#i have another comic scripted i just need to actually draw it

[fjordline]

little images while i draw something more substantial

[zexapher]

Vacuan Nights, Like Vacuan Days

They’re just so great together! I’d love for Jaune and Weiss to get a little downtime in Vacuo to live out a moment like this. They really deserve it, and I’d love to see Jaune’s guitar make a reappearance.

The comic here was inspired by u/Silverstar1243’s excellent piece of art, A Serenade Under the Moonlight. Send some love to them on their twitter, commission some art if you’re willing and able, they’ve made some great stuff.

You folks may have noticed I threw in a couple of references for those in the know; the Golden Oreos behind Yang (double stuffed, I might add) for the trio’s ship, Weiss liking it rough for Mallobaude’s great fic, and of course I made a whole theme around the Arabian Nights Disney song. A song, along with its Aladdin compatriots, which I spent the better part of a day finding covers for just to listen to on repeat while I worked.

This one’s now officially my longest comic project, with 14 panels, two over the past record since I added the White Knight kiss at the end. I’m pretty happy with how it turned out. Not sure I’d say it was more difficult than my Vanity of Vanities post, but for this one I actually knew how to use my editing software going into it (at least somewhat).

Put a lot of work into this one, been working on it on and off since February. Took a few breaks for vacation, to make my memorial post for Rooster Teeth, and another five meme edits or so, but I came back around to it. First half was pretty easy, relatively minor edits inserting characters into scenes and so on. The second half with Jaune and Weiss was tougher though, with color correcting, merging poses, redrawing features, drawing Jaune’s entire head to fix some lighting issues, etc. Really like how the edit to make Jaune strum his guitar turned out.

The time it took to make the whole comic got me down a little, until I did a bit of math. Including my side projects since starting this, all the scripting and editing and all, I’ve been pumping out a panel every two days. That seems pretty good to me, that kind of accomplishment makes me a little proud of myself.

Really need to get around to watching the second part of the Justice League Crossover movies. It’s got a few Vacuo scenes that might make things a little more authentic instead of me just using Saphron’s house and pretending it’s a suite in Vacuo. I do love taking yet more character stills from Jaune and friends experiencing deep trauma and turning it into something positive, been making that a bit of a personal habit. And I’ve got to say, the background for Jaune and Weiss’ scene is really beautiful, pulled it from when Sun and Neptune hear Ruby’s message about Salem. That’s just a really good shot all on its own, I even saved a copy for my computer’s wallpaper after editing out the two.

Posting a big RWBY White Knight edit, watching not one but two RWBY Beyond episodes, and all on the trail of the news that RWBY’s found partners that they’re negotiating with and that the creative team is expected to stay on. And I'm sipping bubble tea. Life is good.

Anyway, pardon the long write up. I’m invested in this one, and am quite pleased with how the comic turned out. I hope you all get a kick out of it as well!

[catsharky]

Wanted to post these separate from my Art Fight post because I spent too long on these references (really just Fallstreak's tbh) to keep them hidden away on the AF site. Also cause I love these guys and I haven't really talked about them much on here.

So for anyone who was curious about the previous art I posted of these OCs, have some actual information about them!

Nell

Full name Abnell Roache (will also accept 'Nella', but loathes being called 'Nelly'). A health and safety inspector for an interstellar cargo company, Nell becomes stranded on an ocean planet when the ship she's auditing- the ACS Endurance- experiences a catastrophic engine failure and tears itself in two.

Adrift on an endless alien sea with no guarantee of rescue and little emergency food, she has to survive with the help of Bas: an (illegal) AI inhabiting the chassis of her life pod's survival assistant. With her only goals being survival and finding any other survivors, she's unprepared to find herself making humanity's first contact with another sapient species; an alien biologist named Fallstreak who has also found himself trapped on the planet. 

She's thrilled to learn about Fallstreak and his people, as well as teach him as much as she can about humanity, and if she has an immediate, massively obvious crush on the tall faceless alien? Well, the only other person there to complain is Bas. Which he does. A lot.

Bas (Pronounced 'Baz')

An illegal AI inhabiting the chassis of a life pod survival assistant (though to clarify, in this universe all true AI are illegal because they require a human brain scan to be made and that's a legal rights nightmare). After years of only knowing his 'father', Richter (the engineer aboard the Endurance who purchased and programmed him), he boots up to find his home destroyed, his father dead, and himself in the company of a total stranger; Nell. 

He has a lot to deal with: keeping Nell alive, figuring out how to interact with someone other than Richter while also mourning his death, and acting as a middle-man/interpreter between Nell (who he has rapidly developed what seem to be romantic feelings towards) and Fallstreak (an alien biologist who's captured Nell's interest without even knowing what he has). 

And to top it all off? He has a text-to-speech Australian accent.

Fallstreak

An alien biologist with a bio-mechanical body, named after the cloud formation (look up 'Fallstreak holes', they're neat!) that most closely resembled an event that occurred on the day of his birth.

Extremely curious and wants to learn everything about his two new companions, as well as share his knowledge with them. Verbal language is all but entirely unused by his species, however, so the language barrier between Fallstreak and Nell+Bas is a large one. Thanks to Bas' assistance, he's able to understand spoken communication fairly well, and speaks (in very broken sentence structure) by vibrating the membranes in his gill openings, resulting in a voice that sounds somewhat like early English vocaloids; understandable but clearly not a natural voice.

