#comic book script format

[novankenn]

Just Peter... MJ

Disclaimer: Peter Parker/Spider-Man, Mary Jane Watson/Jackpot, Felicia Hardy/Black Cat, and Paul Rabin are owned by Marvel Comics. This is a work of Fan-Fiction and the author has no ties to Marvel Comics.

(A/N: This is story is going to follow the same format as it's predecessor "Just Peter...". That is comic-book script. And YES this is a Direct Sequel.)

Sequel to "Just Peter..."

Her children are gone, faded away like the illusions they were, and her relationship with the man she was raising them with is in shambles. Mary Jane Watson... is woman drowning.

She is filled with doubts and suspicions. Second guessing every decision and choice she has made recently. Was she being fair to Paul Rabin... the man she spent four years with raising a family and surviving a nightmare hellhole with?

Did she actually love him, or was their relationship one born of connivence and circumstance?

And what about Peter... the man who tore his own world apart to save her? The man she had once given her heart to? Where her feelings true, or was she just desperately reaching out to something that was familiar?

She has No Answers... Nor does she know the right questions to ask to get them...

Page One == Page Two

Page Three == Page Four

Page Five == Page Six

Page Seven == Page Eight

==> A Check in... <==

Page Nine == Page Ten

Page Eleven == Page Twelve

Page Thirteen == Page Fourteen

Page Fifteen == Page Sixteen

==> ???? <==

Page Seventeen == Page Eighteen

Page Nineteen == Page Twenty

Page Twenty-One == Page Twenty-Two

Page Twenty-Three == Page Twenty-Four

==> ???? <==

[creaman]

Hi there! I apologize for taking up your time, I am just so curious: When you tackle a comic, what does the process behind it look like?

Asking because I found myself scrolling through your blog once again and couldn't help but marvel at all the beautiful effects you use, at how flawlessly the structure guides the viewer's eye across each page, how the graphic weight seems to always be in just the right places…, and wonder how you learned doing this. Everything you put out looks incredibly professional and I aspire to reach your level of skill 😌❤️

Thank you Finz!! You're no bother at all, I'm an open book. This is such high praise for a guy that really doesn't have a set process, I feel like a hack. Ha. Rest assured my style is still developing. Besides the referencing of the linework and composition of official comic books, (practicing by redrawing panels for fun), explaining the process makes me feel like a serial killer but I will do my best.

(WIP Riddler panel, scrapped Scarecrow composition)

My comics usually stem from a single panel or concept — I like to focus on/emphasise particular panels of my pages, the heavy hitters, the main piece that catches your eye. I know I'm not a profoundly technically proficient artist so I prefer visually interesting elements and formatting, i.e. drawing characters outside their frames, negative space, notation, perspectives etc.

(Kung Fu Panda 4 sketch god I hate Kung Fu Panda 4)

I like to establish 'main focus' panels, the bits of the comic that really, well. make people want to chew on it. This is where the technical effort is concentrated, really, and the rest of the comic is generally build around these concepts.

('Restaurant Balthazar' focus panels)

Textures and effects are done on individual panels first, then the entire page as a whole to even out the unity. Generally, blocking in shadows, hatching for visual interest + middle tones, then textures/half-tones, then highlights.

(Script excerpt WIP)

I'm not a writer per se, but having a vague 'script' in your pages helps with pacing and direction. Comics are a versatile story-telling medium. I only really do scripts for comics longer than 2 pages. An optional but recommended strat is to send your script to a friend for a second opinion.

(Script excerpt — 'Restaurant Balthazar', annotated by @vincepti0n I don't know why he drew a face in the middle)

With the script crudely slapped together, I rough out the thumbnails and composition with the text, prioritising coherence and clean integration of previously mentioned 'main focus' panels.

Settling on a composition sucks the hardest. Drawing is fun, thinking makes brain hurty. Variety is good! Close-ups, wide shots, visual metaphors. Every panel is its own artwork.

The text bubbles are usually added in post, yes, but I'm just one guy and I don't have a writer to call me a good boy for doing things correctly. Bite me.

(Early 'Restaurant Balthazar' drafts)

In addition, keeping the text graphics in mind help create a sounder composition wherein even if the panels don't read cleanly left to right + top to bottom, the text can stagger and create the same reading order effect.

Panels and concepts are constantly tweaked, and my comic process is still highly experimental. A lot of industry standard comics aren't illustrated to their full potential due to deadlines and such — I strive for visual epiphany by treating each panel as its own artwork, and every page as a a bit of a mural.

(Old art hurts the soul)

Constantly experimenting allows you the insight of looking at your current art in comparison to your older works. In more recent works, I've been blocking in more shadows wiht lineart with thinner lines and more line weight, and learned to integrate the subject characters with less plain, abstract backgrounds.

TLDR: I have no idea

[reimenaashelyee]

New Alexander Comic update!! 🐏

The Queen seeks advice from the Egyptian priest, and he's got some interesting ideas...

A webcomic about the life and legends of Alexander the Great. 👁‍🗨 About the comic 📕 Read from the beginning 🛍 Get the print or ebook edition of Book 1

Historical footnotes under the cut:

... Time flies when one isn't paying attention, doesn't it? (or rather, when one had a final semester of postgrad, two out-of-state weekend festivals and a flu to deal with)

I am just going to give up on consistent updates for the time being in favour of updating whenever I have something new. @_@ The next two months and a half are going to be another whirlwind of activity. Some of the relevant pieces of those two months:

I will be tabling at Emerald Hill Comics Festival in South Melbourne on September 15, 11 am to 4 pm. More info about the festival on Squishface Studios' instagram. As for me, I will be selling my usual wares: Seance Tea Party, My Aunt is a Monster, and Alexander Book 1.

