#how to illustrate a comic book scene

[tomoleary]

Jim Steranko “Visual Storytelling: The Art and Technique” how to illustrate a comic book scene (1979) Source

“According to the consignor, it was illustrated in August of 1979 at a comic book convention, likely in the United Kingdom, where Steranko was demonstrating how to illustrate a comic book scene. The sequence is inspired by film noir and loaded with emotion and action. It begins with a man entering an office where another man and a woman are seated. The scene quickly elevates to violence with a gun being brandished and a punch thrown.”

[flawseer]

Foeslayer's Lament

The following is an alternative retelling of the final scene from Wings of Fire: Winter Turning, based on my own feelings and thoughts while reading the book.

I vividly remember getting to this part in the book. I listened to the explanation that an animus curse was keeping Foeslayer trapped in the Diamond Trial cavern and a lightbulb went on in my head.

"Oh, the curse is probably phrased in a way to specifically target Foeslayer, and Winter has an item on him right now that can obscure a person's identity," I thought with glee, "the author deliberately set that up as a Checkov's Gun, this is so brilliant! I can't believe how well this all fits together, oh my god!"

Then that never happened. Really, the Pyrite necklace never comes up again; Winter probably still has it on him today, forgotten in his pouch thingy. It felt a bit deflating.

I thus spent the better part of the last two weeks writing and illustrating this comic because I wanted to see how that scene would play out with the Checkov's Gun triggered. I think it still largely hits the same beats as the original narrative and ends in roughly the same place.

It's very possible this is all very silly and my perception of a smoking gun in the narrative is a huge delusion. Whatever it may be though, I hope you'll find this entertaining, or at least interesting as a thought experiment.

[redstarwriting]

the clash | vi. (with someone you shouldn’t’ve)

hobie brown x goth!reader

word count: 2.2k

genre: enemies to lovers

warnings: language, insults, hobie hating you (sort of), you hating hobie, angry hobie, death, there’s a murder, SORT OF GRAPHIC death scene, injuries, ANGST, a plot twist!, sort of allusions to s*icide

a/n: ok y’all. this one’s a lil shorter, but this is where it starts getting whacky. the way i’m writing this is sort of like if i was writing a comic book, so this is a WHOLE ASS PLOTLINE that i could see being illustrated in my brain. i hope you enjoy, bc it’s about to get WILD. don’t worry tho the fluff will come bc i’m soft(ish)

previous chapter: v. ever fallen in love

now reading: vi. (with someone you shouldn’t’ve)

next chapter: vii. i wanna be sedated

───────────────────────────────────

First thing’s first, Hobie needs to find out where the Prowler of your world might be. He could always call Miles and ask him where his Uncle Aaron lived, but that seems a little… insensitive. If there’s anything he knows about the Prowler, he knows that he’s a thief. So, Hobie snatches your police dispatcher and listens for some burglaries being reported. Getting any type of assistance from the police pains him to his very core, but he’s not about to wake you up and let you know what he’s about to do. He crouches on the railing of your balcony and stares out at your city. He hears calls about someone robbing a Bloodega, not the Prowler. Some kids snuck into a club, also not what he needs. “Come on, pigs,” he mumbles, “give me somethin’ useful here.”

That’s when his ears perk up.

“Reports of someone lurking around of Oscorp Labs, suspicions that it might be the Prowler. Units on standby for Spider-Goth, do not engage with the Prowler.”

Do not engage? What the hell? Isn’t he a villain? Hobie quickly understands what’s going on.

He works with the cops.

Fuck this assshole.

He leaps off your balcony, webbing his way through your city. It may not be his style, necessarily, but it’s a nice place. He can see why you like it so much. He’s actually been webbing through it more than he ever expected to with how much he visits you. He knows deep down that he’s visiting so much only to see you, but outwardly he likes to pretend it’s just to see Shadow. He knows more about your world than Miles, Pav, or Gwen’s which is interesting considering he’s known you only about 3 and a half months. Luckily, you live only a short web swing away from Oscorp, so he can’t get too lost in his thoughts about you and can end this guy faster. He lands on the top of the building and glances around. He notices a perfectly cut hole in the glass a few floors down, so he crawls down and through into the building. It’s dark. He tries to stay as quiet as he possibly can because he knows that’s how you would do it, but damn. He just isn’t good at stealth. And this is factual apparently, because he gets the feeling someone is watching him and just barely jumps out of the way from what looks like a whip covered in spikes. He lands on the ground in a crouched position when he hears a somewhat familiar sounding voice. “Who the hell are you?”

“Can ask you the same question, mate,” Hobie says, “The answer will make this whole thing so much easier.”

“You one of that freak’s friends?”

“Something like that,” Hobie responds. “I take it you’re the Prowler?”

“The one and only,” he says, and Hobie rolls his eyes under his mask. “Mate, do I have some news for you,” he snorts, and the Prowler flicks his wrist. His whip makes some mechanical noise and green and purple light starts shining through it in little places where the metal isn’t completely welded together. Hobie motions to it. “Bet you’re proud a’ that. What are you? A cybergoth? cyborgoth?”

“I’ll ask this one more time. Who are you?”

“Name’s Spider-Man, also known as Spider-Punk,” Hobie says, and the Prowler groans. “There’s another one? You’ve got to be kidding.”

“There’s a lot more than just me and them, mate,” Hobie crouches down, ready to leap out of the way if need be. “Why are you here? Where’s my insect at?”