Living a fairly solitary life isn't uncommon for his species, and he hasn't had the opportunity to experience romantic interest before, so when he meets Nell and begins to fall for her, he's more than a little confused (oblivious) about what his emotions are doing. Unfortunately draws some jealous ire from Bas as a result, but is pretty oblivious to the AI's attempted rivalry. 

--

All three of these guys are from a WIP comic called The Rive that I hope to finish some day. I have most of the story figured out, and quite a bit of it scripted and ready to go, I just need to actually draw the damn thing.

[thephooka]

Happy Webcomic Day! My webcomic White Noise is a labor of love--according to Procreate, this page took me 15.5 hours to complete.* Here's a look into that process!

Some other notes:

The thumbnails are done on graph paper and I script while I do them--there is no separate written script for White Noise. I usually spent a couple hours on weekends as needed thumbnailing, sometimes at a coffee shop or at home listening to records.

I then set up the file in Photoshop, so I can lay in the text and use the template I have with bleeds already set up. The text is rasterized and I shuttle the file over to my iPad via Airdrop.

The bulk of the actual work is done in Procreate, which records timelapses that I sometimes share to my Patreon. I usually spend a couple hours most nights after my day job or on the bus commuting doing this.

Once everything art-wise is done, I shuttle the file back over to my desktop to re-set in the text, add a stroke around the speech bubbles (Procreate doesn't have that took fsr) and do the resizing/exporting for web.

On Sunday mornings I get up, queue the page and write the page descriptions. I don't spend any time on the page descriptions outside of that.

Also, this process goes for the whole first arc of White Noise. I'm done with that arc (which means you can binge the whole thing I'm js!!) and am experimenting with some different methods these days, but my workflow is still generally the same.

*Some more talk about the labor (and burnout) involved below the cut:

This particular page (and most of the pages I did in 2023) took a lot longer than normal because I was heading into a burnout period that I'm still lowkey in/recovering from. It's obvious to me now in retrospect watching the timelapse here and seeing how much noodling I'm doing and how much I'm struggling with the process, but at the time I was just very frustrated generally. When I'm not burned tf out pages take maybe 10 hours max.

2023 was a pretty stressful year--lots of big life changes, uncertainty, pet death, health issues--so it's no wonder it propelled me into burnout, but it just goes to show that even the slowest and steadiest pace is not sustainable forever. I've been doing one page a week following this general process for over a decade! And I stuck to that pace because I knew it was one I could maintain. But even so, by the end of this arc I found myself working more and more slowly, not really looking forward to the work, feeling anxious about being behind, unhappy with the finished work, and extremely annoyed with myself for not being able to give it my all right there at the finish line.

I did stop for a while after the epilogue and took a more or less complete break from drawing for about a month--the longest I have EVER gone without drawing, much less working on White Noise--which did help, but these days my ability to work is...inconsistent. I should probably take another total break, but I'm reluctant. What if my passion never comes back? What if people forget about WN? It's already pretty obscure, and with the general social media collapse, it's harder than ever to get people to read my work. Now that I've left Hiveworks, WN doesn't even get the benefit of being linked to other comics (although objectively very, very few readers actually got referred to my comic that way.) And frankly, I'm also just too proud to go too long without comic updates. I've always told myself, I might not be the best artist or the fastest worker or make a popular comic, but I'm consistent. Difficult to let that go.

This is all to say that webcomics are hard. We do them because we love them, we have stories to tell, we are seized with the human compulsion to create. We spend hours of our time, almost always on top of the paying work that allows us to eat, to make something that we then give away for free. It has consequences on us that the reader doesn't often see, no matter how careful we are about it. If you ask me, webcomics deserve to be valued more.

Happy Webcomic Day! Read webcomics!

[finsterwalds]

Got my hands on the script of Anatomy of a Fall, and I couldn't help but compare it with some scenes from the movie because that's how deep I am rn :'D Anyway, here are some of my finds and things I personally enjoyed. I'm sure there are more things to dig out but these are what I wanted to share with the world. The order of my finds will be chronological, for the most part, but keep in mind that sometimes, some scenes were edited to show up later, or earlier than originally intended. Spoilers for the whole movie obviously so you've been warned!

Takes place when Vincent first visits Sandra to discuss Samuel's death. In the movie, Sandra stops Vincent and cuts him harshly, saying "STOP, I did not kill him". Vincent then says a line that I think is pretty iconic in the movie, a sarcastic : "That's not the point. Really". His line is much harsher than on the script, where he's a bit softer. "You don't need to tell me that" implies that he has some deep, loyal faith in Sandra, while "That's not the point" cuts any further discussion. He really doesn't wanna know if she actually did it. Comes from a wish to remain blind still, but with less innocence and a lot of denial. Oh, Vincent.

In the movie, his last line is way better imo, he says "No one's gonna believe that. I don't believe that." I like the emphasis on his opinion rather than the fleeting and impersonal "it's really hard to believe". Truly hits way harder and puts Vincent back in the position of a lawyer.

The rest will be under the cut because I think it's gonna be a wall of text I apologize guys...... This movie does things to my brain.

There's a scene that was cut where Vincent phones Nour while still at Sandra's, which I would have enjoyed a lot but I'll admit it's a bit filler-y. Doesn't add a lot and kinda cuts the serious tone of Sandra's confession, imo, as they discuss the judge's antics in a pretty comical manner. I just love Nour so I'm based......

