.

Every single time I've drawn Lizzie recently, though, I got an absolute flood of comments specifically talking about her body and nothing else. How fat she is, how attractive she is because she's fat, cat calls, and other more unsavoury language. Even backhanded compliments. I certainly didn't try to make her ugly, but I've not drawn her in pinups. She's doing the exact same things as every other character I draw, including herself before my redesign. And given that timing and VERY pointed nature of the comments, it's not exact rocket science.

Most of the comments haven't been too gross, thankfully. I'll chalk that up to a lot of the messages being people projecting onto her, which- that's a whole different can of discomfort worms. But it is constant and it is in place of literally anything else. I draw a whole comic about a funny moment with multiple people, and art I'm pretty happy with, and the only thing a dozen asks have to say is "Lizzie's fat!!🤤" which stands in quite the contrast to all the comparatively few comments about Jimmy being about how I drew his banana costume.

Anyways, what I'm asking is to please just be a bit more normal about women's bodies. I get that it's rarer, and it makes some people happy when they see characters like them, but focusing on how beautiful an unconventional woman is is still objectifying and making that woman's beauty her worth.

[starchytart]

pinch me or wake me up, from this cursed daydream

Drawing this mainly because i saw a comic on twitter (i completely forgot what its from im so sorry) where the artist is drawing sketchy head instead of gore to depict someone getting shot point blank. Immediately remind me of Rosamund's prince face not-yet-decided when they try to look for him in timothy's books. (as in, at the core a picture is not made by flesh and bone, i think that works really well considering how neverafter works)

But other than that he has been in my to-draw list since forever. BIG fan with how things resolved in ep 17. I think its so cool that the fairies thought they have chance to taking back control of her narrative with that offer, when really, by having choices in the first place rosamund already won, even though neither of them really ideal, but at least whatever it is it would be her decision. (Of course one also could argue that with those choices being unfair, it was not really choices at all *insert that cow with two path meme* and i am just being delusional and you might be right, anyway im going to ignore this)

Also, I love how even until the epilogue when everyone is getting back what they gave up, Rosamund's part didn't really mention that she met his prince again. This makes we never really have official design for him (which is crazy like whoa his face was never decided even on meta level), and I think its perfect to capture how "and they live happily" works for rosamund. you get what i mean??, when romance just become one thing among other parts of her life rather than the whole point of her story. Its still there, if you want to, but the matter isnt as suffocating. It would be really easy for brennan and siobahn if they made the end one extreme of either "oh she got his prince back" or "oh she doesnt need love at all actually" and for them not do that feels really refreshing for me.

(I can go on talking how rosamund lost 100 years of her life and finally living the mundanity of learning and making friends are also so important, not to mention with snowwhite and their shared fate etc etc but then i might never stop asdjsldmsk i love neverafter so much)

[simon-roy]

A little press release from Image comics - we're putting out a mass market edition of Griz Grobus! Press release follows:

PORTLAND, Ore. 12/07/2023 — The high fantasy, graphic novel Kickstarter sensation, Griz Grobus, by co-writer/artist Simon Roy (Prophet, Jan's Atomic Heart and Other Stories) and co-writer Jess Pollard, with colors by Sergey Nazarov, will be available in trade paperback format for the first time this June 2024 from Image Comics.

Griz Grobus was originally a popular Webtoon sequential webcomic that leveled up its exposure with the 2021 launch of a Kickstarter campaign for a stunning hardcover edition. The campaign ignited fandom fervor, was fully funded in under a day, and raised nearly $70K—far exceeding the stretch goal. This Summer’s forthcoming paperback edition will bring this roaring success story to an even wider audience of readers.

"Part of what we wanted to make, in Griz Grobus, was a story that felt like a foreign film from a country you haven't heard of," said Roy. "Natural, familiar elements, sitting harmoniously alongside the new and unfamiliar. The proposition of getting to introduce a whole new audience to our little pocket universe, and the worlds within it, is very exciting!"

Set in the same sci-fi universe as Roy's Habitat,Griz Grobus is another tale of life after the collapse of the interstellar empire. But unlike Habitat—where a once utopian orbital community found itself descending into cannibal tyranny—the characters of Griz Grobus inhabit the rural world of Altamira, where post-utopian frontier life has blossomed into something a bit more wholesome.

Pollard added: "I can definitely say it is one of the funniest, most delightful things I've ever been a part of, and I laugh every time I read the story, as if I'm reading it for the first time. I hope readers will feel the same warmth when they read this edition, whether it be for the first time, the second, or third.”