Hobie doesn’t like the way he called you his. “They’re not yours,” he hisses at him. The Prowler is quiet for a moment before laughing. “Oh. I see. Didn’t know they had a boyfriend,” he says, before whipping towards Hobie. He jumps out of the way in time, but almost doesn’t because boyfriend? Excuse me? “Not their boyfriend!” he yells, landing on the ceiling and glaring down at the Prowler. “No? Then why are you here? I figured it was because of how badly I beat them. Their screams were so entertaining.” Hobie hates this man. He clenches his jaw. “Nowhere near as entertainin’ as yours’ll be, dickhead,” he grunts, jumping down and shooting a web at the Prowlers legs. Luckily, the Prowler wasn’t expecting that, and Hobie is able to yank his legs out from underneath him. He falls hard, and Hobie smirks. “Oh sorry, did that hurt?” Hobie says, and the Prowler growls, standing up faster than Hobie anticipated. “I’ll kill you.”

“Not if I kill you first, mate,” Hobie says, anger seeping out of his words. “A spider that willingly kills, huh? Is that why you came to find me?” he chuckles, “I feel like you and I could be good friends,” the Prowler’s chuckle turns into a laugh, and it pisses Hobie off even more. “I’d rather die than be friends with someone like you,” Hobie shoots another web at him, but this time the prowler dodges it. He flicks his wrist, and Hobie feels the whip make contact with his side. He grunts in pain. This must be what got you earlier today. “That can be arranged. You’re even worse than your little partner,” the Prowler says, and Hobie can hear the smirk. He wants to punch that fucking smirk off his stupid face. Hobie stands again, grabbing his guitar. If it’s a fight to the death this fucker wants, it’s a fight he’ll get. And Hobie will not be dying tonight. “Oh, what are you gonna do? Power chord me out of existence?”

“More like beat your ass until you kick it,” Hobie growls, “but if ya want me to do it with style, I’ll play ya a song over your dead body.”

“Bold of you to assume I’ll be the one dying tonight,” the Prowler says and uses his whip again. Hobie jumps out of the way, and his eyes widen as he dodges two bullets in midair. He lands on the ground and sees that the Prowler’s gauntlets are guns as well. He scoffs. “How much that suit cost ya?”

“Would have cost a lot if I didn’t steal it or invent it myself, but I did,” Hobie dodges two more bullets, but lands directly on the Prowlers whip, causing him to slip and fall. “Luckily my agreement with the police got me the state-of-the-art tech that I needed,” the Prowler confesses. “Fuck,” Hobie grunts, jumping up as quickly as he can. “I’m gonna love telling Spider-Goth I took down their boyfriend.”

“Not their boyfriend!” Hobie yells, jumping out of the way of his whip, and more bullets.

“I find that very hard to believe.”

“Look, how ‘bout we settle this without any gadgets, eh? See who wins then?” Hobie says, and the Prowler scoffs. “If you can’t beat me at my best, you can’t beat me at my worst.”

“Actually, yeah I can. Dunno if you’re realizin’, but I’m still alive and breathin’,” Hobie says, jumping out of the way of his whip yet again. This time, though, Hobie was prepared. He webs the whip and yanks it as hard as he can. The Prowler is airborne as Hobie swings him to the other side of the room. He lands with a thud, and Hobie webs over to him, doing a flip to land a kick directly to the face. The Prowler manages to get his whip wrapped around Hobie’s ankle and flings him back across the room. He crashes into some glass wall and groans. “As much as I fuck with your ‘fuck the establishment attitude,’ Spider-Goth ain’t gonna be too happy with me if I destroy another buildin’,” Hobie says, shaking his head, hearing some glass fall down next to him. Then, the alarms start blaring. ‘Great, probably broke somethin’ important,’ he thinks before noticing a piece of glass stuck in his arm. ‘Gotta make this quick,’ he thinks, grunting as he pulls the glass out of his arm. “Like I give a fuck what makes them mad,” the Prowler says, running towards Hobie. He leaps out of the way, webbing his leg again and causing him to slip and fall. Hobie then delivers a blow to the side of his face with his guitar, but thanks to his armor, it just hurts him more than anything.

Then Hobie hears hissing. He leaps up onto the ceiling just before a mechanical snake was about to sink its stupid metal fangs into him. “Made yourself friends ‘cause ya ain’t got any? I’d be gutted for you if ya weren’t such a dick,” Hobie says, webbing the snake and jumping off of the ceiling. He does a flip in midair, swinging the snake with him and throwing it at the Prowler. He dodges just in time, but Hobie is able to deliver another blow to him. This time, Hobie goes for his leg. And he hears a crack. Just as he wanted. The Prowler shrieks out in pain. 

Hobie lands next to him and bends down. “Hope that hurt, fucker,” he spits, striking his other leg in the same fashion. He dodges the mechanical snake again, grabbing it and using his strength to break it in one squeeze. He throws it to the side and dodges more bullets from the Prowler’s gauntlets. Unsurprisingly, Hobie goes for both arms next. He stops when the man is rendered completely useless, rolling the Prowler over on his back. “I win,” Hobie says, and even he is taken aback at how menacing his voice sounds. The Prowler grunts, “You sure you’re a good guy?” Hobie ignores him and stands beside his head. “I do what I want. Any last words?”