I am currently working on completing the script of Book 2 in preparation for a 2 week long group residency (Comic Art Workshop). If you can believe it, I have been struggling through the script for this Book since late 2019, as the story for this Book is structurally challenging aka it's above my skill level. Things are slowly starting to look up though, which means I am more confident about proceeding with updates.

Footnotes:

The serpentine dalliances referenced are:

Peniarth MS 481 30r (National Library of Wales)

Andreas Boscoli, Olympias, Mother of Alexander, Visited by Zeus in the Guise of a Serpent (Art Institute of Chicago)

BNF Fr. 50 120v (Bibliothèque nationale de France)

[lucybellwood]

Do you know of a website that has Sample comic book scripts, or copies of original comic book scripts?

I sure do!

My colleagues Anina Bennett and Paul Guinan have a very handy page on their website with several different sample scripts of different types.

You can also check out Tim Simmons's Comics Experience Script Archive.

Victoria Ying discusses some scripting options on her blog.

Shannon Hale also has an example of the opening scene of Rapunzel's Revenge in script format, so you can compare and see what became of it in the final book.

There's a lot more if you google around, too. Folks are generally quite generous with sharing script examples! (Worth considering whether you're more interested in graphic novel scripts or monthly comic book scripts. They two may diverge in a number of respects!)

[transgenderer]

*vertical* japense text is right to left (first top to bottom, then right to left), but i learned today horizontla japaneze text is left to right??? thats crazy?

Modern Japanese scripts adopt tategaki and/or yokogaki depending on the type of the writings and their genre. Let's take a look at some examples. Typical ones that employ tategaki include the majority of writing in newspapers (except for some headlines) as well as most books, magazines and manga (Japanese comics). As these are written vertically, they start from what would be the back cover of English books/magazines. Another type of tategaki examples is formal greeting cards and traditional writings. On the other hand, specialists' books in certain genres like music, science, computers, mathematics, languages, etc. are usually written horizontally, as their materials (e.g., musical notation, mathematical formulas, etc.) suit yokogaki better. Also, websites and computer-related writing (e.g., WORD) along with most technological gadgets predominantly adopt yokogaki. Texting from mobiles (携帯 or ケータイ ketai) is also done in yokogaki. There are also many cases which use both tategaki and yokogaki such as product information on their packages, and interestingly, children's picture books (絵本 ehon) can either be tategaki or yokogaki, which means that Japanese children these days are exposed to both formats from early age.

[gingersnappish]

Got around to watching NIMONA on Netflix and absolutely loved it! To me, it is just as enjoyable as the graphic novel (for slightly different reasons)! It's really a joy to see a story I enjoyed so thoroughly in comic format adapted so well! (If you haven't read the book, do it! It's masterful storytelling and wonderful characterization!) (If you haven't seen the movie, do that too! The color scripts are so lush and the comedic animation timing is gorgeous!)

[seirindono]

two questions.

one, HOW DOES ONE COMIC/STORY BOARD??

IM OBSESSED WITH HOW YOU DO IT ITS SO BEAUTIFUL

two, HOW DO YOU SO IT SO FAST( that’s question is more just me being super impressed oh my goodness)

you’re very good😳

Aw, sweet, a board question *puts on serious glasses*

Ok, bring it on anon.

So, the first thing to ask yourself when starting a comic, as I see it, is what type of board are you dealing with. Webtoon? A4 pages? 4 panels? There are many ways to go about it, and each involves different processes. For example, pages will allow for more superfluous scenes, whereas the webtoon format has to be super succinct because of the reading direction. I personally think that's the main reason I do pages, among other advantages: •narrative density •variety •Tumblr-friendly format

There are quite a few disadvantages too but you have to go through the process of trials and errors to really find out what suits you best!

Then there's the ambition of the sequence you're boarding for. And it goes from 1. how used I am to boarding this kind of sequence/drawing these characters/setting and backgrounds, to 2. is it an emotional sequence? Dialogue-heavy? Or more contemplative?

It changes the way you work and how you should approach your board! For example, in TMS, the very wordy chapters (4 and 5 for ex) generally called for simple and narrow framing. Of course, you don't want to bore the reader so you can spice things up to match the characters mood and reactions once in a while, but you have to bear in mind that the sequence aims to provide dialogue and information = the text bubbles are key and WILL take a lot of place. So let them.

( then again, it's all about pacing and balance. A page full of dialogue and one with too much happening are equally hard to read and boring to do)

Only dialogue, simple squares, no compostion, the focus is on Mel's reaction

On the other hand, parts 7 and 8 are all about action and atmosphere! This makes for wider and more varied shots!

They're fighting, things are going fast so why not use a single line to show many actions! They're still basically squares and rectangles but the pacing is totally different!

Or why not give the action a full page to really show its sheer impact

You can also split things, with a zoom or small time gap, depending on if it's a gag or if you want to put the focus on a reaction. Here, the asymmetry helps reinforce the unstable, jerky aspect of the scene. The situation is getting out of hand, and visually, the pages are affected too.

Now, these are case-by-case examples. And I never work on my pages separately.

For context, this-

-is the "first" board I did for part 8.

The drawings are very small and frankly difficult to make out, but the intention is what matters at this point lol I have the script (very important) next to my canvas, and I scribble the pages one after the ither. This allows me to see if the actions flow well, if the compositions are varied and also whether certain passages are too long or too short in regard to their importance. Which scenes can be merged? Removed? Toned down or if they deserve more bite?