Griz Grobus tells two parallel, intertwined tales from the far-off colony world. High in a sleepy mountain village, the overzealous academic ambitions of a young scribe lead to the resurrection of the town’s ancient colonial-era priest-bot. This long-defunct pastor finds himself in a world that has passed him by, but refuses to simply accept his obsolescence, much to the chagrin of the scribe and the local townsfolk. The second story, a mise-en-abyme, is Altamira’s most famous novel (being avidly read by the characters of the first story). It is a fantasy tale about a war-god who gets trapped in the body of a goose, and the efforts of one pacifist cook to delay the war-god’s bloody return to the battlefield.

This lush, intricately detailed, standalone fable is perfect for fans of Hiyao Miyazaki, Asterix, and Arthur C. Clarke.

The Griz Grobus trade paperback (ISBN: 9781534397866) will be available at local comic book shops on Wednesday, June 5 and independent bookstores, Amazon, Barnes & Noble, Books-a-Million, and Indigo on Tuesday, June 4.

Griz Grobus will also be available across many digital platforms, including Amazon Kindle, Apple Books, and Google Play.

[factual-fantasy]

18 Asks! Thank you!! :}} 🎪

@pink088

Guuuuurl does it look like I missed the boops? XDD

(I DID miss the super boops and revenge boops tho. I was trashed on the couch and stuck on mobile all day so I wasn't able to send any back to anyone💔💔)

Uhhhmm... oh jeez lemme try to remember-- I'm assuming you mean the order I got everyone in the game..?? Cuz other than the goofy little comics I've been drawing there isn't much of a story beyond that-

Uhhh so I started with Midori(Sprigatito) obviously, thennn... I think I caught Grim(Gastly).. then I caught Gloria(Ralts). Thenn..... arrhrhhgh I thiiiink I went looking for eevees, but I found Anastasia(Shiny Kricketot) in the process and kept her. Then I picked one of the eevees I caught at random and kept him. Then lastly I found a Mareep(Bonnie) by surprise and kept her.

My memory is very poor but I thiiink that's mostly accurate <XDD If I misunderstood your question don't be afraid to send another ask! 😅

@pbjfox37147878

Sorry, I don't take requests.. But hey! You already got a solid concept going and some artistic talent, you can always make it yourself for free! :0

Not really.. I've had a surprising number of uncomfortable experiences with the fandom recently so I've decided to take a step back from Octonauts for a while..

@psype

:DD Thank you! I'm glad you like them! :}}

And yeah that's how I pictured her XDD its becuase I use her the most out of all my Pokémon-

Now she's not bossy and doesn't have a leader or "I'm better that you guys" complex, none of that! She's just very intelligent and usually very level headed and calm. I can imagine that she's gotten the team safely through a lot of complicated situations and her plans/advice have rarely led the group astray.

Plus since I use her so often, I like to think that she's one of the most powerful Pokémon on the team. If not the most powerful. So whenever the group was met with a great danger, Gloria was probably the one to rescue them <XD

So the whole group kind'a gravitates behind her and lets/wants her to take the lead most of the time. Especially when things get complicated or dangerous!

@nerdyskullcap (User in ask)

I took a peek at their blog, but I couldn't find any original art of the Conductor after quite a while of scrolling through that tag.. I only found reblogs of other peoples Conductor comics.. <:(

XD That description of Gloria is very fitting! I use her the most out of all my Pokémon and she rarely loses! XDD

This was a cool read, and hey! Some of my Pokémon have some of those attacks! :000 Gloria has draining kiss and Bonnie has discharge! :D

@cat7890

I'd like to think they've never fought before.. maybe some little bickering on a bad day, but never anything serious.

They have good communication and just generally get along really well and like a lot of the same things. So there's rarely conflict between them! :0

Thank you! I'm happy to hear that you like my artwork! :}}

As for your question.. I'm afraid I don't understand/cant explain it--

Lets say I wanna draw Mario. I imagine what the drawing might end up looking like in my head, what pose I'll draw him in and what colors I'll use.. And then I just.. draw it. It might not look exactly like what I pictured but its probably close enough.

If that doesn't answer your question, I'm afraid I either don't understand your question or this is just an art thing that I don't know how to explain. <:( Sorry, feel free to send another ask with more specifics if you have them!