Another, REALLY long scene that was cut where a medium comes into Sandra's house to feel Samuel's ghost and foreshadows Daniel poisoning Snoop with aspirin. I had a good laugh at that one, honestly. It feels pretty out of place with the tone of the movie, and the personality of the characters even... I can't picture Sandra calling a medium. I'm glad they removed it because the foreshadowing was unnecessary too. It's still interesting that they had planned it however.

This takes place after Vincent finds out about the tape. Interestingly, his whole line was cut after "before he died". In the movie, he never comments on Sandra's affairs/sexuality. He never really asks much about her life at all. He truly is blinded by his wish to shield himself from her inner demons, in order to maintain his undying loyalty towards her. To see what he wants of her...

Another scene that was completely cut (a flashback, I believe?) where Sandra makes Daniel pose for a german photographer to make some money, which Monica dislikes, and then they argue. I think it really frames her as too unsympathetic, so I'm also glad it was cut.

Okay, so now, here comes The Big Change. The scene where Vincent and Sandra drink together after the first trial was heavily altered, because its tone in the movie is pretty tense when compared with the lightheartedness of the script. In the script, they laugh and reminisce together about the past and even kiss at the end of the scene. In the movie, none of was I screenshot happens : instead of playing along with the 'firing Vincent' suggestion, the scene ends with Sandra scolding Vincent for judging her in his head. Vincent backs off and the scene ends. Another instance of him not pressing emotional depth to shield himself.

There are other scenes I liked (many that touch upon Sandra's books) but I'll stop there. Hope you'll enjoy that... I might draw some of these so stay tuned... This movie has absorbed my soul but it feels good to be alive, thank you Justine Triet.

[magolandandfriends]

DAMNIT-

JUST TELL ME IF UR GAY BOTH OF YOU TWO!

-Kato

⋆｡ ﾟ☁︎｡ ⋆｡ ﾟ☾ ﾟ｡ ⋆ ⋆｡ ﾟ☁︎｡ ⋆｡ ﾟ☾ ﾟ｡ ⋆ ⋆｡ ﾟ☁︎｡ ⋆｡ ﾟ☾ ﾟ｡ ⋆

[You still never got an answer]

[Previous]

(“Do your Christmas asks” I tell myself “they’re over 2 weeks late” I tell myself. But the unexpected follow up made me laugh and I had to draw it)

(BUT THANK YOU FOR THE SILLY ASK‼️‼️‼️‼️‼️ But no they aren’t dating yet yall gotta behave and be patient- but don’t force them to say if they’re dating or not I like keeping it silly and goofy on my blog- hell maybe I can pull a “roll initiative” if I feel like it- but for now- no pressuring- please and thank you)

(Also no shading today I’m sorry I just wanna get something out before another week passes without getting a drawing posted- but GOOF NEWS IM WORKING ON COMIC SCRIPT if you remember the one poll I did a while back then you might have a clue on what it’s gonna be tehehehhehe- bUT I have it mapped out I just have to write dialogue and I can actually start drawing tehehehe- ok I’m done here for now I need to be super late for the Christmas special-)

[mostly-him]

Ok so I know it’s an older post of yours but I found your G1 starscream lost in TFP and now I can’t stop thinking about him blatantly calling out TFP Megatron or saying his armada is better than TFP Starscream’s.

Also him and predaking genuinely getting along is such a fun idea. I was also wanting to ask how gets along with the humans of TFP because I feel like G1 approaches humans differently than TFP and would just flat out ignore them unless they actually hit him with something.

Hello!! Thank you so much! Ohh, it is an old post indeed but I'm trying to order my life to get back in to drawing in that universe again 😋

The main reason I made G1 starscream travel throught dimensions to fell into tfp was of him getting along with the decepticons of the nemesis war ship and to see the contrast between his reality and this one (in tfp they're not starving, they have nice things, a decent medbay, an almost real medic, and their war ship still functions, but almost everyone is dead, including starscream's wingmates and Soundwave family). I wanted to confront him with the crudeness of a bestial megatron and a poor mistreated and abused starscream (G1 Megatron is not like that and G1 Starscream is cynical and haughty).

I also want tfp Soundwave to make peace with the knowledge that his family is still alive somewhere in another dimension.

But!!! The real, real reason I made the comic (after the anon ask) was "baby" predaking 😆 I loved the idea of G1 starscream babysitting him. And he is now a fan of g1 starscream. At this stage he still does not know how to transform and he is like a newborn learning from the worst of the tutors, but the will learn, you'll see. And he will learn a great lot of things 😇

And humans... Uhmm. To be honest I haven't thought about involving the humans yet, just the autobots.

But everything can happen now that I need to restart writting the script to continue with the story 😉

Sorry but I get excited every time I talk about this fancomic 😆

[evegwood]

how do you atually write a script for a comic fhhhdhdhdh like do you write it the same as a movie script idk how to start

My basic system is using bulletpoints inside a table. Each table cell is a page, which is handy for planning page spreads, and each bulletpoint is a panel. This script also divvies up the scenes by colour so I can block out how long each scene is:

Because I'm the sole artist, I don't include any information that is obvious to me; that means expressions, poses, or individual panel sizes don't usually make it into the script. If there's something really dramatic and important I'll include it, but otherwise I tend to work out character poses when I'm thumbnailing or pencilling. I'm already kind of laying out the page in my mind when I'm writing so when I go back to actually draw it I'm like yeah I know exactly what face Vic is pulling here.