This is a really fun and creative part but, I'll say it again, made a lot easier with a solid scipt. And I'm talking about a text document with clearly defined dialogues (or at least outlines) and actions.

I can't really explain how to write a script, it really depends on your work flow and how confortable you are with writing, but it's too important to just rush through it. No matter how much it changes before, during or after your finish boarding (cuz you gotta break your own rules sometimes and you'll often realize some things don't work as well once you put them on paper/sometimes art block can be resolved by writing the scene and just taking the time to imagine) but it's still your one guideline.

Aaaand, that's about it.

Other than that, I can only highly recommend reading lots of comics, Webtoon, books, watching movies, paintings, illustrations, animatics or listening to music, to inspire you and expand your own "personal library of references". Professional or not, anything your find inspiring and well executed. Boarding is at its core, telling stories. No art skill involved, just pure subjectivity. At the end of the day, it's all about squares, rectangles and bubbles so you gotta work on your creativity. The rest is gut feeling!

Constantly ask yourself how to tell this story, and how you want to tell it. How this sequence should be perceived? What do you need to show to make pages and pages of words appealing and interesting.

Be patient, be bold. Start with easy stuff to get some confidence if you need to. Accept that "boring" pages are smt necessary and that it's up to you to build up tension for a scene to really pop. Try new ideas and be ready to scrap many of them, the result will be worth all the work!

Now, concerning the "fast" part, I'm flattered but I personally think I'm super slow xD You prbly get that impression bc I finish the whole chapter before posting it, but behind the scene, I'm just working at a very regular pace.

Thank youuu anon ♡( ◡‿◡ )

[jccatstudios]

Hi! Im pretty sure someone already asked you this but I really want to know. When working on the comic, do you make a script for yourself or do you "just" work with the book as it is? I know that making a script adds another work to the already long list, but working with the book as it is seems really overwhelming (many words me not likey)

You know, I don't think I have answered this before! Not in-depth, at least. Here's how I do it.

This is my extra annotated copy of the book (my original copy remains untouched). Got it used and as-is from Powell's. I also have a digital copy of the book when I can't bring this copy with me. I underline certain things I don't want to forget in the artwork, and write little notes to myself here and there. It's not shown on this page, but sometimes I cross things out that I won't/can't adapt like worldbuilding info and smaller flashbacks. If dialogue needs to be changed for lettering purposes, I do that when I'm actually making pages, not at the annotating stage. In the digital copy, I highlight character and setting descriptions to keep track of. This process is actually how I made my second graphic novel, which was an adaptation of a short story I wrote.

The ratio up top is my book page to comic page estimate. Last chapter's ratio was 10:21, which is in the ballpark of 3:7. With it, I've figured out how long each chapter and section would be just for fun. I even have a rough estimate of how long the entire book would be in comic format with nothing cut from it (try plugging in the numbers yourself if you'd like a fun surprise).

If this were a real professional project, I would write out a script myself. I'd want to keep the whole book in mind instead of doing it chapter by chapter. Working directly from the book for how things are structured is just a way to make the comic faster. Even thinking about the last chapter, I have ideas already for what I would change to create a stronger comic adaptation. For now though, I just go off the individual chapter to create something more one-to-one. This project has always been a way to improve my art and comic skills before I graduate, so doing structural rewrites to the story, even though that would be necessary for an actual adaptation, is out of the scope of this personal project I do outside of my classes.

[wuntrum]

do you have any tips for an artist who wants to start making one off comics? i really enjoy your artistic direction and style of story telling so i’m very interested in your thoughts on it

yes, definitely!!

-read lots of comics! and a variety of them, too--both ones in the sort of genre/style you'd like to make, but also ones in completely different genres, lengths, places of origin, traditionally/indie/digitally published, simple to experimental formatting, etc

-in relation to the last one, if a comic you read really speaks to you, take some time to study some page layouts from that comic! how do the panels vary from page to page? how much space is the text taking up? what sort of "shots" (to borrow from cinematic language lol) are they using? these shouldn't be fancy, just little thumbnails, but i find it really helps. here's a few i did from a guest in the house by emily carroll

-start smalllll. its really important to build up your stamina, just like with any new sort of skill. if you wanna make a graphic novel thats 200+ pages long, you should make some comics that are 1, 20, 50 pages long and see them through to the end before taking on a super big project.

-this is related to the last point, but i think keeping your cast of characters small at first can also help build up your comic stamina. signals was the first longer comic i made, so i specifically really wanted to focus on just jeanne (and occasionally her parents and peers when they showed up)

-character sheets are helpful, but i also think the easiest way to start getting your characters drawn consistently is through actually drawing the comic! there's also gonna be panels where they look "off" or whatever, and its literally fine, i promise

-through the smaller comics, experiment with how you go about writing your story! theres no right or wrong way to write/plan out a story so, it takes some trial and error to figure out what will work best with your work flow. for me, i've found success in making a timeline of events for the story -> loosely guessing how many pages i'll need/want per section of the story -> freewriting (trying not to edit too much, just dumping all the words out) -> thumbnailing/loose sketching/editing text (all sort of happens in the same step; i find i need the layouts in front of me to understand what i need/don't need from the text i wrote) -> tight sketching -> final . but, if that flow doesn't work for you, try something else! i know a lot of comics people find success in writing a script first, with indications of page and panel-by-panel breakdowns

-take shortcuts often and without guilt. its a lot of work to make a comic! theres just a lot of drawings involved, that most people aren't gonna look at for very long! i especially recommend for infrequent/difficult things, like buildings or crowds or cars or bookcases, using some sort of 3d asset/brush to make your life easier. if you can reuse a drawing and change the crop/expression, do it!