@sleep-deprived-fr3ak

If Bill ever became a lawyer? All hope is lost XDD

@raven-bearden-the-interviewer42

I haven't really thought about the details of the crews travels and adventures.. but I'm sure that when Louis got cursed and became a crab monster? That was probably pretty memorable XD

Probably this one honestly <XD I cant think of anything more cursed off the top of my head-

@fawncr33k

I suppose that would be fine, but I wouldn't prefer it. As I've said many times,, just comments guys! Asks, reblogs, tags, how ever you type them. I just want comments.👍

@neo-metalscottic

No problem! Getting asks are usually a pick me up :}}

As for the Dry Bones thing, that's what I meant by "not sure how it fits into the AU yet" 😅 Who'd they fight? Why did they fight? When did this happen? No idea. Its all just a neat concept with no structure yet :// And beyond the awkward living situation with the Dry Bones today, I haven't really thought about how the Koopa culture has been changed by the war. That's just way too much thinking and I'm way too sick to bother trying to figure it out atm- 💀💔 But maybe someday I'll think it through!

Now Luigi, I had this idea that he had a bizarre encounter with a 1-UP and was later bitten by a Goomba. Over the span of say... 5 days or so..? Luigi slowly got weaker and weaker until eventually he became bedridden and actually died- He came back to life moments after but it still completely shook Mario and Luigi's worlds for a sec there-

I had intended to draw a comic about this, and I made a sketch about it in the past.. but around the time I thought of this idea my Mario phase was kind'a passing over so I didn't feel like making it- <XDD

As for a potential sequel, I would like to see Wario, Waluigi and Toadsworth. Not sure why Toadsworth wasn't in the first movie- he absolutely should have been. That deep voiced purple..? council..? toad guy?? Totally should have been Toadsworth :/

And my request for the Wario bros is that they are taken seriously. 😅🤣

@cherrycreamfairy

I'm doing okay so far today, thank you! :}

@littlelightfish

I haven't really figured out the details about how Tuna and Louis lost their limbs- 😅

But I'm considering that Louis lost his arm (I assume you meant his arm-) in some kind of work related accident a long time ago. It must have been a fishing accident somehow..

As for Tuna, either some kind of natural disaster/accident or.. someone "removed" them... O-O

I do not :/ I'm not even sure what homestuck is.. I thiiink its a webcomic-

@nemo-draco

Oooo! :00 It looks cool! :DD

And thank you, I'm hoping I get over this soon too 😅

[genericpuff]

Hey quick question.

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

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

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

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

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

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

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

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

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

Good luck! (•̀ᴗ•́)و

[bluecatwriter]

There's a long history of Dracula adaptations clearly made by people who have never read the book.

I think in this fine tradition you specifically should adapt the Beetle without reading it

You are SO right, anon. I am going to direct the movie version of The Beetle upon which all other adaptations will be based! It will full of iconic quotes that are not in the book and I will butcher all the themes and characters!

Initial thoughts:

-Robert Holt will be played by some no-name actor who is putting his entire heart, soul and mind into the performance. The Brick Guy is also played by this guy. The first part of the movie is filmed in a very straightforward period-drama style, with the exception of a Carpet Scene, which is filmed in soft focus like a "flashback to dead wife" scene.

-Robert will also of course be referred to as "Bobert" and wear jorts. Alas, he does not get a GAP sweatshirt or a slushie in this version because there are no Ordinary Solicitors to save him.

-The Beetle will be portrayed as just a beetle of varying sizes, and they will be CGI. Specifically the really low-budget bad CGI of the early 2000s. This is very important for my artistic vision.

-Paul Lessingham will also be CGI.

-The cat will be a real cat, and will be voiced by the guy who voiced Garfield from the 1990s Garfield and Friends cartoon.

-I am open to casting suggestions for Sydney Atherton, although again, I suspect that it would be best to forgo celebrities and cast a guy who has played the comic-relief guy in Oklahoma at community theater one too many times. I will change nothing about Sydney Atherton's atrocities, and will in fact probably add a few more, but all the other characters will say how manly and wonderful he is while he's like beating someone to death with a cricket bat in the background. The movie critics will read a lot into this directing choice.

-I will make Marjorie and Dora both girlbosses™ by giving each of them a sword and a multi-level marketing business. They will contribute nothing to the plot and I will be offended if people think they are bland characters.

-I don't really know the other characters, so they will be played by a gender-inclusive rotating cast, and everyone will keep mixing up their names. The goal is for it to be impossible to keep track of who's doing what at all times.