I do also have @spiremint on board now as colourist but because I don't really think in colour I don't have any notes for that in the script. Instead, I make notes on the inked/pencilled version of the page when I'm sending it to Spire for the colour script. Those notes will say stuff like the mood I'm going for, the weather, what happens in the scene so he can give me some cool alternate background colours. Spire never sees the script, it really is just for me when I'm pencilling/lettering, and then I discard it and work from what I have in front of me. It's a stepping stone tool, not a strict guideline of what the page should look like.

That's how I write a script, but you can write your script literally however you want! If it's just for you to read, you only need to include as much information as you find important. For some people that's everything because they either can't envision the scene without a description or because they want to make sure they don't miss anything important out, and for some people it's the most barebones thing imaginable. If it works for you, just do it!! You don't need to write a script like you would for a movie unless you really want to, or it's for someone else to see. Do you want to see the entirety of my script for the Chapter 5 lasertag scene?

Now here's a more helpful answer. I always start with an outline of what exactly needs to happen on each page so I don't need to work too hard figuring out how many panels should pass before I need a page break. Example:

You will probably want to think about three main things when putting your script together: dialogue, environment, and character. Each panel is an individual moment in time. That means you shouldn't have too many things happening in a single panel, and one panel should generally only have one dialogue moment, one environment note, and one character action. Someone can't jump up in alarm and then look relieved all in one panel, because that's two character actions (and would also be pretty difficult to draw but shh). A character shouldn't (can, but shouldn't) say they want to leave, then change their mind and ask for another drink all in one panel, because that's two dialogue moments. For environment notes, you really shouldn't have an explosion and the hidden treasure revealed all in one panel, because that's two environment notes. You don't need to stretch everything out into its own panel, but make sure you watch for too many things of the same category happening in one panel.

That's a lot of info, but I hope it helps!

--

I'm doing a little Q&A right now to celebrate the launch of the Inhibit: Book Two Kickstarter! If you have a question about Inhibit, comics in general, or anything else, shoot me an ask 🔥

[ezdotjpg]

Comic Paneling Process

to answer a question from @pluviatrix​, here’s a post detailing how I approach paneling!

The unhelpful answer is that it really depends on what kind of scene I’m trying to fit onto a page, because the energy and mood will dictate the kinds of shapes and layouts I gravitate towards. I usually start out with a short script, which for the last two bonus links updates looked like this:

Writing the script helps me visualize what needs to happen and gives me a good idea of how many pages it might take. There’s a few rules of thumb that I use to start:

angled panels = intensity. So do irregular panel shapes, but the more irregular the panels are the harder it is to balance other panels on the page, so that’s something to keep in mind

Lots of small, close together panels = fast-paced action, especially if the panels are angled. Larger, spaced out panels = a slower paced, even maybe a slow motion feel.

5 panels per page is the sweet spot. Sometimes it can be less if a moment is really important and I want to emphasize it, but I try not to have any more than 8, because any more and it starts to get overcrowded.

leave room for text bubbles!!!!!!! they need more room than you think!!!!!!!

Your goal is to lead the eye around. Because I make comics in english, that means that everything should be designed around zig-zagging from left to right, down, left to right. The eye will naturally do that, but helping it out leads to pages that feel smoother. If I’m going to break that form, I have to find a way to force the eye to go where I want it to go. 

That last one is the most important. There’s a few ways you can create this zig-zag: with the text boxes, with the poses, or with the panels themselves. Ideally it would be all 3. So for a basic 5 panel example:

option 1 is less visually clear than option 2, because the first two rows of panels don’t lead your eye smoothly. Generally speaking, whatever you choose for your first row of panels, the second row needs to contrast, unless you’re creating an even grid intentionally. Here’s an example of a page where I break the rules a little, but I make up for it by guiding the eye around:

Once again generally speaking putting two smaller panels next to one taller panel can be somewhat confusing as to which order you should read the panels in, but I tried to mitigate that with making those two small panels a pulled out shot and then a close-up of the same subject. Then, the use of that big text bubble coming from the horn forces the eye up to the top of the taller panel, which then draws ur eye down because of those two silver lizalfos at the bottom. The lizalfos in those two angled panels are posed facing the ways I want to lead the reader’s eye, and so is Beetle. And here are some notes on how I approached this action-heavy page: 

That middle row is all angles with things swinging in and out of frame to suggest quick, sudden movement. That close up of Loft is wedged in the middle like it’s chipping off the next panel, with Loft looking direct into the events of the next panel to communicate that he’s anticipated the Lizalfos’ movements. And to finish off, here’s what this most recent update looked like in sketch:

I start out making the panels themselves first and just treat it like a graphic design problem, trying to make sure it all feels balanced on the page. And then I fill them in and adjust as needed.

 And that’s about all I’ve got! I hope this was helpful lol and if anyone has like specific questions abt stuff feel free to shoot them my way! Of course, everything that I say here has an exception, and there are plenty of instances where you can break these ‘rules’ in service of the story you’re telling. That’s actually my biggest piece of advice- your panels are a part of the story! They’re another tool in ur arsenal to set the mood and feeling, so you should utilize them!

[ccycloneblogging]

I keep forgetting to ask my questions now is the present I guess-

Well 1, love your work! This AU is so cute and full of potential trauma it makes my mind flow with ideas... one of them being REALLY trauma heavy that has me in a vice grip rn...