-use some sort of tracker to track your progress on how many pages you've sketched/inked/finished. even if you don't have an external deadline, i think it's still good to give yourself some sort of timeline to work on (i recommend setting "ideal" goals and "realistic" goals, especially if you're working/still in school/etc). for signals, i used google sheets, because you can set up columns to be attached to little circle charts, so as you check off your progress, you can really easily see how much you've done/how much you have left to do (as i type this i highkey forget how i did that before, with signals, so...you might need to do some sheets experimentation to actually do this lol. but there's probably other trackers you can use too)

-understanding comics and making comics by scott mccloud are both great books, highly recommend them (easy to get second hand/from your library/���‍☠️)

-lastly, haveee funnnnn

[barrenclan]

Hi, I haven’t done this before so sorry for a bit awkwardness lol

Do you have advice on how to write scenes? Like is there a formate, like a screenplay? Writing has been something I have been struggling with for my comic and was wondering if you had any advice!

I hope you are enjoying your break, you definitely deserve it!

Do you mean in terms of the content, or the format? I can give you an answer for both, although content is quite a bit harder.

I have two comics, for which I write scripts very differently. Depending on what kind of project you're working on, one might be better than the other, so here's an example of both.

Pinepaw and the Forgotten World is basically a novel that's transposed with art, so I write it straightforward, like so. If you're working on a book, this is probably how you'd write it.

The Dog Star, my other comic, is a more typical webcomic, so its script is structured like a comic's might be. If you're not familiar with comic scripts, then yes, it's very similar to a screenplay. I know some comickers who just write dialogue, without any stage directions, and really it's up to you and your comfort.

In terms of actual writing content, though? I'm afraid I can't really tackle such a broad question with more than a vague answer, but I'll try my best. If you're struggling with writing, whether it's with plot or character, I suggest taking some time to step back and let your project naturally develop in your mind. If it's a hobby, there's absolutely no need to rush and no deadline that you're working against. Absentmindedly puzzling about what someone might do in a situation, or what kind of things you want to happen that would connect two dots you already have, will help the story feel more natural and smooth.

[novankenn]

Just Peter…

Disclaimer: Peter Parker/Spider-Man, Mary Jane Watson/Jackpot, and Paul Rabin are owned by Marvel Comics. This is a work of Fan-Fiction and the author has no ties to Marvel Comics.

Peter Parker... is tired. Mentally, Physically and Emotionally spent. The falling apart of his relationship with his longtime partner MJ weighing him down. Added to that, the fall out of his actions in his attempts to save MJ from that... other place, having put him on the "sh*t-list" of the other heroes in New York.

He knew deep down in his heart that the people of New York appreciated all his efforts in trying to keep them safe. But good thoughts and well wishes only went so far.

"With Great Power comes Great Responsibility" those words from his Uncle Ben had been his creed for years... but now... he felt like it should say something additional... “But with it also comes pain, suffering, loneliness, and ridicule.”

Original - Testing the Waters Question post

Page One == Page Two

Page Three == Page Four

Page Five == Page Six

Page Seven == Page Eight

==> A Check In... <==

Page Nine == Page Ten ==

Page Eleven == Page Twelve

Page Thirteen == Page Fourteen

Page Fifteen == Page Sixteen

==> Another Check In <==

Page Seventeen == Page Eighteen

Page Nineteen == Page Twenty

Page Twenty-One == Page Twenty-Two

Page Twenty-Three == Page Twenty-Four

==> Wrap Up <==

(A/N: So I'm trying something different... I'm going to attempt to use a comic book script format (as well as I can using Tumblr) to do this story. Each post will be one page of an actual comic book. SO PLEASE let me know if this works or if you would rather a more traditional style of story telling/writing.)

[cheetour]

The Void Within's dialogue is sloppy to the point of not being fully literate*.

It's been noticed that the rough sketches and the final artwork don't match up in quality, and seem to be declining as the plot goes on. The same is happening to the writing.

This is, I am sorry, a post about the latest major Neopets update. Not only that, it's about the GRAMMAR in the dialogue for that update. Riveting.

I SWEAR I AM NOT JUST A PEDANTIC ASSHOLE, I GENUINELY WANT USERS TO KNOW THERE'S AN ISSUE!

Most people who complain about "incorrect" grammar in games and comics are wrong. Homestuck, Night in the Woods, We Know the Devil, and Captain Underpants all have fine grammar, just stylized.

I really, really, really like The Void Within. I think it's a fantastic idea, and I am determined to enjoy it as much as possible.

I am a professional editor. Noticing this stuff is my job.

Now, PLEASE bear that in mind when I say:

tl;dr: Neopets is asking you to pay money to a product that does not meet the quality standards of a primary school English test for ages 10+.

*I don't mean to use "not literate" as a stand-in for "stupid and bad at writing." Literacy is very complicated, illiteracy is more common than you think, and there is no shame in being illiterate - you can be very intelligent and also have no written or digital literacy. I mean the literal "not able to use written language to its fullest extent".

It's clear whoever wrote the dialogue didn't have a perfect grasp of English punctuation. AND THAT'S FINE. Good writers don't always have good grammar, and you DON'T need fluent English to write good stories in English.

That's why writing, proofreading, and editing are all separate professions, and why a well-run creative project delegates those roles to separate people. They still matter.

People are more likely to notice grammar mistakes the more they read books. Correctly formatted English is how older, less online, and disabled people with visual or linguistic processing difficulties read. Text-to-speech doesn't work correctly on writing without correct punctuation. These are serious professional standards, and they exist for a reason. They're not worthless just because you don't understand them.