-The cat still dies but goes to Cat Heaven and there's a whole musical dream sequence (inspired by 1930s cartoons and musical numbers from Gene Kelly movies) about the cat having a really great time in Cat Heaven.

-During some mundane scene with this rotating cast of characters and CGI Paul Lessingham, Bobert will dramatically die of starvation in the background. Nobody notices.

-The train crash will be on-screen instead of off, and there will be a very long monologue from the train themself as they dramatically fall off a broken bridge (this will be a practical effect with a full-sized train). This monologue will be delivered by the same guy who plays the cat, and if the actor isn't crying real tears by the end, we will redo the take until we get it. There will be a lot of montaging and soft focus. We will give the train a tragic backstory, but the train is also kind of accepting of their fate, you know? The book of Ecclesiastes will probably be mentioned somewhere in here.

-I will be diverging from canon by having Sydney Atherton die in the train crash. Not from the train, though, he chokes on a shrimp cocktail moments before the train hits the ground.

-Credits roll

-Epilogue scene: Sydney Atherton ends up in Cat Heaven and all the cats jump on him like the hyenas at the end of Lion King and there's just a giant wriggling ball of cats. Bobert is there too, drinking a slushie in the background. Hard cut to black.

[sidsinning]

OMG SIDSINNING?!?! POOKIE THAT REALLY YOU?? OMG. YOU JUST APPEARED ON MY DASHBOARD WHA- YOU CARRIED OUT MY WHOLE MIRACULOUS HYPERFIXATION OMG!!! Dude this is soooo cool!! I'm obsessing over hazbin hotel and your art just appeared and I was like "OMG IT'S MY FAVORITE MIRACULOUS ARTIST" Dude I just wanna thank you!! You have just played a major role in my past obsession with miraculous ladybug and I wanted to thank you for all the memories you gave me. You art really made an inpact on me about three years back and are one of the reasons I started to draw fanart. And since I began drawing fanart due to consuming so many miraculous comics I actually ended up learning how to draw!! So thanks for being one of the reasons I got into drawing in the first place!! Oh my gosh I have liked your art for ages and just never knew you had a tumblr! This is like the best day ever. Your art has inspired me so much. It has inspired me over and over to get better in the past just to reach a certian level. So I just wanna thank you for having been my inspiration for a long time. I stopped watching Miraculous about almost a year or a couple of months now. (when season five started airing) But I will never ever forget the impact you left on my artist journey and how much your art meant to me when I was still a teensy bit cringe and was obsessing over the kids show. Thank you so so so so much. Your awesome. Like never stop drawing. -Michael/Mod mike (or as on my blogs ADHD!!)

HELLO!!!! THIS MIGHT BE THE SWEETEST MESSAGE I'VE EVER GOTTEN HERE LIKE EVER!!!

Thank you so much for enjoying my posts and art all this time, truly I have never thought I'd have a deeply personal effect on anyone with my silly doodles and comics here! So it makes me really happy to hear I had such a positive affect on you!!! In such a profound way!!!

I really don't know what to say other than I am super flattered and overwhelmed by how candy sweet this message is (IN A GOOD WAY OFC)!!! And it got me emotional reading this!!!

So thank you again!!!!

[sparklingsora]

For the Vee-Swap AU, how does the Vee polycule develop? The polyvee shippers (me) need to know!!