So anyways- your post where you showed how in your AU catnap removed dogdays legs... were the murders of the hour in the same way? Because I just- Imagining Catnap dropping an anvil on some poor soul and them getting crushed slowly after the initial impact while catnap watches in apathy- has not left my mind. It's just Saw death traps at that point.

And about the whole "Going back to the cartoon" thing catnap wanted... would that not be suicide? A fully fledged, free thinking being going back to being with a world bound by a script and it's existence only continues if it's makers wish for it seem like killing yourself with extra steps. Again- this Au has so much Trauma potential I just HMMMMMMMMMMM-

And Oc's... well who do you want to hear about? I got a few lying around... well only 2 poppy playtime ones at the moment (and like one is kinda hard coded for another AU)... not to mention all the ones I have not drawn up yet that lie within my mind.

I would not mind another reason for William posting- but I'll let you choose!

Thanks, man! :D

You have no idea how much I've had to edit the scripts and drawings I make for the blog, because I go too dark too quickly for this toon AU.

I'm gonna go on a long ramble. Bear with me.

Like - there's this one script I still need to rewrite. But the premise is that Angel and DogDay are in Home Sweet Home, striking up a conversation - though Angel is injured.

Angel: ...Do you ever just... Stop? *[Angel eyes DD, as DD is in the process of sniffing like an actual dog, walking along the walls]* DD: What do you mean? *[He pauses to look at them, his tail wagging]* Angel: This. *[They gesture to his whole self, which causes him to finally fall on to the ground with a yip]* Angel: We're being hunted by a monster, close to death, and you're acting all... *Looney*. DD: That's what I do, Angel. I was brought here to make people feel happy. Safe. *[His tail begins to wag again as he makes his way to Angel]* Angel: Great. *[Unamused]* At least we'll die laughing. DD: You know, laughter is stronger than you'd think. *[A little "Uh-huh" from Angel.]* No matter how bad things get, you just have to laugh! Even if you feel like you've lost all hope, unsure about tomorrow... Not knowing what you did wrong, wondering how the world collapsed around you... *[DD grabs on to an ear, his smile turning more upsetting. The background getting darker. Maybe emphasize some of the in game model]* DD: Knowing that deep down, it's your fault for their deaths and already missing your chains because you deserve them --- *[He immediately switches back, sunshine and smiles]* DD: A laugh can chase away the gloom! Angel: *[Disturbed]* ...You want to talk about it, Pup?

So, they're all thoroughly traumatized, that's for sure!

I plan on drawing a comic that takes place during the Hour Of Joy, but yes. CatNap has killed some humans with falling anvils, endless pits, trapping them in repeating hallways until they go insane. Humans cannot survive the same punishment a toon takes, you know. >u>

But you know, he's not entirely heartless. Just angy. A poor lil meow meow

Oh, it's just CatNap being unable to cope, being ripped out of his comfort zone and never being able to adjust with the horrible things going on in Playcare. Though the Critters in this AU are not the same as the In-Game Bigger Bodies, there's still been human experiments. CatNap would much rather take scripts and limited freedom over what he was given... You are right though. That is one of the themes I wanted to try and hit with him. Especially if I follow through with an ending of Angel adopting the Critters. Then the aftermath of the trauma can really sink in.

My man, pal, friend.

I love OCs. The floor is yours. Send 'em in!

[decafdoodlez]

What’s the current art project you’re working on? I’m just curious and your art’s beautiful you don’t have to share unless you want to, remember to eat a snack and stay hydrated 🥹

Hi there, sweet anon! 🫶✨ (thank you btw, I hope you are treating yourself well today!)

Currently, I’m actually away from home visiting my family for their spring break, so I haven’t actually been really been working on anything this week outside of my freelance work (which is the boring stuff anyway, haha). 😭

But I did draw this for my friend the other day! It’s our TPoF OCs, Marina and Felix, haha. It’s a continuation of a Valentine’s Day post I did last month with Fox and another moot’s OC. :)

He drew my header image the other day when I was feeling a bit sad, so I kind wanted to return the favor, haha. ╰(*´︶`*)╯♡

But if you’re wondering about anything upcoming for unserious projects, I’ll throw some things out there about what I want to draw:

TPoF OC Marina and Fox full render drawing (thinking a nice beautiful skin-to-skin embrace, we’ll see)

Some Ren/Fox shitpost drawings (like them in a buc-ee’s tshirt or holding a what-a-burger cup, idk, hahaha)

Ren animated lip sync video (there’s a certain audio with a certain Genshin character that’ll work VERY well with him, hehe)

Ren/Fox animatic (something a bit angsty)

TPoF OC x Canon multi panel comics

Strade x Rika (YKMET OC) drawings

Rory drawings (just to get into a rhythm with him)

NSFW drawings of Rory bc I need him in ways that are unholy.

General NSFW drawings with my TPoF OC Marina and Fox bc I love them.

For my more serious stuff:

Ref sheet for Rory (OC from the unnamed VN I want to develop)

Concepts and backstory/profile for Penn and Izzy (OCs from the unnamed VN I want to develop)

Ref sheet for Rika (BTD/YKMET OC)

Scripting for the VN

Make a commission sheet

Work on making plushies (I’ve started drafting out a Fox plushie, but I’m going through a few iterations before I settle on a design.)