A good-quality publisher of books, comics, or video games wouldn't release dialogue like this to a paying audience. They would consider this standard unacceptable. They'd either use correct grammar, or stylized grammar. (Inconsistent grammar, with no logical or narrative rules, isn't a style. They're not choices if you don't know you're making them. They're mistakes.)

To an extent this is nitpicking, and most people wouldn't notice this stuff.

But Neopets is MAKING MONEY. They are SELLING PRODUCTS for this. They have MULTIPLE PHASES of NC Market sales for this plot.

As an educator, there is no way I could show this (perfectly kid-friendly) comic to a classroom of children - it would have no educational value. It's not written correctly or with any obvious care. If they paid attention to it too much, they'd get the wrong idea about the English language!

I think it's fair to say that if you're publishing an official Neopets story, and you want Neopets to be a kid-friendly, fan-driven, story-based brand with a target audience wider than "people who don't really care about whether stories are professionally written", the script should've been proofread.

To give you an idea of how many typos Chapter 3 has, here's one of the dialogue pages with the missing punctuation added; I also took 5 minutes to rewrite each line for coherency.

And THIS is a website showing you at what points in primary eduation we teach children to use commas correcty:

Art is hard. Programming is hard. Hell, good writing is hard. It's HARD coming up with dialogue and a plot that people actually want to experience.

Grammar is boring and sometimes pointless. It's not difficult. It requires only basic literacy. Children learn how to use commas at ages seven and up.

If you don't care about the story you're telling enough to check that it would get a good grade on a child's school test, how can you possibly expect anyone to pay for it? You need specialist skills to code a website or create a high-quality digital graphic, but the only thing you need to get this right is... one literate adult who cares enough to try.

So where are they?

**There is no shame in being illiterate, but there is CERTAINLY shame in selling illiterate writing.

tl;dr: Neopets is asking you to pay money to a product that does not meet the quality standards of a primary school English test for ages 10+.

Finally, here are some browser petsites/RPGs who have never prompted me to write an 800 word critique:

Fallen London

Pixel Cat's End

Lioden

[becdecorbin]

TRAUM process

or how I bring these heckin comics in front of your eyeballs. some folks seem to be under the mistaken impression that I draw comics every day and then upload them, which isn't the case at all! I draw them one chapter at a time and then schedule the uploads.

more detailed breakdown under the cut.

1: thumbnails.

the Comic Book Thumbnail Template by BrianAtkins is one I use, the guidelines on the edges are very helpful.

I make thumbnails one chapter a time, each seems to have gotten longer and longer over time. at times I find pacing issues and add extra pages or don't like the direction the story is taking which is when I scrap the thumbnails I've done. this is basically also the stage where the story evolves since I only have a rough idea of what I want to do as well as ideas I've jotted down, no scripts or anything.

2: comic file.

the comic page template has a lot of helpful features. I don't know if Clip Studio Paint Pro has these features, but EX certainly does, and it's very practical with maintaining a certain workflow, being able to view all the pages in a file and jump between them with ease.

3: work on the pages. lol

I blow up the thumbnails to double as sketches, unless whatever I intend to draw is more complex, in which case I make a separate sketch. next, I add panels.

I add text + draw speech bubbles around the text.

inks.

grey tones to add more definition, background details, shadows, etc.

and when I'm done with all the pages in a chapter (Chapter 3 has 96 pages total, phew), and formatting individual pages for web, I proceed to...

4: upload the pages.

I upload all the pages on ComicFury and then schedule them to upload on specific dates. the updates are automated, but I manually share said updates on social media sites.

5: time for a break.

I take a break from working on comics for a month or two to recover. I know after I finished and uploaded chapter 4 I felt super burned out. but I'm already eager to continue working on more comics! I'll just have to see after this break. after Traum story 1 concludes I'm pretty sure there won't be anymore comics until January, but it's possible I'll eat my words.

so yeah!

Questions nobody asked but I'm answering anyway:

Why two pages a day?

idk. I felt that since the pages have 3+ panels on average, just one page a day would feel a little too dripfeed-y.

Why not release the whole thing at once?

I like maintaining intrigue! plus, I like having something to look forward to as well! I schedule the pages to be at 9:30 in the morning specifically for my sake, originally the pages came out at midnight sharp which didn't do much good for my sleep schedule.

I'm going to be demanding over a comic I can read on the internet for free.

please don't.

also slightly edited version on comicfury.

[jewishcissiekj]

Since Asajj Ventress appeared in recent media and is set to appear in future shows and Star Wars content, I've seen a lot of people starting to read Dark Disciple. but besides that book, there are so many stories featuring Asajj over her 22 years of existence. So if you are looking for some recommendations and entry points to Asajj outside of the TV shows, here are some recommendations to get to know her a bit better, in both the Canon and Legends timelines:

(for anyone looking for a definitive list of everything she's ever been in, I also have that)

for anyone looking for just the list of recommendations without all my babbling, scroll down to the bottom, it'll be there.

Canon

Dooku: Jedi Lost Audiodrama - Script by Cavan Scott, preformed by full cast (also available in Script format) Starting off, this masterpiece. Telling the dual story of Asajj and Dooku, Jedi Lost is genuinely some of the best Star Wars content out there, in my opinion. Taking place early in The Clone Wars, it tells Asajj's journey battling her ghosts and uncovering her Master's history. It requires only the context of the prequels and The Clone Wars, and I wholeheartedly recommend it to anyone who likes the Prequels, Dooku, or Asajj.