The Prowler is silent for a moment before speaking. “Tell them that their boyfriend would have been able to save–”

Hobie doesn’t let him finish.

In fact, Hobie has trouble stopping even after he knows the deed is done. He didn’t even give Osborn this kind of disrespect. But this guy is different. All Hobie has to do is think about the state of your back, how you still blame yourself for what this motherfucker did to someone you cared so much about, and he’s swinging his guitar again.

He only stops when there’s nothing left to hit.

He breathes heavily, observing what he’s done in the flashing red lights as the alarm blares in the background. He walks back to the window, glancing back at what he’s done before leaping out and webbing away as fast as possible. He hopes no one saw him. Doesn’t want anyone confusing you for him.

He lands on your balcony and sees Shadow waiting for him inside the doors. He opens them and hears the cat meow at him. He leans down, giving him a few scratches, before opening a portal to his world. He goes home, falling on his bed. He groans, feeling the injuries he got for the first time. The adrenaline was keeping him going that entire fight. He gets up, and begins mending his injuries. Halfway through the last set of stitches he has to give himself, he gets a call on his watch from Miguel. He rolls his eyes, ready to get yelled at for, ‘interfering with the fate of the multiverse, yaddah yaddah yaddah blah blah blah boring boring boring.’

“Yeah, what d��ya want?” he answers, finishing up his stitches. “Get to Spider Society immediately.”

“I’m a little busy here, mate can it–”

“NO! It can’t wait, Hobie! Get here now!” Miguel screams, hanging up. Hobie groans. He was supposed to go back to your world so when you wake up, he would be there and explain why he did what he did. He could just go back… but then Miguel might show up in your world. And he sure as hell doesn’t want that. Sighing, he opens a portal to earth-2099, walking through and ending up in Miguel’s multi-screened research room. “Do you know what you did.”

“Killed a bloody villain, what of it?” Hobie asks, already annoyed. Miguel pounds his fist on the desk. “You interfered with (Y/n)’s timeline, Hobart!”

“I was protecting them!”

“YOU CREATED AN ANOMALY!” Miguel screams, and Hobie frowns. “How did I–”

“You killed a villain not a part of your own world, a villain who played a role in a major canon event of (Y/n)’s and now–”

“Would you come off it with the fuckin’ canon events?! Whatever it is will be resolved in one way or another!”

“Hobie you don’t understand–”

“He hurt them! Was I just supposed to stand around and let it happen?!”

“YES! We’re Spider-People it’s part of the job,” Miguel screams, and Hobie rolls his eyes. “I thought you hated them anyways, why did you want to protect them so bad?!” Miguel asks, and Hobie freezes. That… is actually a good question. He sees your injuries in his mind again and his frown deepens. Why did he want to protect you? Surely, he doesn’t… like you? No, he wouldn’t have done what he just did for a just a friend, though he would have still hunted the Prowler down. But the thought of him hurting you drove him to do unspeakable things… which he did. Is it… does he like you romantically?

His eyes widen. It would make sense if he felt that way. He was around you 24/7. These past two days were torture. He likes the way you challenge him. He likes the way you look, he likes the way you speak, he likes– “Hobie. Answer me.” His thoughts get cut off by Miguel, and he swallows hard. “I… I actually can’t answer that right now,” he says, and Miguel frustratedly runs his hand through his hair. “Hobie. What you just did…”

“Is bad, I know–”

“It’s not just bad. It’s detrimental.”

“What do you–”

“Do you know who you killed?” Miguel asks, and Hobie scoffs. “Obviously. I killed the Prowler, probably some variant of Aaron Davis or–”

“The Prowler on Earth-666 is not Aaron Davis,” Miguel says, frowning at him. “Did I kill Miles? You know his voice did sound kind of familiar…” Hobie asks, feeling a little worse about the way he handled the situation. “No. It wasn’t Miles, either.” Hobie looks up at Miguel, who takes a deep breath. “The Prowler on Earth-666 was Hobart Brown.”

Hobie feels like he just got hit with a pound of bricks. This is too much for him to process in one night. “I… what?”

“You just killed yourself.” Hobie shakes his head. “I–”

“He sounded familiar because he was you. Just without the English accent,” Miguel says. “Did (Y/n) know?” he asks, less concerned with the fact that he technically killed himself, and more concerned with the fact that he did all of those things to you. Miguel shakes his head no. “They didn’t. They were never supposed to know,” Miguel affirms, and Hobie lets out a shaky breath. He unclenches the fists he didn’t realize he formed. He feels the indents his nails made on his palms, but he doesn’t care. He was genuinely scared for a minute there. How would you react towards him if you know he was the one torturing you for so long? He nods. “Good.”

“There’s something else I need to tell you, Hobie,” Miguel says, and Hobie looks at him. “You changed a canon event. So far, the world seems stable… but you’re not going to like what will happen next,” Miguel says, turning away from him. Hobie jumps up to the platform Miguel is standing on. “Will (Y/n) be okay?” he sounds a little too frantic, and Miguel glances over at him. “You care too much for them.”

“Bollocks,” Hobie retorts, and Miguel sighs. “I knew you would like them,” he mumbles before pulling up information on your Earth onto the monitors. Hobie sees the Venom symbiote pop up and frowns. You haven’t had to deal with that yet. “The Venom symbiote was meant to bond to Hobart Brown on (Y/n)’s Earth. Now, the symbiote is going to bond to (Y/n), which is bad. This symbiote is unlike the other Venoms. It’s angrier. Deadlier. He would have been the worst enemy they ever had to face. I’ve been mentoring them as a secret way to help them train to be able to defeat him because… well…”

“Cause what?”