HEHE OK OK SO putting it under cut bc it ended up longer than i anticipated LOL

as you already know, velvox is the established relationship in this au. and as i believe i mentioned before, velvette and val are sinstagram mutuals, it's how val finds out about the hotel. on val's part, falling for velvette isn't really a surprise to him - back when they just knew each other through social media, he already found her attractive, admired her work and they got along well, so all that turning into a full-on crush when he gets to know her better isn't very shocking. his relationship with vox is where it gets interesting, because it starts out rocky. i mentioned before that vox can tell that val's putting on an act. but because vox obv can't relate to val's situation, val just sees it as vox pitying him and refuses his help. a turning point comes in ep 4 - in the swap au, it actually starts raining during loser baby, which results in val getting sick. vox helps him out and they have a tender moment, maybe a little heart-to-heart (its hard to just describe, i will make a comic/ficlet of it at one point so you'll see :3). their relationship starts getting better from that point on, and soon enough val finds himself falling for vox. (it's funny, really - ep 4 in the swap au leads to the bettering of a grand total of 3 relationships: al & val's, vox & val's and indirectly al & vox's. load bearing episode LOL) on vox and velvette's part, well. val is a douche at the start of the story, much like canon!angel, but vox and velvette can both tell that there's a heart of gold in there somewhere. vox because of the aformentioned seeing through val's facade, and velvette because she, in fact, wasn't mutuals with val's official account, but with his art account, where he keeps his identity hidden. he shows his softer side a lot more on there, and so that's mainly the side of him that velvette knew (so now imagine the whiplash when she actually meets him in person and he's an obnoxious jerk LOL) (i dont know if valentino being an artist is actually canon - i read it on the fandom wiki and fandom wikis cant rly be trusted LOL but in any case if its not canon then its a neat hc that i incorporated into swap!val's character) but anyway yeah, vox and velvette both start falling for val as he slowly becomes more true to himself and starts showing that soft side more. eventually the two of them talk about it um. somewhere around ep 6 i think? maybe? somewhere between eps 6 and 7? something like that. anyway. there we get some juicy conflict - they agree that theyre both in love with val and wanna give the whole polyamory thing a try if he's up for it, but while velvette wants to confess as soon as possible (she's scared that one of them might die in the battle), vox wants to wait until after the battle, because the stress levels are high in the hotel right now, and he doesn't want val to feel pressured. during the last night before the battle, in a scene vaguely equivalent to more than anything (reprise), they make up, velvette admits that vox is right, and they decide to confess to val after the extermination. and then yeah they do that (it's one of the 2 things that i'm sure i want to happen at the beginning of season 2), val is like "HELL YEAH I WANNA BE IN A POLYCULE WITH YOU GUYS" and they're a polycule and its awesome :3

[frogs-with-tea]

they could never keep me from you my beloved (drawing comics)

So I've been dark on this page for a min because I had a big life event happen (I moved away to college so now im living on my own) and over that time period I haven't really had time to draw. I'm all settled in now and I have a whole art studio set up(!!!!!) and I finally feel like creating again. I've suffered from pretty bad art block before I had to move, so finally having a creative space has been a really wonderful change.

SO about this comic in particular, I just really wanted to paint something so I ran with a new idea I had. As much as I love the Zosan ship, I've kind of gotten really tired of drawing them and I needed a change of pace. So LawKid is the new ship I've glomed on to. I'm past fishman island and I'm getting to the parts that have Law and Kid as big players and shipping them just gets me more excited.

Since I can't leave well enough alone, I did start thinking about some a/b/o/mpreg stories for them. But one thing about that is that I honestly don't think Law would want kids or would want to be pregnant. So I ploted out an abortion story (because there aren't enough mpreg abortion stories and I think LawKid could make one very comical) but then I started thinking hmmmmmm but what if I made a cute LawKiD oc. what then?! So since in my mind Law would probably not knowingly stay pregnant, I decided to go the route of a Cryptic Pregnancy story. It has 10x the drama and 10x the angst of a normal pregnancy story. But then that got me thinking "okay so he has the baby now. He probably wouldn't want to hold on to it." I think Law would be torn between wanting to kick the kid to the curb, and getting really sad at the idea of creating another orphan. So I think in his high emotion, high distress, state of suddenly giving birth, he drops the kid on the deck of the Victoria Punk and then fucks off. He would 100% make it Kid's problem.

The story would be about the Kid pirates and the Strawhats trying to find where Law vanished to, all while Kid figures out how to be a father. I also would want there to be flashbacks of Law and Kid's relationship developing, the horror moment where Law goes into labor, and then what the Heart Pirates are dealing with while Law has a downward spiral.

I'd love to draw all of that but at my current speed level it isn't feasible, but maybe one day. I was originally going to draw more pages for this, but I was feeling the one page curse (where I get one full page done but struggle with even starting the others), and since I put to much work into this page, I thought might as well post it.

I can really be dragged down by my ideas sometimes, like I have so many things I wanna make but I feel like there isn't enough time to do them all the exact way I want. I'm trying to be freer with my art and take a slower pace with how I grow as a comic artist. I have so many comics I want to make, so I'm going to just try and make them!!! But that requires me to think a little smaller for now, and just draw what I want in the moment, even if it's not how I envision it in my mind.

And if you've read through all my yapping, I love you.