Brotherhood - by Mike Chen Continuing with the book that serves as an introduction to Asajj in canon (chronologically), Brotherhood presents an interesting take on her first meetings with Anakin and Obi-Wan. She's far from the main character here, only supporting the book's plot as the villain and the initiator behind some of the troubles Obi-Wan faces on Cato Neimodia. This Asajj is more calculated, working behind the scenes while still facing off face to face against Obi-Wan and Anakin, and it uniquely handles her character. The book is a Clone Wars adventure taking place before and it requires only the movies' and TCW's context, once again. *While technically taking place after Hyperspace Stories #5, it contradicts that issue's events and makes more sense if it takes place before, so I listed it first (for more info on the contradictions you can go here)*

Star Wars: Hyperspace Stories #5 - Written by Amanda Deibert, with art by Riccardo Faccini (Variant cover by Cary Nord) Taking place shortly after Anakin's knighting, before The Clone Wars show, this is a short and interesting comic story for Asajj. While tying into an over-arching plot of the series, this issue stands alone well. Simply put, Asajj is sent to retrieve a mysterious item by Count Dooku and encounters Anakin and Obi-Wan in the process. It has fun art, fun dynamics, and it's really good.

Worthless - a short story from Stories of Jedi and Sith - written by Delilah S. Dawson with an illustration by Jake Bartok This one is not as set on the timeline, but we do know it takes place while Asajj is still working for Dooku. In short, without too many spoilers, Asajj falls into a pit and has to trust on a Clone Trooper's help to get out. The story is a part of an anthology, but it completely stand-alone on its own. If you can read it on its own, I recommend it, but the rest of the book is also very much worth it if you want to buy it for the story. Dawson captures a version of Asajj that rarely gets attention, before the Nightsisters, and manages to show her identity and tell a wonderful story without that tool that's often overly used (in my opinion).

Star Wars Adventures: Return to Vader's Castle #3 - Written by Cavan Scott with art by Francesco Francavilla & Nick Brokenshire Jumping forward in the Timeline, we have another Asajj story by Cavan Scott! It has Bounty Hunting, A baby Sarlacc, pretty art, fun coloring, and Asajj. So what's not to love? Like Hyperspace Stories, Return to Vader's Castle also has an over-arching plot, but that's 4 framing pages of Vaneé being a bitch and has no effect on the rest of it. Solid stuff. (it is also the source of the first picture in this post)

Sisters - a short comic story from the Age of Republic Special - written by Jody Houser with art by Carlos Gómez Next, we have a wonderful short story taking place just before The Clone Wars episode "To Catch a Jedi". In just a few pages, Jody Houser brings conflict and personality to Asajj's time on Coruscant. And there's gorgeous art.

Legends

While Legends, and especially the comics, have some of my favorite stories with Asajj, it's hard to recommend individual issues. They can be stand-alone but still connected and ingrained in the ongoing story of the comics. But I tried to hand-pick the best for introduction and knowledge of who Asajj is a character there. So I won't recommend the 12 issues she's in, I set myself the limit of sticking with the same number of recommendations I had for canon.

Star Wars: Republic: The New Face of War - 2-issue Comic arc - written by W. Haden Blackman with art by Tomás Giorello Although I'm assuming you all have at least a passing familiarity with Asajj's character, introductions are still important. And, yes, Asajj first appeared in a different comic and after a month or so in Clone Wars (2003), but chronologically, in-universe, this is her first appearance. The Face of War is comprised of issues #51 and #52 of the Star Wars: Republic comic series, and although Asajj is only in the last page of #51, it's necessary context. This one isn't a must for me, but it sets the ground for her. And it's good. Giorello's art brings a unique perspective to Asajj's character, and by that I mean it may not be to some people's taste. So take your pick with this one.

Star Wars: Republic #53 - written by W. Haden Blackman, with art by Brian Ching If the last one isn't a must, this one is. It is a stand-alone adventure, almost feeling like a (better) TCW episode. Obi-Wan is off to infiltrate a Techno Union base with a team of all-star legendary Jedi that are introduced, and everything goes wrong when they run into the Confederacy's best, Durge and Asajj Ventress. I say it's a must because it establishes the nature of the rivalry between Obi-Wan and Asajj, and gives us such a sense of who those people are. It also lays the foundations to my next comic recommendation.

Dark Heart - short story by August and Cynthia Hahn This one, a 1784-word story, originally published on Wizards.com as a part of The Living Force roleplaying campaign, is definitely not a must, but it's barely 2k words, just read it. In all seriousness though, it captures Asajj's essence and I just. love it. You can read it right now, that's the link in the name, it's up online for free legally. While it is a part of the RPG campaign, I read it individually and had no trouble at all.

The Cestus Deception - by Steven Barnes (The Japanese cover is prettier and has Asajj, ok?) Obi-Wan Kenobi and Kit Fisto head to the planet Ord Cestus to try and convince Ord Cestus's government to ally with The Republic. But under the surface, a mysterious scheme had developed and it gets messy. Never ask me to write a publisher's summary. Asajj is the villain of this one, and I don't have much to say about it, but it is good. Fair warning: it hasn't aged the best in my opinion, and not even in a politically correct sense, some of the descriptions and relationships were questionable at best. If you like Kit Fisto and political adventuring and Clone Wars fights and a mascarade ball, if I remember correctly, this one's for you. It's not much of a story for Asajj but it is a fun read.