“Hobie Brown with the Venom symbiote would have been unstoppable,” Miguel says, turning to Hobie and delivering information that makes a chill run down his spine.

“Hobart Brown was meant to kill (Y/n) (L/n).”

───────────────────────────────

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[mobilislnmobile]

A quick comic strip I made some years ago. I've never really tried comics. For a long time I thought it would be too difficult for me ! How silly I was, this way to tell stories is the best one ever. :')

My story Libertatem is not about 20K, but it fills the blanks before and AFTER 20k :) But I wanted to illustrate a scene from the book, just to challenge myself first, with a part of the story which is not mine :)

Since then, my designs changed a little bit, especially Pf Arronax.

[redgoldsparks]

Last year I worked for the first time as the writer half of a writer-artist team on a short comic! Tessa Luicart aka @that.artist.tess on insta illustrated this story for the Columbus College of Art and Design Spitball anthology. Our collaboration can be found in volume 9. You can find these collections for sale at spitballcomic.com or at CXC every year. Transcript below the cut.

instagram / patreon / portfolio / etsy / my book / redbubble

Page 1

Like many young writers raised on diets of Eurocentric fantasy stories my first attempt at long form fiction was sudo-medieval fantasy. I did an astonishing amount of visual research for this comic, seduced by the aesthetics.

Page 2

But I struggled with what felt like an unmanageable plot. At times, thumbnailing this story felt like wading through mud. Other times, I pictured myself hacking a path through a jungle.

Page 3

I labored and sweated to clear a passage through the wilderness. I felt as if I was uncovering a path, a plot, that only I could see. I didn’t question whether writing needed to feel like so much WORK. When a well respected literary agent told me the story was half-baked and unpublishable, I was devastated. I’d already drawn over a hundred pages.

Page 4

After much hard thought, I decided to set the story aside. In my newly freed creative time, I started to write memoir. I was shocked by how quickly it flowed out of me. It wasn’t EASY exactly- but the pages poured out of me like water.

Page 5

Instead of wading, I was skipping easily from scene to scene. Now, I pay attention to how it FEELS to work on a story. If it feels like I’m back in the mud, I have taken a wrong turn. Or else the story isn’t ready yet to be told. When the story is READY the path reveals itself.

[colleendoran]

Neil Gaiman's CHIVALRY: From Illuminated Manuscripts to Comics

One of the many reasons I wanted to adapt Neil Gaiman's Chivalry into graphic novel form was to create a comic as a bridge and commentary re: comics and illuminated manuscripts.

We're often told that the first comic book was Action Comics #1 featuring Superman, a collection of Superman comic strips that morphed into comic books as an art form.

Sequential art predates Action Comics #1.

Action Comics popularized sequential art book storytelling that had already appeared in other forms in fits and starts throughout history. Comic books didn't take off as a popular medium for several reasons, not least of which was the necessary printing process hadn't been invented yet and it's hard to popularize - and commercialize - something most people can never see. 

You find sequential art in cave paintings and in Egyptian hieroglyphics. I've read that comics (manga) were invented by the Japanese in 12th century scrolls.

And sequential art appears over and over again in Western art going back well over 1000 years, and in book form at least 1100 years ago.

The most obvious example of early sequential art in Western art - as a complete narrative in sequence - is the Bayeux Tapestry. 

At 230 feet long, this embroidered length of cloth was likely commissioned around the year 1070 by Bishop Odo, brother of William the Conqueror. It depicts the Battle of Hastings in 1066 and the invasion of England by the Normans. (The tapestry was made in England, not in France, but it is called the Bayeux tapestry because that's where it is now.)

Imagine what a task it was to embroider this thing. Whew. And you thought it was hard learning Photoshop.

This work of art is important in the history of sequential narrative, but the Norman invasion is also important to the legend of King Arthur - and another important English legend - for reasons we'll get into later. 

It's complicated.

All this is why you see this art in the background of this page of Chivalry.

Using the Romanesque art style of the tapestry in panel 1, I've added the Latin phrase "Rex Quondom, Rexque Futurus" - "The Once and Future King", the final words of Sir Thomas Malory's Le Morte d'Arthur as inscribed on King Arthur's tomb, and the title of T.H. White's famous Arthurian novel.  (EDIT) and it has been kindly pointed out to me that QUONDOM should be QUONDAM, which is hilarious and annoying and this is how history gets rewritten by accident.

My original intention was to draw this Bayeux Tapestry scene out and juxtapose it with shots of Galaad interacting with the children, but the two page sequence I imagined didn't really work as well in reality as it did in my head. 

Foremost among my concerns was that the tapestry reference might be too obscure for most readers. I wanted to weave the visual meta-text of Chivalry into the story (For further reading on this project and my use of visual meta-text, symbolism, and history in Neil Gaiman's Chivalry, go HERE. And HERE. And HERE. And Yet again HERE.) in such a way as it would enhance the experience for people who "got" the visual meaning, while not dragging things down for people who didn't. So I cut this scene down to one panel.

The tapestry is a complete, long form comic strip created over 1100 years before some people claim comics were invented. So, I loved being able to reference it here.

But even more interesting to me are the sequential art sequences that appear in illuminated manuscripts - comics in book form.