I’ll probably get more into a rhythm with my art when I’m home next week! I’ve kind of been a little busy this week with work and visiting family. :)

But yeah, so far that’s what I’ve got! I’m always open for suggestions though! I would love to hear what people would want to see! 🤍✨

[ask-the-totally-real-peppino]

(I have been trying to write this post for a while, but it keeps coming out like a sob story, and it is really not that deep jkfdgkj

So I am just going to say it, bc you guys know I love to ramble for ages, and I need some opinions

1 year of this blog is tomorrow (or today depending on how long I take to write this kjldfg), and I really do appreciate you all being here - if you have been here since the beginning, or just followed recently - if you've sent an ask, liked, reblogged, shared with a friend, theorised, made fanart, or followed me to my art blog and watched me make (and continue to make) a billion clones, anything; thank you

I made this blog on a whim, only like a week after getting into Pizza Tower, and I had no idea it would turn into what it is now

Of course, in the beginning there were a lot of actual posts, like with backgrounds and multiple characters, and I'd post several times a day if I could - and while I was having fun, it was not ideal - I'd frequently post at 7am after spending all night working on a post then I'd pass out, I'd forgo eating or showering just to draw, and I had wrecked my wrist several times, and continue to push pass the pain just to post

It wasn't just hyperfixation, it was obsession - much easier to realise that in retrospect

I was also medicated at the time, I had been on antidepressants for 3 years, so around April (I think) I ran out of meds and was unable to get more due too third party issues/unable to get in contact with my doctor/etc (and unbeknownst to me at the time, the last two packs I had were expired) - so I am sure you can imagine the sort of affect suddenly going cold turkey on the med that make you not wanna die has on a person - I was not doing great to put it lightly

But I still wanted to continue - so many people had praised me on the frequency of posts, and how excited they were and all this validation - I couldn't let people down! (Also I was, and still am, a disabled shut-in loser with no friends, posting is like the only social interaction I had/have kdfgkgfd)

But I think I did - I intimidated myself out of drawing main posts with how much work they were, started the intermission even though I said I shouldn't, had no script or direction and that I was not 100% invested in to try to motivate myself back into main posts, and it was just easier to draw silly ooc posts than do the thing I really wanted to do instead

Of course, this is not any of you guys' fault - I have always had this issue of starting something, it getting way bigger than I can manage, crashing and then just unable to get going again - I have so many unfinished comics, half-done projects and abandoned askblogs it's not even funny - but it's also like, not the end of the world, if I don't finish things I start for fun - sure, I'll feel guilty as hell for a while, but life moves on

So that being said, I would still very much like to continue the story here - I have been working on some stuff in the background (I even updated Pep's reference in the last few days, with a ton of new stuff), but I still don't think it's gonna be soon - I am doing somewhat better than I was, and I actually have an appointment for with my doctor finally (I will probably have to do some reassessments since they can't just put me back on the meds, after not having them for almost a year, and then I'd have to probably get reaccustomed to side effects etc), so despite it all I am still here

I am not sure if I want to continue the intermission with Bean and Fiend at this time - I know a few folks enjoyed it (mostly bc Fiend kjsdfkj) - but as mentioned previously it was unplanned, unscripted, and I was quickly not feeling it, as I am sure some of you guys were too - the intention was for Fiend to give you guys another hint to the main story, but getting to that point was not fun - I might do a poll on this in a separate post

I also mentioned a while back that I would be cutting down the Big Post into smaller posts, and posting as and when parts were done - but once again, do not expect these soon - (although there is a very late Valentines post coming hopefully soon)

And I think that should hopefully be it for now - I know this is a huge post, and probably still a bit sob story-ish, but oh well - I also know that the hype for Pizza Tower had unfortunately died down significantly, but I'm still working on PT stuff on my art blog @smalltimidbean if you wanna see more silly things (and maybe some lore for here hehe)

It is also the first now, so happy birthday Pep

Okay, thank you, and see you later)

[comicaurora]

Question, from one aspiring writer to another: how do you manage to maintain the drive to keep writing and how do you not lose interest in what you've created before it's done? Asking because I need advice.

Tricky question. I don't think it has a single answer.

For me personally, there are a few things that buoy up my enthusiasm:

Rabbit Holes - random deep-dives into topics I find incredibly interesting. Because I have so many outlets for my rants about highly specific cool things, I don't need to stifle any random hyperfixations because almost all of them can be turned into scripts or worldbuilding concepts. If I feel the enthusiasm strike, I chase it down as far as I can and take as many notes as possible along the way. However, these things work like lightning strikes and I can't just get randomly super interested in any one thing. Almost all of my longform videos start out as these.

Comedic Reframing - the bread and butter of the channel and the lifehack that let my poor brain actually focus on extremely long and boring books through college. It's easier for me to retain information and enthusiasm if I can find humor in what I'm dealing with on a smaller scale. When working on illustrating videos, for instance, the way I avoid burning out on individual frames is by making sure they have witty dialogue or fun character moments, because I genuinely enjoy drawing those a lot more than just "character moves into position" or "scene change" shots. Same goes for the comic - the more dynamic or interesting the pose, the more interesting the panel is to draw and the easier it is for me to stay jazzed.