[damnfandomproblems]

Fandom Problem #5572:

That one post talking about a trend of stolen art in Marvel Star Wars comics. Don't get me wrong, I understand the point of the post ("stealing art bad" and whatnot) and I get why people are mad. Howeverrrr, I can't help but raise an eyebrow when the op (plus the people in notes) were putting the blame solely on Disney/Marvel for the issue, and not the artists who were responsible for drawing the comics in the first place. Seriously, they're not even mentioned (If they are in the videos linked in the post, feel free to correct if I'm wrong). Has anyone asked them? Were they aware they were using fan-designs? Did they admit to stealing said fan-designs? If so, shouldn't they also share the blame? Should the companies mentioned to better background checks on their products, yeah of course, but I wouldn't say that the artists responsible for making those comics are entirely blameless either.

Like good god, where was this level of outrage when Greg Land was caught (and even admitted to) tracing from porn and other artists work in his comics? Or when it was discovered that Bob Kane had robbed his fellow Batman co-creator (as well as several different artists of their drawings, a ton of early Batman stuff was traced) Bill Finger of credit for years affectively ruining his life? Or how about when comic book artists do stuff that's even worse than just theft? Like that Cerberus comic guy who was caught fiddling around with a 14 year old girl or when Doug TenNapel was revealed to be a massive transphobe?

Or do those not count because it's easier to blame a whole company than to dig out the individual source?

[anonameisadditions]

So You Want To Write #1 : The Amazing Digital Circus

In my work with the ever-impressionable and quick learning @mikiib, We often end up working with a particular dynamic on her creative projects, ranging from fanfiction to self-started fiction like our ongoing comic series, PARANOiD. She's a great artist, mind you- I wouldn't work with her if she wasn't- But our lives were spent very differently before we met; She chose a life of drawing, I chose a life of reading.

In this, I'm frequently put into the position of helping her make writing "sing" in the tune of what genre or media property she's drawing from. One of my many talents is my ability to quickly deconstruct and recognize the various influences a writer has taken from in a body of work, and The Amazing Digital Circus is one that I find a lot of people seem to misunderstand it's roots, and the kind of stories it's drawing from. To this, much-despised reader, I come to help, to scream from my digital soapbox the advice I would have needed a decade ago to write something properly.

THE AMAZING DIGITAL CIRCUS: Mr. Elison needs to stop watching PBS

Most casual fans of the Amazing Digital Circus would know that the Harlan Ellison short story "I Have No Mouth And Must Scream" is the conceptual well that ADC draws from. It's one hell of a starting point- for those unfamiliar, a brief recap- The last 5 humans on Earth are tortured and controlled by the A.I Singularity known as A.M, the maniacal, suicidally minded A.I. who, in realization of the inherent trappings of the microchip in his existence, chose to exert his frustrations on the global earth as a whole, leaving only these 5 to torment for the rest of existence as punishment for the sins of mankind.

... Quite a different story on the surface than ADC, no? But to engage with Mouth a surface-level retelling of events deprives the story of it's wit and candor. Harlan, as a writer, is a reader's antagonist- and his contempt for the people who read his stories is palpable.

Harlan professes, in this interview, an anger towards the concept of self-reverence- the idea that he, himself, is any more significant on this unholy thing we call "earth" than another person. Thus, he reacts to fans by despising them when they reject his jocular, irreverent sense of self as some kind of personal attack. This shows in his writing, if you consider how he views his typical set of characters. In "Big Sam Was My Best Friend", the titular Big Sam, a likable, if reserved teleporter in the far future of space travel is revealed to be a lout, a creep- A man who, when gifted the ability to teleport vast distances unbounded by energy or time, chose to spend his existence chasing a woman who hated him. In "Pretty Maggie Moneyeyes", we have Koster and Maggie: One a down-on-his-luck, pathetic idiot representing the average Vegas coin slot jockey, and the other, Maggie, a rage-filled prostitute who regularly John's for a sleazy mafia boss.

The marking of the Elison school of writing is to defy the status quo expectation of morality winning. Here, the characters are tragic figures driven by their own incompetence and lack of self-awareness- They continuously battle themselves, refusing the luxury and peace of the ordinary to try to shape reality to their will, and every time, reality bites back.

But what does this have to do with The Amazing Digital Circus?

HELL IS OTHER PEOPLE

In the pilot of Amazing Digital Circus, we get to know our selection of trapped souls with a unique lens of understanding that Pomni does not get- For her, these characters of the "Show" of the Amazing Digital Circus (I mean this in a meta sense- More on this later.) are strangers, who's cascading complexities will surely open up with time. But for us, the viewer, we exist beyond the 4th wall- We know we are watching a virtual play, in a sense, where we can expect that there is no dramatic spiritual transition in store for anyone- that whatever we discover will be building on the foundation of each archetype.