I once got into a rather vicious argument with an academic who insisted illuminated manuscripts were comics. I said no. She said yes. Then she insulted the lowly comic artist and blocked me on Facebook.

Whatever.

My point was not that you can't find sequential art in illuminated manuscripts. My point is that an illustrated book isn't de facto a comic. Most illuminated manuscripts are illustrated books. Some illuminated manuscripts contain sequential art.

Just because opera is music, that doesn't mean all music is opera.

Just because comics books are books that doesn't mean all books are comic books.

And just because some illuminated manuscripts contain sequential art, that doesn't mean all illuminated manuscripts are sequential art.

But one is.

Let me show you it.

One of the earliest examples of an illuminated manuscript with comic art is The Bible d'Etienne Harding which you can see in this really bad jpg here, sorry, best I could find.

Created around the year 1109, property of a French Cistercian monk, it combines sequences like this with pages of text and illustration.

Not a comic book IMHO, but an illuminated manuscript with sequences of text, illustration and sequential narrative.

It's no more a "comic book" than a newspaper is for having text, illustration, and comic strips in it.

IMHO, academic lady.

And here's a look at the Old English Hexateuch (hexateuch refers to the first 6 books of the Bible) which I think is far more visually complex and interesting work, and comes much closer to the illuminated manuscript as comic, but still intersperses large sequences of text and illustration with sequential storytelling sequences. So I don't consider it a comic, but a book with sequential work in it.

Now this work below is a different matter. This is from the Holkham Bible Picture Book, circa about 1330.

This thing is genius. It measures a little larger than a modern comic, around 8"x11", and almost every page of it is like this spread here. 231 pages of beautifully rendered art, with repeated use of banderoles - "speech scrolls"  (basically word balloons) -  and captions, and (mostly) real sequential art. I've never seen anything else that comes even close to it, and by all accounts, neither has anyone else. 

It may not be a modern comic book - but it's a comic book as far as I can tell. I don't think there's any other illuminated manuscript that is as complete, sophisticated, and innovative a sequential storytelling work.

If this were printed and seen by more people, the comic book medium would have taken off centuries earlier, IMHO. But it wasn't. It was tucked away in a monastery somewhere and few people ever saw it. It ended up being forgotten for centuries until it popped up again around 1816 when a banker sold it to an avid book collector, Thomas Coke, Earl of Leicester, who inherited Holkham Hall and its library and set about restoring and expanding it. 

The banker wrote, “a very curious MS. just brought here from the Continent. . . which I think one of the greatest curiosities I ever saw”.

Sequential art got invented over and over and over by one artist after another until one day centuries later, some teenaged boys found their newspaper strips gathered together in a cheap format, and suddenly comic books were popular and like new.

And then a lot of people who didn't seem to realize that books had had pictures in them for centuries got all up in arms about the harms of books with pictures in them.

I think it's funny that it is called the Holkham Bible Picture Book. There really was no "comic" art language when this work was created or when academics began to catalogue this sort of thing. Will they change the name now?

Who can say.

Anyway, another Holkham Bible Picture Book reference for you.

Look familiar?

I referenced it in this scene in Chivalry.

One of the fun things about the Holkham is that it opens with a discussion between a friar who has commissioned the work and the artist. The friar admonishes the artist to do a good job on the project because it will be shown to important people. And the artist responds, "Indeed, I certainly will and, if God lets me live, never will you see another such book."

He wasn't kidding.

You can see the entire manuscript HERE. 

Sponsored by my Patreon. Thank you.

[snovyda]

"Simon Pegg, from the Cornetto Trilogy, he's always been, like, my North Star in a lot of ways. He writes his own material, he's incredible in all the movies that he's in - not all of those are written by him, but you know what I mean... He's so incredible, and he's been my hero for years... Bringing you back a little bit, when I first started my research into The Boys, I read the comic book and was like, "That guy looks familiar! Oh, that guy is Hughie?" So, if no-one knows, in the comic books Hughie is modelled after Simon Pegg circa Spaced. Darick Robertson [...] who illustrated the comic books [...] just loved Spaced, so he put it in, just cause he was like, "This guy's awesome!". They did not clear it with him before they did that. And I'd like to thank Simon Pegg for a number of reasons, but first and foremost is... I have a theory that The Boys the TV show would not be a thing if not for Simon Pegg, because most people would have seen that and been like, 'I'm suing immediately, what do you mean?!" But Simon Pegg probably looked at it and was like, "Oh, sick!" and didn't sue. And so I'm so grateful for a number of reasons, but that primary thing - The Boys wouldn't be a thing if Simon Pegg had sued, so thank you, Simon!

So that was so intimidating for me, because he's such a hero of mine, and you know, Simon never played the role in a live action setting, but they were trying to make that a thing for a while and it kind of felt like he had. So I was like, "Oh no, people are expecting Simon Pegg, how the hell am I going to live up to that?" And then, when they cast him as my Dad, that was great, but also so intimidating, because I'm like, "I'm going to meet a hero. They say never to do that. What's going to happen?" [He] could not have been more welcoming, could not have been kinder... (*tears up*) sorry, he really is the best, truly (*chokes up*) I'm sorry. [...] In that scene I'm like, "You're my hero, Dad" - I'm not acting, I'm just saying it to Simon Pegg."

- Jack Quaid on Happy, Sad, Confused

[bamsara]

Third ask in a few days, i know that's alittle much, but how's your webcomic coming along?

