#i originally planned to draw a comic but then realized my art skills are not good enough to do it justice gbless

[aq2003]

ten and martha thankk you for the dialectics amv

[himawariness]

Case File: Poe - Devlog 1: Planning, Concept, and Art Style!

I posted my first devlog for Case File: Poe on my site, but I’ll post it here too! It's about the art planning and concept progress so far :)

It's a little long but keep reading below to read more! 

Whenever I come up with an idea for a new game or comic, I usually always like to start with the characters first. However, for Case File: Poe, the premise came to me first while I was working on my previous game, Dolchio. With the rough plot in mind, I sketched out some character designs and realized that I didn’t like them or feel attached to them at all lol.

So I thought I'd use some old character designs and find a way to stick them into this new game! So that’s how three of the four main cast members were added to the game (Poe, Rokio, and Morg). With the characters decided, I could move on to writing and conceptualizing how the game would look and play; Without the characters and loose plot, it’s really difficult for me to write or do anything else.

Now that the characters are out of the way, it’s time to write! Which I’m gonna talk about in another devlog because writing this story is my poor little brain work harder than it ever has in years…!! I thought Hansel had a complicated story, but this one is a whole different beast and I’m honestly having some trouble staying organized. But I’m hoping it’ll pay off in the end! No worries though, I’d say the writing is about 70% complete as of posting this devlog, and I started back in February 2022! :] Here’s a blurry image of one of the many several writing/outlining/planning pages I’ve done hehe (blurred for no spoilers!)

Moving on, now I could start drawing. I don’t like drawing until I have a good chunk of the writing done because I don’t want to have wasted some time drawing something and then end up scrapping it if I decide to change the game around later. I originally had planned for Case File: Poe to be a top-down RPG, like Hansel or other standard RPG make games. So I drew a few character sprites for the game and played around with different styles. But I wanted the game window size to be larger, and forcing full screen on the game would make it look weird if I used small pixel art. So I tried making bigger sprites, or even upscaling them. Long story short, I had to scrap the RPG style and go for something else.

I knew that because of the nature of the game, a strict sidescroller like the style of Dolchio wouldn’t work the best because I want the player to be able to explore the map. While the sidescrolling style would allow for some exploration, it was more suited for Dolchio’s linear storytelling where exploration wasn’t as integral to beating the game. That’s not the case for this game, as it is about a mystery. Exploring and gathering evidence is the most important part! So I had to go all the way back to the drawing board and play some other games to find some inspiration. And so I did find some gameplay inspiration from games such as Ace Attorney, Professor Layton, Shin Megami Tensei, Danganronpa, Your Turn to Die, Virtue’s Last Reward, and 13 Sentinels.

With RPG Maker MV’s clicking/Mouse support, I figured out what I had to do! Like a clicking adventure game, I was going to have to make a game where the player can explore the whole environment by directly interacting with it and its characters. With that in mind, I started creating concept art and sketching out some of the art for the game!

So with plot, gameplay ideas, characters, and concepts are out of the way for now, I could move on to thinking about the general art aesthetic that I’d like: I want Case File: Poe to look good. Like, really REALLY good and I’m afraid that my art skills aren’t at that level yet. I don’t it to look or feel like an RPG maker game. So why not just use another game engine?? I’ve made some stuff using Game Maker Studio and I’m confident with it and I could use that but… I like using RPG maker!! It’s fun hehe >:]

Regarding the art, it just means that I have to practice some more and actually take my time on it. Seriously, I usually don’t have the patience to take my time drawing and so I like to rush and finish all my pieces under an hour. It’s a bad habit, I know!! Which is why I’m forcing myself to sit down and not rush through the art, and to make myself polish the artwork as much as I can! And so, yesterday I completed a cutscene CG test where I took all of the time I needed to get an idea of how much time I would need to set aside for the art of the game. This CG took me a little over 3 hours instead.

And I’m definitely happy with the way it came out!! Yes! The game is coming together in my head! Next, I have to figure out the interface, world map, other graphic design stuff but I’ll leave those for later. My priority now is to finish writing the game and start the script. After that, I can go ham on the art and theeennnn start the programming!

I know this was a long read, but thanks for reading through it! Hopefully I can get these devlogs up regularly that way I can make myself consistently work on the game. :]

[pine-niidles]

April Project Updates

I always overestimate how much work I'll be able to get done while I'm away from home. I planned a lot of non-art things to do during my two week trip and ended up doing none of them! At least it was nice to have a break :)

Still I do have one exciting announcement this month:

Let's Get Bitter Together!