Audience Feedback - I feel like this part is simultaneously understated and overstated in different ways. Creating art solely for the accolades it might garner is seen as generally both gauche and inefficient - it'll turn into an existentially draining losing battle like all pursuit of fame for fame's sake does - but any writer or artist will tell you that people losing their minds over their art is the number one way to guarantee they want to make more art. When drawing the comic, even when I'm lower energy, I'll often think to myself "oh man, they're gonna be yelling about this panel" and that'll help give me a boost. Early on in the comic I read through the discord discussions almost every day, but now I'm mostly sustained just from people yelling in my askbox.

Letting The Characters Run Wild - I've mentioned this elsewhere, but one of the most fun parts of writing for me is when the characters kinda tap me on the shoulder and say "hey boss, I really wanna do this". Their character-moment is almost always spicier, more complicated and more interesting than whatever plot-serving guideline it's replacing. Making the characters act as automatons that solely move the plot forward is less interesting for me as a writer than turning them loose and seeing the havoc they cause. Before I ever put pen to paper for this story, half my fun would just be playing out extremely fraught conversations and encounters between characters - no script, no plan, just "here's the premise and GO." Lots of stories start out as daydreams, and daydreams are like the purest form of energizing creation, existing only for the joy of the creator and thus flowing almost effortlessly; I think it's important to retain the heart of that when the daydreams start being set down on paper. If it's not a little self-indulgent it's not gonna be too much fun, and sometimes all it takes is letting the characters do the wild thing with consequences you haven't fully worked out yet.

In my experience, the thing I enjoy most as a creator is solving puzzles. I have more fun writing my story when I only mostly know where it's going, and I have to work out the most interesting consequences to my characters' unexpected actions. I have more fun drawing out a joke if the punchline didn't even occur to me before I started the frame, because the idea is fresh and fun and hasn't gone stale from sitting in my head too long. And my enthusiasm for my older work is reinvigorated when I see how other people respond to it, because it lets me almost see my own work through fresh eyes, which is a rare treat for any creator.

And when I get really worn down, I treat that like a sign that something needs readjusting. I don't force it when I'm worn out or can't bear to look at my tablet - I step back, take a break, take a walk, indulge in Floor Time, watch a movie, buy a coffee, do something that isn't trying to floor the accelerator when I'm stuck in a creative snowdrift. Sometimes that means putting a project down for months. Sometimes that means realizing I wouldn't actually be able to make a project happen because it'd be draining my will to live the whole time.

I sometimes use the metaphor that a creator's mind is like a garden. Its works need to be cultivated, but sometimes they also need to be left alone, or maybe the soil needs to be actively left fallow for a while. It may look like the project isn't doing anything, when in actuality it's spreading its roots and developing a much more solid foundation where you can't see it. Maybe two concepts cross-pollinate in an unexpected way and you get a new third thing to cultivate. But the most important part of this metaphor is that the well-being of every individual thing growing in the garden is heavily dependent on the heart of the garden overall. If you aren't doing okay, your art isn't going to be okay either. If it's feeling like a fruitless and nothing is growing, you might just need rain. Or nitrogen-fixers.

[pipmcmayhem]

Pip's Process for Making Comics :)

Hi everyone! I know I'm rarely on here, but I've decided to share my process for my webcomic in case it could help anyone. I've been building my story for many years in my head (it's a paracosm that's been with me basically since I could hold a pencil), and it wasn't until about 2021 that I was finally able to start getting it down, and this is the process that works for me. This process is more aimed at super-lengthy ongoing multiple-arc type things, so those with massive fantasy epics, this is for you!

1) Make an outline for the arc. I make a list of each episode, and the basic events that happen in them. I typically have 11-13 chapters per arc and 2-3 focus-events happen in a chapter, because I try not to have "too much going on". Breaking down the focuses in a list is also useful in that you can gauge the flow of the focus and not have it "jump around" too much, and also balance how much you focus on one character to another, etc.

(As you can see, this is very basic, but keep in mind I've had "the party episode" in my head for years so I didn't need to write out a scene I already knew like the back of my hand in the list)

2) Once the list is done, start writing the episodes in a script-like format. If you're doing your project solo, literally no one has to understand the script but you. Write it how you envision it in a way you can understand. And don't be afraid to stray slightly from the list! Do whatever feels more natural.

3+) After you've scripted the final scripts for each episode, write down ANOTHER list of all the significant things that DO happen, so you can reference back to it in the future to avoid things like plotholes and accidental repeat of events. You could also, instead, edit the original list from step 1; I just personally like to have multiple documents so I can see changes and where they happened. 4) This is where the drawing begins. What I do is make REALLY rough drafts for every page in each episode. Think kinda like thumbnailing for storyboards; I just scribble down the basic events I want happening, the area of the dialogue (with the beginning few words of the line, to keep track) And after that, it's clean(ish) sketches*, lineart, coloring, etc. I typically do all the roughs in order, and then do the same with clean sketches, and then do the rest page-by-page. (*EDIT: I wan't to elaborate that I highly recommend adding the text in as early as you feasibly can so you don't have to worry about text fitting, as you can work around it)

IMPORTANT NOTE! DO NOT be afraid to stray from ANY of the initial writing! If your script's dialogue is fine but doesn't have enough pages, make more pages! As you can see, I had to split what was originally going to be 1 page. There was even a crucial scene in chapter 3 of my comic that didn't even happen in the scripts, but it needed to. If you feel a change is needed, do it! Don't restrict yourself too much; see the script as more of a guideline.