(If i already sent you this question in the past, I'm so sorry, i have a terrible memory)

Oouhg I have several-

Arson's Story - I don't have an official name for it yet, but this is constantly on my mind. Probably not as outlined as the others but the world building and scene drafts I have for it are held up in a google doc in a bit of a jumbled mess that I constantly revisit

3 Fated - (I have several posts for this one but I just linked the one I could find the quickest)I have the outline for the first arc planned out! The other arcs are like, semi-planned out in the way thats just kinda like, draft notes and in my head. None of the outline is physical art yet so I'm starting to lean towards making it more of a written book rather than a webcomic since most of it is spare doodles rather than comics. Idk actaully I really want this one to be illustrated but the amount of work that it takes for a series planned to be as long as I'd like it to be is a bit intimidating

For Maddie and Eve's story though I think that's gonna eventually be a short comic and then a novel I'd like to finish one day

Some of my story premises/summaries for context. Pls excuse the jumbled rambling lmao

[bogleech]

NO idea if this has been asked before, but do you think you'd ever sell physical copies of awful hospital once the series ends?

I would like to but I tried to be "efficient" about how I made it and put it up, back when I was also planning for it to be a much shorter series, and I created a problem for myself, and I've talked about it before to the horror of everyone but I will horror them again:

whenever there's a room laid out for the interactive "point and click style" scenes, I keep just keep drawing new things into the same file, so for instance this room has one file with dozens and dozens of layers containing every individual character, object or scenery alteration I ever gave it, then after arranging those things I just export the file. This is all normal and standard, but, to save computer space I never kept the full-size high resolution versions of the exported scenes. So if I made a book for print I'd have to go through these files, dig through hundreds of layers and arrange those characters/objects again for every incarnation. It'd be actually easier to abridge the series into an illustrated novel or more traditional comic with entirely new art!

Whoops!! The alternative is to wait until AI-driven upscaling is good enough that I can make my own images larger again without any noticeable flaws. We're not there yet but maybe soon?!

[namidew]

Updated Apollo and Artemis designs !! (Still subject to change and clothing changes)

Details below for design concept ramblings (not including a few details explained in prior posts) !!

Complementary Details - Apollo and Artemis are very similar in physical appearance, which is to show that they are close to each other. Not just as a design choice by me, but within the story they choose to look similar, as the gods can change their appearances. Apollo has gold (jewelry, eyes, and hair strands) and the sun halo for the domain of the sun, and Artemis has the silver (jewelry and eyes) and the moon halo(?) for the domain of the moon. They have a light-and-dark outfit contrast to highlight their different domains, such as Apollo’s domains of the sun and light, and Artemis’s domains of the moon and the wilderness. They both have green himations, with Artemis’s being “warmer” in tone and more earthy, while Apollo’s being “colder” and more “refined(?)” in a way while the two still match.

Apollo - Individually, his chiton now has faint yellow stripes shooting from the gold jewelry, in resemblance of the sun and its rays. His himation has lighter green lines, resembling a blank music score, to represent his domain of music. If drawn for a comic or an illustration, I like to imagine he’d have the melody of a related song on it.

Artemis - Her chiton is now a dark brown rather than the previous white, allowing her to blend in more within the woods at night. She has a deer pelt over her shoulders due to her domain of the hunt and her association with deer, as well as a more “woodsy” look. Her himation now has darker green details of leaves, also adding to her wilderness and nature theme.

Story Dynamic - They’re rather close siblings, always looking out for each other. I’d imagine they talk frequently but have the sort of relationship in which they can go a long time without talking and return to normal even after. I’d imagine Apollo to be pretty conflict avoidant and of the tendency to try to keep the peace, while Artemis may be more impulsive depending on the circumstance, as based on their domains. Not entirely sure about the next concept, but it would be interesting if Apollo, while rather amiable and within good graces with many, actually tells little about his personal details (as in the type of person who you think you know well until you try to recall anything about them personally) while Artemis is the opposite where she’s more of an open book so long as you start a good conversation, but it’s not a concrete idea. It would be an interesting concept though, given how the moon is physically closer to the earth than the sun.

Unrelated and Miscellaneous - First, I’m considering toning down the vibrancy of Aphrodite’s chiton and possibly Dionysus’s purple (grapes, eyes, himation) for the sake of more cohesive of a color palette (warm and earthy), but I plan on waiting until finishing all the Olympian designs to finalize that, given there’s a few others I plan on giving a more cool-toned color palette. Second, the next few Olympians are going to be a bit more difficult to design, for me it seems, so ideas are greatly appreciated ! Third and lastly, if I were to make this story more than an idea, it would likely be a non-linear slice of life “comic” series in which random drawings or scenes are posted in no real order. I’m not good at writing stories anyhow, and while a written story, actual comics, or animatics/animations would be very cool, I haven’t the skill for any of those.

Anyway, thank you very much if you read all these ramblings, and if you have any suggestions or ideas, I’d be happy to hear them !!