Part one of Let's Get Bitter Together, the visual novel I've been working on sprite art for, is out! You can play it for free ✨here✨

I joined the team for this game back in december, we were intending to finish it within that month for the 2022 Yuri Game Jam, and it was my first time taking part in a game jam. I've never been confident enough in either my art or my people skills to join them in the past, but I had some free time in december after wrapping up the last of my zine work for the year and I realized those two worries were not a concern anymore. I'm super glad I did join, even if we didn't finish for our original deadline I really enjoyed the experiance! I love to work with other people and other people's ideas and Naarel was super receptive to all my design suggestions & character interpretations.

It's so nice to see everything come together into a final product, and it's amazing to see my art in a visual novel. I've loved vns for a long time now and I played many a free game jam vn back in high school when they were pretty much the only games I could play. Being on the other side of that is... well it makes me feel like making more! I think I'd like to try some backgrounds next, or sprites again but extra stylized hmmmmm

For the moment however I've got other projects that are my priority this month. My goal for May is to make progress on:

- Don't Wake the Sleeping Draggon [ TTrpg zine ]

- Flight [ Collab Comic ]

- my 2022 life drawing zine.... I should publish that before we're in the second half of 2023 whoops

See you in June! ☀️

[system-of-a-feather]

Not necessarily DID related and honestly I have an art blog for this but I also don't use my art blog and shit, plus I don't really consider this "art posting" considering its actually more on just the hobby of it - but like, its around three years of arting at this point - probably a bit more. I had originally picked it up out of spite that one of our littles could actually draw somewhat well and was using it for chaos and found that it is honestly one of my best and most reliable self regulating activities that can help me ground, relax and focus the best.

And so ever since I started, I had originally made a deal with myself that we draw at least 30 minutes daily and for the first two years, we barely missed a day partially because we are (problematically) good at keeping routines and making hobbies out of work and work out of hobbies, but also just because it is really something I just >need< to do in order to properly maintain a sense of like, homeostasis and zen.

At this point, I don't even try to make myself draw regularly, I just naturally really try to set at least an hour aside to draw and its just become a regular part of my routine. Which is honestly a double win for me since I have this story I've been writing with a friend since I we were 12 and very much like to say "raised us more than our parents" and as a result both of us have a very strong need and urge to one day put the story out there so it can live on outside of our own mortal "foreshortened future experiencing" heads. And over time we realized that turning it into a comic / webtoon would probably be the best means of telling the story, and so as the art friend between the two, I've just casually added "becoming a reluctant mangaka" onto my list of side hobbies and skills I plan to one day do and am slowly working up, cause again - the story needs to get out there some point.

I don't plan to actaully even so much as draft anything until the RP-format of the prequel is over and at least a year or two from now has passed, so I'm currently just bolstering out skills in my art to actually make it so that I'm not gonna 1) be limited in how I can make characters and the world and 2) So that I can find a consistent style and method to going about drawing things and people

And with this up running year (I count years by art fight years) my main focus is expanding my designs to things I dont usually draw (I specialize in pretty boys, so I gotta expand out to different age groups, more traditional masc characters, remember how to draw women etc) and to actually drawing backgrounds / sceneries

And I just got done drawing my first somewhat old man in a while and not only is he old and more of a not-twink faced dude, but he actually has a beard and Im like huh. This is really out of my 'preferred character design' but I'd like to think it is turning out well and I'm just like huh.

It's really neat how my skill has developed over time.

Anyways, sketch of the character below to enjoy this art log. Please excuse the lazy watermark. @feathery-creations is the art blog I never update.

[zkfanworkweek]

ZFAW Fan Content Creator Interviews: HayleyNFoster

Hey everyone! We hope you’re all excited for ZFAW, and to honor (ha!) ZFAW’s commitment to supporting and celebrating fan content creators in the Zutara fandom, we’re going to be rolling out a series of interviews with well-known and widely-beloved content creators over the next few weeks. We’ve got artists and fanfiction authors, some names you recognize as well as a few phenomenal up-and-coming talents, and we can’t wait for you to meet them all!

For the second interview in this cycle, we have our best propaganda creator and this fandom’s hottest new artist/undisputed queen of the animatic, @hayleynfoster!