So yeah, there's my method. I know it was unprompted and all, but for so many years I felt hopelessly lost when trying to get this MASSIVE story down, and my goal of posting this is because if there's the slightest possibility this could help someone, I want it to do that. :) Hopefully this helps someone, but now is my time to say that I'm by no means a professional; I'm self-taught and I've only been making the actual comic for 3-4 years, however I have 5 out of 10+ of the arcs fully scripted :) If you're interested in my comic, you can read it here! If you check it out, know that that means the world to me ;w; Have a nice day/night <3

[zahri-melitor]

Newish Comics:

The Flash #7: The Linear Men? The Linear Men??? Si Spurrier, what is cooking in your brain and can you keep giving me a direct line to it? (I mean bringing the Linear Men in a series that also gave us Gold Beetle makes perfect sense because Rip would be so into her but wow. It looks like they've barely been used since Flashpoint too). Also it's fascinating watching the re-establishment of Max and Bart's relationship.

Barry seems to finally have risen out of his ennui a bit, only to notice Something Is Wrong With Linda and then immediately suspect (wrongly) it's Hartley. Still pretty sure Linda's main issue is PPD but it being imposed by an external source is certainly something.

Green Arrow #10: this is another issue that mostly exists for people to hug each other, while Williamson goes 'remember that these people had relationships?' Sean Izaakse's art is just so good in terms of drawing the memory backgrounds so well I can pick out the specific issues and storylines he used as references (Batman + Arsenal shoutout!)

Also, remember when Amanda Waller didn't put bombs in people's heads, she just very occasionally put explosive collars or wristbands on the most dangerous and/or irritating Suicide Squad members? (Like Captain Boomerang?) Because I do. I remember Suicide Squad 1987.

Batman: The Brave and the Bold #11: part of this is me just being contrary, I know, but I am extremely not convinced we are going to see Maps as an active Robin in a main title, given Kerschl is a Gotham Academy creator anyway, and she's currently getting appearances as Meridian over in Birds of Prey. Gotham Academy continuity is only about 1/4 linked to main book continuity. (Someone is going to try and point out 'they appeared in Robin War' or something but it was an active and new title then, and honestly, nobody writing most Bat titles cares about them. It's its own sub universe. Also this story has Bruce dating Isla MacPherson, something I guarantee will not be followed up anywhere else)

Also imagine being called Karl Kerschl and coming to DC to write? How much time does this poor man spend saying "no, not Kesel".

The Artemis story remains amazing and I am fully supportive of it retconning whatever character crimes it is currently trying to excuse as weird.

Also how did we get so unlucky as to have both a Bat Lash AND a Sgt Rock story in this issue?

Amazons Attack #6: and this tied things off nicely! Honestly for an event that didn't need to happen, Josie Campbell did well with it, featured a whole host of Wonder Woman characters that Tom King's barely interacting with, and added to some relationships between characters that needed additional work.

Alan Scott: The Green Lantern #5: I am sure this is a far more meaningful issue if you care deeply about Green Lantern lore. Also DELIGHTED that the JSA team up in this series actually happens on page rather than in the final splash like in Wesley Dodds: The Sandman. (Wesley Dodds is still the best of the three minis to me, but I'm happy here that we're going to get JSA backup).

The Warlord #45: Previously on Lost World of the Warlord (I said I would) Travis set out to find out what had happened to his daughter Jennifer. He goes back to the village of dwarfs and gets his old sword back (since he chucked Hellfire into a lake), and ends up fighting some Cyclops' that took several of the dwarves to eat. Tragically nothing particularly fun happens here (though a skeleton IS tied to a cross, the bondage isn't involving any characters I care about AND it's just a warning threat)

Also something weird went on with the lettering this issue where what I think were script directions ended up as text boxes for all the scene transitions. If it was a stylistic choice on Grell's part it's a particularly odd one.

[jadebrightwind]

Finally got all my ducks in a row, so I can announce it here!

My husband and I have just bought our first home!

Super exciting! Very nerve wracking! Lots of paperwork! Lots of inspections! But it’s here!! It’s time! No more paying rent, and my dog will have an itty bitty yard! A new study! Hopefully quieter neighbors! Yahoo!!

We’ll be moving into the new place over the course of a few months. I’ll try to keep posting updates where I can, but stuff might be delayed or put on hold because moving is time consuming and stressful, and I’ll be doing this while working full time and trying to stay committed to working the convention circuit!

THAT BEING SAID! Other updates and future things!

We’ve got two conventions coming up still before the end of 2024: GalaxyCon Columbus, OH on December 6-8, and Con+Alt+Del in Chicago, IL on December 20-22! I’ll have new stickers and charms available, including MHA, Cult of the Lamb, and Dungeon Meshi things! If you’re in the area, swing on by and say hello!

Personal Art Notes!

I’m not dead, I swear! I’ve been hard at work on a dounjinshi I’m currently scripting, and it’s at 122 pages and counting! The time I would be spending drawing every day has been pouring into this script! I’m hoping to finish scripting by mid October and start sharing storyboards by mid November. If I can get actual pages started before the end of the year, I’ll be a happy camper!

I’ve also got another fan comic, some doodly doots, and a couple other things I’ll be posting here and there when I get too tired of looking at this word document and need to work on something else lol! I’ve got one animation in the sketch phase and another I’ll start storyboarding sometime? So, it’s coming! Please look forward to it!