[cryptocism]

Hi!!! I love love love your style of the “call Paris” scene!! Are you planning to do any other scenes from the devil’s minion chapter? Or would you ever consider doing a whole comic book of the chapter, for commission?

oh man thank you! i dont have immediate plans to draw any other scenes. although they are all just. so good. the "call Paris" one is obviously the favourite but im also partial to the bit where Daniel is like, "babe you Do Not know how money works. you throw your clothes away after you wear them."

considering the "call Paris" bit was like, maybe 1/5 of a page worth of prose, and ended up as 3 comic pages.... and the chapter itself is at least 30 pages worth of prose.... illustrating the entire chapter would be a pretty massive undertaking, even if it was edited down to just the Armand-and-Daniel bits without the QotD plot threads.

however (money and schedule permitting) i'd be open to doing the full chapter or scenes from the chapter for commission, although if its the full thing it would definitely take a while

[fenrislorsrai]

Fandom Trumps Hate- Good Omens Offerings

this is a non-exhaustive list because there are so many Good Omens offerings. These are just Discord pals that were go "aaaaaaaaaaa what if nobody bids on me!?!?!?!"

well, then what if I give you the opposite problem and EVERYONE bids on you. AHAHAHAHAHA. Chaos for a good cause! my favorite!

Read the full offering for details. I've just given a super quick summary and additional fandoms they do if you're going "I hunger for CROSSOVER" plus said nice things about them. HAHAHAHA. YOU HAVE TO ACCEPT MY COMPLIMENTS NOW!

Get art or words as a gift for your favorite fandom for a charity donation! Fandom Trumps FAQ on how it all works. @fandomtrumpshate

Dorli-+ Legend of Zelda, Avatar The Last Airbender- illustration, banner, or book cover -- up to M rating - does trans/nb characters, f/f ships - absolutely the softest, squishiest looking character work. get the most huggable version of characters. (or squishy AND hot. ohohohoho)

SassishMoon- illustration up to E rating- does trans/nb characters, f/f ships -special note, I got art for Moon last year and it was fabulous. also have a collab coming out in a zine and it is HOT HOT HOT.

WarGoddess- + FullMetal Alchemist- Illustration up to E rating- interested in angst, unhappy endings, genderbending- lovely textures. beautiful skins tones and absolutely fabulous wings.

Sightkeeper- illustration up to E rating- option for comic page if bid goes high enough!- interested in trans & nonbinary characters- Delicious line work and delightful facial expressions. also: monsters

TheRavenMuse - 5-10K fic up to E rating- make it dark, make it weird! and by weird, has done Bentley/Bookshop smut. TIME FOR CRACK.

contritecactite- + Final Fantasy: VII, XII, XV, Ace Attorney 5-10K fic up to E OR 5K podfic of your work up to M rating- interested in trans & nonbinary character, F/F, polyships, and canon compliant/fill in the gap in canon type fics- go get you some RADIO omens. and Book Omens. writes very caring stuff... and sometimes caring is a good healing fuck.

accidentaldemon- under 5k up to E rating- interested in polyships, trans & nonbinary characters, and humans AUs- do you need some Crowley & Young Shadwell fic? AccidentalDemon has you covered.

TawnyOwl- 5-10K up to E rating- loves AUs where they meet and find they're perfect for each other in a new and special way.

SeedsofWinter +Our Flag Means Death + Venture Brothers- Fan Labor for up to E rating. (length depends on final bid value) Deep content editor. Goes way beyond the basic spelling and grammar check. This is a draft editor to help fill in missing scenes and fix pacing. Has run several zines as the editor! Interested in trans /nb characters, polyships, f/f, reader insert, unhappy endings, and RARE PAIRS.

Ngk_is_cool - under 5K up to T- TV or Book Omens! time for all those secondary character to shine! anything but a/c. especially interested in ace and queerplatonic relationships. do you want a fic with some footnotes like the book?

Shaninal- under 5K up to M rating- A/C in some canon complaint fluff and humor. OR beta read for 5-10K up to E rating for Good Omens, Percy Jackson, or Miraculous Lady Bug

EdosianOrchids- 3 options! 2 soft & fluffy up to 5K and one 5-10K hurt/comfort. TV or Book Omens. especially known for chronic pain, disability, and PTSD focused fics. Come and get some HEALING and comfort for the chronic issues. also does aspc fics.

HKBlack- 10-20K up to E rating. Interested in trans/nb characters. Love AUs with a happy ending. THERE WILL BE PUNS. SO MANY PUNS

This is only a partial sampling go see the whole Good Omens tag

and if you are have a gomens offering not listed here, feel free to add in reblogs! Let's give some charities some money!

[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 ♡( ◡‿◡ )

[kittykatninja321]

The ultimate theme of the under the red hood final confrontation scene is supposed to be “sometimes, no matter how hard you try, not everyone can be saved”. It is perhaps one of the ultimate themes in superhero comic books in general. Jason was supposed to be martyred once again to illustrate this point. The only reason Jason makes it past under the red hood is because he was unexpectedly popular and his dick was too big to fit back in the fridge 😔. But for all intents and purposes he does die at the end of that confrontation

[the-writer-is-always-write]

Thoughts on Dune: Part Two

General Impression: I adored this movie from start to finish. Having just rewatched Part One a week ago, it felt like a seamless transition hopping back into the story. The score, the set design, the costumes, all of it was impeccable.

Chani: her character arc was obviously the biggest deviation from the book, and although I felt a lot of surprise watching it unfold, I think some reflection has left me alright with it. I've admittedly only read Dune and Dune: Messiah, but both books are clearly meant to illustrate the dangers of religious fanaticism and the ways that religion and prophecy can be manipulated and utilized as a tool for oppression. While these ideas can (hopefully) be discerned fairly clearly by the reader, I think it makes sense to have an audible voice of dissent in a film adaptation, particularly from someone among the Fremen. The only concern I have is wondering how Denis will handle Dune: Messiah, since the plot sort of hinges on Paul and Chani being together. But I guess that's a worry for later.