But what's unique to both Digital Circus and No Mouth is the reality that these characters know each other quite well- Too well, in fact. They have been trapped together for an unknowable amount of time- and with this knowledge, Pomni is played as the foolish interloper for expecting any more or better from each character.

In a "normal" show, Jax should learn a lesson from the Candy Castle plotline in the first real episode of the show. But in the Digital Circus, Jax CAN'T learn a lesson- because he's done this stupid song and dance a million times, and his reputation precedes him in the eyes of the rest of the circus. He is trapped, figuratively and literally, in his character- He is the cunty rabbit, in and out, because frankly, his own identity might be the only thing keeping him sane.

This is not to say Jax's character cannot change and develop in the space of the canon of the show, or in your own fanfiction writings- far from it- but you need to approach these characters with an understanding that they have been this way for a long, long time- much in the same way that the various psychotic behaviors of the trapped survivors in A.M. have been the same way for a long time, too. To maintain this status quo- this character's "stickiness" as a coping mechanism - is how the soul of Elison sticks through the Digital Circus.

Wait, a stuck Status Quo, with weekly adventures that, at this point, largely don't seem to affect the behavior on a weekly basis for most of the characters, in a bright and shiny animated environment? This sounds kind of like...

A Saturday morning kid's show.

No, Really: Hell IS other people.

This is the missing component people seem to miss about the Amazing Digital Circus- Its aesthetic, its connecting theme, its horror- it's all based on the simple, ironclad premise of a children's show.

Think about it. "People get stuck in a virtual world to solve problems each week meant to help teach them social and practical life skills" is a motif used in a variety of 2000's era CGI animated shows that would air on PBS and (Canadian Broadcast Cartoons). This is "ReBoot". This is "Jay Jay The Jet Plane". This is "Jane and The Dragon". The soft, pliable, safe consequenceless world of the Children's Cartoon is the A.M. Digital World that Caine has his "players" trapped in, much to their chagrin.

At first, this doesn't seem too bad- It's safe, for one. It's remarkably easy to exist in, for another- Food isn't an issue, beyond a simplistic pleasure behavior. There's no bathrooms, no need to sleep- nothing. But in this, the true hell arrives. Week after week, month after month, you continue to participate in "Games" meant to serve the same moral lessons you've heard a million times at this point, as the only break to the skull-fucking monotony of an existence trapped in a consequenceless space where nothing you say or do changes the reality around you. You are stuck in a padded room- where you cannot touch yourself, or others, or the world around you in a meaningful way. It is a gilded cage, that seeks to patronize you and break down your mentality to the point of acting like a monocentric character archetype for the education and entertainment of a captive audience of 12-year-olds with nothing better to do.

You can see how this changes a person's priorities, fast. In this, our Circus members choose to find relief in the only ways they can- with one another, in the only thing that CAN change- their feelings towards one another.

JAX becomes the cunty rabbit he is, because vexing his fellow players is at least some form of change and control for him that makes him feel empowered. Zooble refuses to participate, as their ennui and rejection of the concept of the show enables them to, at the very least, take a stance against Caine, their captor. Ragatha tries to remain optimistic and make the best of the bad situation, as maintaining a positive attitude lets her at least pretend she's making a difference. Kinger's cracked behavior of madness is him attempting to find meaning and test the boundaries of his own existence, as the oldest member of the Circus, in a attempt to break the tedium for himself. And Gangle is reacting with a massive victim complex- She makes herself out to be a pathetic, weak, spineless creature because she can't conceive of this reality being one she has to exist actively in, for she finds the whole effort futile.

Where does this place Pomni? Well, it's a search for her own meaning in the space of the Circus. She is still an "open character", meant to play the role of the Audience's fool- And the drama comes from us wondering whether she'll sink, or swim.

SO YOU WANT TO WRITE THE AMAZING DIGITAL CIRCUS

This is the soul of the show, distilled to a fine, thin gruel- If you want to make your fiction "Sound" Like The Amazing Digital Circus, you need to marry two concepts together- The horrific behaviors of Harlan Elison's characters in their efforts to deal with the ways life has personally screwed them, and the soul-sucking mundanity of the weekly format of the children's television serial. You present the cast with an adventure each week, one that is definitely below their intended age level, and let them react to it with their individualized efforts to escape the mundanity of the circumstances, in their own way- Jax tries to make everything worse, Ragatha tries to play along, and Pomni is still freshly experiencing everything for the first time.