Star Wars: Republic #60 - written by W. Haden Blackman with art by Tomás Giorello I have never ever not once said it but this right here is my favorite Asajj story of all time ever. It does require context, though, so here's it: after the battle of Jabiim, Alpha-17 (Legends Arc Trooper, you may have heard of him) and Obi-Wan (a staple in Asajj's stories, he needs to gtfo women's business) are blown up and declared dead. Turns out Asajj Ventress has been holding them in her castle on the planet Rattatak and this is the daring story of their escape. In this issue, Asajj's origin story is revealed, before the Nightsisters had anything to do with her. More than any other Legends issue, it differentiates greatly from anything you know about Asajj in TCW/Canon. She's a warlord, with armies at her beck and call, a military commander, And it's fun. Her origin story is told in this issue, and it's such a great story that shifted my understanding of her a lot. The art, once again, is by Giorello, keep it in mind.

Yoda: Dark Rendezvous - by Sean Stewart (Japanese cover, once again) Last but certainly not least, the Legends Clone Wars book I've heard the most positive reviews of, and was not disappointed in the slightest. It is as good as they say. The story doesn't focus on Asajj, and she isn't even the main antagonist, but she gets a meaningful role in it and has her place and her arc in the story. It's also my favorite approach to how Asajj would act when she has to deal with children. Worth the hype and an excellent book to read unrelated to Asajj.

Alright, that's all! I hope you check out at least one of these, they're all great. As said before, I also have a complete list of everything Asajj in chronological order. Feel free to ask me anything about the list and the things in it. I can also give a complete comic reading list for her, since it's a bit more than just the issues she appeared in. For anyone struggling with the accessibility of these recommendations, I have a hopefully comprehensive guide in the complete appearances post. And now just this list because I promised that:

Canon 1) Dooku: Jedi Lost Audiodrama - Script by Cavan Scott, preformed by full cast (also available in Script format) 2) Brotherhood - by Mike Chen 3) Star Wars: Hyperspace Stories #5 - Written by Amanda Deibert, with art by Riccardo Faccini (Variant cover by Cary Nord) 4) Worthless - a short story from Stories of Jedi and Sith - written by Delilah S. Dawson with an illustration by Jake Bartok 5) Star Wars Adventures: Return to Vader's Castle #3 - Written by Cavan Scott with art by Francesco Francavilla & Nick Brokenshire 6) Sisters - a short comic story from the Age of Republic Special - written by Jody Houser with art by Carlos Gómez

Legends 1) Star Wars: Republic: The New Face of War - 2-issue Comic arc (Star Wars: Republic #51-52) - written by W. Haden Blackman with art by Tomás Giorello 2) Star Wars: Republic #53 - written by W. Haden Blackman, with art by Brian Ching 3) Dark Heart - short story by August and Cynthia Hahn 4) The Cestus Deception - by Steven Barnes 5) Star Wars: Republic #60 - written by W. Haden Blackman with art by Tomás Giorello 6) Yoda: Dark Rendezvous - by Sean Stewart

tag list: @thechaoticfanartist @charmwasjess @metalatl @redsandspirit @slutshartsstuff @housepartyfortwo @karma-malfoy @thelivingforce

[cartoonistcoop]

ShortBox Comics Member Interview: Seosamh Dáire

Throughout the month of October, the Cartoonist Cooperative will be sharing interviews with members of the Co-op who have a new comic available at the ShortBox Comics Fair 2024! 

NOTE: The Cartoonist Cooperative is not affiliated, associated, authorized, endorsed by, or in any way formally connected with ShortBox.  

Today’s spotlight is Seosamh Dáire ( @saint_vagrant ) and their new comic for ShortBox, THE SOLAR SYSTEM.

We’d love it if you could introduce yourself and tell us about your background in comics.

Seosamh Dáire: Hey thanks for having me! I’m Seosamh Dáire, aka Joe (him/sé.) i have a BFA in Illustration, but more importantly I made a 200-page comic when I was 13 about fantasy angels, and after all that work, dropped it unceremoniously when I realised it wasn’t gay enough. So i’ve been filling the void ever since. Ironically, part of filling the void necessitates making comics about holes, like mine and my partner Anka’s ongoing sci-fi story SUPERPOSE. Recently I was part of the Ignatz-nominated HOME anthology, a collection of autobiographical comics about being of or in Ireland. My work is largely targeted toward mature readers, and last year I made the short 18+ comics TERESIAN for the Noah’s Ark anthology and OSHA VIOLATION (just for fun) and contributed illustrations to the BOOK OF SHADOWS anthologies.

I’ve been making little comics for most of my life, but now i make bigger comics. SUPERPOSE launched in 2016 so even if the clock started at that moment, I’ve been at it for a minute.

Tell us more about your new comic?

SD: Told in a little over 100 black and white pages, THE SOLAR SYSTEM is a trans/anti-military/sci-fi comic set in four timelines. There is Jack, equal parts soldier and experiment, and his mother and father, at odds with what they have made. He meets Nour, a displaced prodigy sniper, an intended footnote in the list of consequences of his parents’ work. With Jack as a vassal and Nour a resistance soldier, they find each other on opposite sides every time in a fight over the control of a superweapon, whose detonation puts the timelines into motion.

Tell us about your creative process; how did you develop this comic and what are the steps you took to bring it to the final stage?

SD: As with most of my work, I got smacked over the head with the frying pan of an idea and immediately went for it. There were some loose concepts floating around prior, but my acceptance to the fair gave me an excuse to solidify it. I wrote (plotted out, scripted) three different versions—I like each one tremendously. THE SOLAR SYSTEM is the third pass, and actually incorporates aspects of that process in the story itself by way of distinct but interconnected parts. the format also took a lot of concentration, as it’s all interwoven, and while not linear, i wanted each next thing to unfold naturally from the last.

The development of the story held all my focus, whereas art was less of a concern since I didn’t expect to draw in a different style, but rather make myself comfortable with a different level of finish, and confined myself to only a couple select tools to accomplish this. It’s the first comic I’ve made using Clip Studio, drawn straight into it without using anything other than a few modified brushes. Then I finished (text/dialogue, any extra painting or effects) in Photoshop.