MY BOY MUAD'DIB: Timothee is just so utterly perfect for this role, I genuinely could not imagine anyone else doing it with such grace and gravitas. Seeing the gradual spiral of innocent teenager to reluctant leader to religious icon was heart-wrenching. Paul has honestly become one of my favorite fictional characters because his story is so complex and layered with tragedy. He's simultaneously a product of manipulation and coercion, and an angry young man seeking revenge against those who have hurt him. He lacks agency in many ways, yet he still makes decisions that lead to so much destruction. He tries so so hard to avoid the holy war, but it becomes an inevitability he can't escape. Reading Dune: Messiah for the first time a few weeks ago really helped me to understand how the prophecy controlled him as much as he used it to control others. I could literally give a ted talk on this, and how it's such a fascinating take on the messiah figure trope.

Jessica: I saw an article recently where I think Denis called Jessica "the puppetmaster," and I think that's very fitting for her depiction in this movie. I like how it openly shows the manipulation tactics of the Bene Gesserit, particularly how they prey upon the "vulnerable" Fremen first. Rebecca did a fantastic job giving the creep factor.

Feyd-Rautha: I still don't know why Denis had a vendetta against Harkonnen eyebrows, but I guess it was cool? I LOVED the black and white lighting on Giedi Prime, and the arena scene was SO. GOOD. Denis really went for it. Feyd's accent caught me off guard a few times, but overall I think the ruthless and brutal nature of the character really shined through. He's the antithesis to Paul, and I think Denis captured that theme well enough.

I thought all the other characters were well done too. Stilgar was maybe a touch too comic relief-y at times, but nothing catastrophic. Gurney was great, but I would have liked at least one more baliset scene :(

Things we missed: I'm a little bummed we didn't get Harah. I know the movie was already pretty stuffed, but I honestly thought they could have used the actress that played Chani's friend (I can't remember if they ever mention her name). Even if the idea of Paul "acquiring" her was a little icky, they could have done something else with her character at least. I was also sad they didn't do the full funeral scene with Jamis, but oh well. I think the greater omission was Thufir Hawat, but again I can see why they chose to cut him. I just think the dynamic between the Baron and Feyd-Rautha had a lot more friction in the book, mostly because of Thufir conspiring them both against each other.

I'm honestly not upset we didn't get to see freaky-toddler Alia. I was excited for Anya though!

Overall, I really loved this film. No adaptation can get every detail perfect, but I can see the ways that Denis and the actors adored this story and wanted to tell it in a powerful way. I thought the themes stayed true to the book, and I'm really hopeful we get Part Three!

AND THE WORMS. THE WORMS WERE GREAT. LONG LIVE THE WORMS.

[stephdrawsjohnlock]

Fandom Trumps Hate 2024!

Looking for a scene drawn for your story? A piece to help inspire you to write a fic? A new icon? How about covers for your story with full print-ready Graphic Design service? Maybe a pinup, or some trading cards (up to 10)?? Maybe a gift for someone, or just your vision of a character(s) (up to 3 character sheets) for your AU?

Well, that’s just some of the stuff I’m willing to offer for this year’s @fandomtrumpshate​​ Charity Event! FTH is a WONDERFUL community project that supports amazing non-profits through donations for fanworks via  this wonderful annual event!

I am participating for my fifth year by offering 2 fanarts for y’all in either the BBC Sherlock or Good Omens fandoms, starting at 20$ for the non-profit of your choice!

Here are some past FTH pieces I’ve done, if you’re interested in seeing the scope of the work you would be getting from me:

2020:

GO - :FTH 2020 – Lagniappe for Big_Edies_Sun_Hat:

GO - :FTH 2020 BONUS – Réveillon for Big_Edies_Sun_Hat:

2021

SH - :This Year: (FTH #1 for @discordantwords​​)

SH - :Burlesque Johnlock: (FTH #2 for @ohlooktheresabee​)

2022

SH – :A Quiet Moment: (FTH #1 for @totallysilvergirl)

SH – :Against the Wall: (FTH #2 for @anarfea)

2023

SH – :Let Me Come to You: (FTH #1 for  ShakespearelovedLadyMacbeth)

SH – :Couch Cuddle: (FTH #2 for @discordantwords)

SH – :More Every Minute: (FTH #3 for @totallysilvergirl)

And of course, you can browse all my art to see my range:

@stephdrawsjohnlock​​

stephdrawsfanart on Instagram

@stephratte​​ (Primary Multifandom Art ​Blog)

stephratte on deviantART

I will draw any ship from any of the above fandoms. All my work is done as a hi-res 3000x3000 print-ready piece in Procreate. Traditional media (markers, India ink, and pencils) is also available if you prefer, done on illustration or marker paper at the paper’s size, with the option of acquiring the original if you choose. I will also do it at a requested size if you have a preferred format for something specific (like a book cover or a comic panel). Feel free to DM me if you have any questions.

The browsing begins on Feb. 26, and the bidding opens on March 1! I hope I once again get a chance to do a couple fantastic pieces for y’all!! I love doing this so much, so keep an eye out for my info post soon once it’s official!