This is not to say you can't do MORE with these characters and the base premise- @hootbon does an excellent job recontextualizing the idea of weekly "shows" with the circumstances of the abusive ringleader of a 1950s-styled circus. But they seem to understand the narrative underpinnings of the TADC in this rewritten examination; The cast is chained to the premise, and can only act within the dimensions of said premise- and what they do with those circumstances defines them as a person.

If you liked this blogpost, Give it a reblog and a like, and don't forget to follow me for more media analysis and creative endeavors. Below, you can vote on the focus of my next entry in "So You Want To Write" series. 

~ Yours Fallaciously, AN0N

[wolvieshairypussy]

okay I'm dipping my toes in x men comics for the first time and read THIS series (Astonishing X-men: Xenogenesis) because I saw emo wolverine on the cover and my GOD was it so awful 😭

when it comes to comics. the first thing that attracts my interest is the cover art. naturally so because comics are visual arts and story telling. and my brain is so confused because on one hand, there's moments where I see the charm in some drawings, and other times where I HATE IT.

The proportions are CRAZZYY, especially with Emma. She's not my favourite, but any of the characters hardly are in this, I already like all of them in the movies, but in the comics it's another story obviously.

The theme of the story is quite sensitive and can very well fall into the territory of racism. there are points made by other characters about the state of African nations and how the world doesn't care about them. You know, colonialism and shit. We see this happen everyday in the news, people are dying in the Congo and nobody gives a shit because they're black people.

Logan is a little annoying, he should KNOW better than grumble "African leaders..." GIRL WDYYMM!!! The man is saying how HE needs to eleminate threats so his people don't get harmed, not matter how ugly it is and that he's not relying on the x-men 100% because they could and WILL leave if something bad happens in the US. And who will help his people then??? It's pretty bleak.

Also, the artist must've smoked something while making the covers because why in the world is Emma drawn so sexually in a story where the whole thing is to save babies???

And don't get me started on these panels, they're so awful.

Listen, I love seeing women and men in cute cunty little outfits. but TIME AND PLACE!!! TIME AND PLACE!!!! Emma was dressed like she was going to the CLUB and not in a MISSION where they had to save villagers from EXPLODING BABIES?!?!?!?

And you're telling ME, Scott Summers allowed her to tag along in her little outfit because they fucked and she has special privileges??? I am literally so embarrassed right now for him. In my head, with the information I got from the movies, that man has standards when in comes to the x-men and he'll make EVERYONE dress in the appropriate uniform. they're going on a HUMANITARIAN MISSION OMD!!!!!

It's so wrong and insensitive on so many levels.

[illym]

This comic has two versions for a reason. The difference is in Millia's second paragraph in panel 3. Please read my translation notes below to understand why I did not pick one version over the other. If you understand Japanese, I would welcome a retranslation of this comic for better accuracy.

I picked this comic because it had some cute Millia and Venoms, and I wanted to practice redrawing.

Untranslated & cleaned comics under the cut.

Translation assistance: @solradguy + @yomotsu-hirasaka

ID in alt for both images.

To begin with, the version of the comic where Millia tells Venom that there are women who would like to get to know him is the version more accurate to the translation that DeepL gave me. The assistance that @.yomotsu-hirasaka gave me was confirming that Millia specifically says woman in her monologue, and that it wasn't an assumption that DeepL made based on other parts of the dialogue.

It was difficult deciding what to translate it as, because I don't want to change the contents of a comic for modern sensibilities, especially as I'm using a machine translation and it could be that what I'm changing the dialogue from may be a poor translation to begin with. But on the other hand, it feels wrong to have someone tell Venom that there's a woman out there for him.

I picked the middle road and made two versions of the comic, one with a translation more accurate to what DeepL gave me and one that I think works better in emotions and tone. It's so weird what two words changing can achieve.

Honestly, picking up the script for this one wasn't hard at all, unlike other comics with way less text. I think what I'll do from now on is submit each panel to google keep individually and OCR it from there, instead of doing the four panels as a whole.

I hope that my redrawing isn't too obvious... I don't know how to get my pen to the exact level of fuzziness as the original comic. Alas.

I really do adore the contents of this comic, though; the artist is very skilled with drawing expressions and chibis though they could've made venom a touch darker, and the conceit is very sweet.

I said this before, but if you know Japanese and want to retranslate this, get in touch with me and I'll update the post with your translation, along with crediting you for it.