I value the time I spend fleshing out each character regardless of how much they feature—how they move and how talk, their idiosyncrasies, are all so vivid to me and finding a way to make that as real to a reader as it is to me is part of the fun. I love challenging myself with “what if?” or “if x then y” and making connections that way, heightening the significance between elements, editing and cutting them together to build to each “aha, there it is” moment; I know it when I see it! Ultimately, even if the themes and ideas of the work aren’t identifiable at first, I care most about conveying emotion and that telling a story. Seeing a stranger cry and not knowing why can still stir you all the same. I do think the comic reveals more upon each return, though…

My comic did require a fair amount of research, which is something for which I enjoy any excuse to do. Starting off broadly helps me narrow with more intentionality, although it can get a bit overwhelming—there really is always more to know, and it takes me some time to find a solid place to settle. For reading, I revisited old and new writing/listening from Irish socialists as well as that in the Caucasus, and destabilisation by American interests, also referred to some surreal papers on combat tactics by American colonels which is unsettling stuff, but endlessly interesting.

I owe much inspiration to the IRA, PFLP, YPG/PKK, and Soviet partisans, among many others. 

Do you have any creative rituals or routines to prepare yourself to make comics?

SD: As much as I seek out new resources, I return to the things I’ve always loved. It reminds me what drives me—I’m very emotionally, creatively satisfied even just by select moments within a larger work, such that I get something new out of the experience every time even if it doesn’t directly apply to the project. I rewatched Into The West, The Manchurian Candidate (2004 version), the Escaflowne film, Spriggan, Solaris, I watched Heat… and then rewatched the ending of Heat. Obsession is my ritual, really.

Read the rest of the interview HERE! And dont forget to check out the Shortbox Comics Fair to support these lovely creators!!

[zarla-s]

Man it's been a long time since I've done an ask cluster! Let's see if I can get some down...

He's an extremely fun character to write for and play with! So in that sense I'm fond of him, haha. He's such a huge disaster of a person, there's always something fun to do with him. Well "fun" in a relative sense.

I don't have anything to forgive him for, he didn't hurt me. |D He hurt the brothers!

I do have an idea for a cute feature inspired by Six-Eared Macaque! I should really sit down and do that already... and finish the one I half started but never finished...

I don't think my opinion on any of them changed! I love them all, haha. Which ones I drew comics about just depends on which ones I get ideas for really. Sometimes I get Alphys ideas and sometimes I get Goatparents ideas! Inspiration is fickle!

I don't have any solid plans or anything. :B Just gonna keep chugging along with silly comics and art! Work on Defrag and such. I'd like to finish a Ladyverse comic I've had lying around forever, and I had vague plans for doing a doujin for them too I could work on... and also seeing if I could format Handplates into a book format... I've always got a bunch of projects, haha.

It works on that level! It wasn't intentional though. |D

I do enjoy speculation! I don't really have much of my own though, I didn't predict anything in chapter 2 so now I'm assuming I can't predict anything in the future chapters either, haha.

Emesis Blue is great! Some really beautiful visuals in there, very striking! Love the mood of it too and a lot of the surreal imagery. I think it helped spur me back into TF2 again, haha. Medic and Scout's relationship was so cute.

I have thought about this! It has its share of challenges though... I outlined them more in this post. A pdf would be more doable though... could even include some extra stuff as well! Hmm...

I can see that! He'd probably spend as much time out in the rain as he could just doing whatever to stay outside.

It was pretty much always going to end like that. I always wanted it to end on a hopeful note! Which might seem weird with how dark it is at the beginning. I DID for a brief period at the very beginning of Handplates think about stopping with the Pacifist run, but that was only because I thought going where I wanted to go would take too long and already the project seemed so dauntingly huge at the time, haha. But it was always going to end in a positive way!

Gaster talks about what he originally intended to create here, and he explains a bit about the physical experiments he runs on the brothers here. They aren't really a solution in and of themselves so much as tools to try and find a way to break the barrier. Really though, Gaster got stuck in the sunk-cost fallacy lol.

I don't really have opinions about what canon Gaster would be like. |D Handplates Gaster is his own thing really. Canon Gaster, who knows! Deltarune Gaster, who knows! I will say I hope Gaster stays a mystery in Deltarune and never actually shows up but I think the odds of that are really low at this point.

I thought about doing a script along those lines! I did a few rough drafts of one, but it never really went anywhere... it'd end up dead-ending or kind of meandering off. I might see if I can get an actual script down for a side-comic or something in the future... it might be better suited for a fic.

I was just thinking about this lately! I was picturing Gaster totally forgetting about that until he sees Papyrus squinting and is like OH GOD YOUR EYES THAT'S RIGHT D: and goes to get him looked at lol.

I couldn't come up with a good idea for Flowey which is a shame, I do like him, haha. If one comes to me though I might make a little side comic about it!

Gaster's LV is complicated... his stats in-game are ludicrous if I recall correctly. Did he carry the damage from his murders into the void, even if those murders weren't his in the new timeline? Deep thoughts.

He fed them anything he could find, haha. Which is why sometimes they just ended up with chocolate bars (which he intended as dinner for himself). He probably fed them more often than he fed himself lol. He did feed them fairly regularly though.

Not about skeletons, probably. |D

Man I know I had an explanation for this but it was so long ago... it's hard for me to remember. It could be that the Riverperson is just weird and has weird insight into elements of things, had a prophetic dream... I don't know! It bugs me now that I can't remember this, haha.