1. Tell us about how you came to ship Zutara. What does this ship mean to you?

When I was around 14 or 15 and caught Avatar: The Last Airbender on television, I was drawn in by the art style, the humor, and the wonderful characters. I caught the episodes out of order, and the first one I saw and wasn’t prepared to be sucked in by was The Waterbending Scroll. It intrigued me at that age, and the line “I’ll save you from the pirates” combined with the tension between Katara and Zuko in that whole scene was electrifying. I remember my teenage self thinking these two have so much chemistry! And when I saw a commercial on Nickelodeon that featured fanart submitted by fellow Avatar fans, I realized that I could do that to! So I set about making Zutara fanart for myself. I stumbled onto Youtube, practically in its infancy, and discovered that people set clips of Zuko and Katara set to music (And this was still in season 1 days… so people who made these amvs were the real mvps because they were able to make compelling narratives in their amvs with like practically nothing to work with!). The AMVs really spurred my interest in this couple, I remember distinctly one Zutara AMV using the Dido song White Flag utterly capturing my imagination. I found fandom shortly after, getting into deviantart and forums. But the ship really began to mean something to me when, as I was working on my drawings in the computer lab at school, a buoyant presence hovered over my shoulder noticing my Zutara art on the computer screen. The girl was someone I had never really talked to and had only seen from afar but she immediately started excitedly saying she shipped Zuko and Katara too! In this simple shared obsession, I made one of the best friends I’ve ever had and we’re still friends to this day. We would theorize and fangirl over Avatar like it was nobody’s business; we poured over bootleg San Diego Comic Con footage that showed spoilers for season 2 before it aired; we lost our freaking minds when we finally saw The Crossroads of Destiny. We had watch parties every week as Season 3 of A:TLA aired, and comforted each other when the show ended as it did (much ranting was shared). Those are some of my happiest memories from high school… all because this one pairing from this wonderful show. Even though Zutara didn’t happen, we still chat every now and then about it. Zutara will probably be a lifelong obsession, always bubbling under the surface. And without it, I would have never realized that animation was a viable career path. It really did inspire everything including the work I’m doing to this day in the animation industry. I owe a lot to this ship and to Avatar: the Last Airbender.

2. What inspires you to create zutara fanworks?

The resurgence of Avatar: The Last Airbender this year really helped sort of spark that dormant love I had for Zutara. The show’s ending still disappointed me on the rewatch, but Zuko and Katara’s relationship arc was as captivating as ever, so I turned to some fanfiction and looking at people’s pretty Zutara art and AMVs to just revel in fanon instead of getting to hung up on the actual ending of the show. But then I realized, with quarantine and my work load being pretty light, I had time to actually make all new Zutara art for myself, art I was never fully capable of making as a kid, but now could do with my 7 years of industry experience and just… life experience. And I was inspired to do some corrective animatics to satisfy my own desire for a different ending. I just really like exploring these two characters, doing different and interesting things with them, and frankly I’m inspired to make cute, fluffy, romantic art simply by virtue of living in a really sad and depressing world. Things are so crazy right now, creating art about two characters I love being in love, is comforting. And it helps to have inspiring music and amazing Zutara amvs to just sort of stir up my emotions and imagery in my head to make into animatics and art.

3. Be selfish - if you could request one fanwork based on your own art/fanfic, what would it be? What would you absolutely love to see someone create?

Ohhhh… Well, It’s always nice to have people write fanfiction that puts words to my animatics. I am not that great at coming up with dialog myself, so I’ve just chosen to indulge in visuals and emotions for my boards. But when I read things like RideBoldlyRide’s take on my Reunion Animatic, it makes me pretty giddy. (They finally have voices!) :) And this is the MOST selfish thing I could request, but I’m not shy about saying how much I love well done amvs, so I will literally kill for someone to make Zutara AMVs to songs I like… Like, most of AURORA’s songs but especially Exist for Love, Sunseeker by The Naked and Famous, Promises or Take Me by Aly & AJ, Adore You by Harry Styles, Human Enough by ONR, Never Let Me Go by Florence + The Machine, and/or Almost (Sweet Music) by Hozier just… I can see the AMVs so clearly to any of these songs in my head, but I don’t have the tools or skill set at my disposal to make a compelling fan video. When I was in high school, I originally thought I wanted to go into video editing simply because I loved making very crappy AMVs (they were so bad you guys), but I figured out being a storyboard artist was more in my wheelhouse. haha

4. Any words for people who are new to the fandom and/or nervous about sharing their work for the first time?

If you’re new to the Zutara fandom, just have a good time! Don’t waste too much time arguing with people over your shipping preferences. I wasted so much of my teen years having pointless shipping wars with people on DeviantArt, and I’m just so much happier nowadays because I’m just making Zutara art in my little corner of the internet, and honestly, in the politest of ways, I don’t give a shit if people don’t like my art or Zutara. haha I think that’s sort of a key thing for people thinking of posting creative works here in the fandom, just make art for yourself, satisfy your own desires for the pairing, get your creative sparks flying, and create just for the joy of creating. It’s always nice to get comments and such, but simply making the art should be what spurs you on, not the external validation. And have a good time, don’t worry too much - I say as someone who worries about EVERYTHING. But honestly, making art for A:TLA is some of the most relaxed I’ve been because I make it just for me. I’m lucky others seem to like it too!

5. What’s an idea for a fanwork that you have but haven't gotten around to making?

I have an idea for a second generation storyline with my Zutara kids that involves Kya (the eldest firebending daughter) falling in love with an airbender boy (tentatively named Gora in my headcanon who’s a bit of a rabble rouser and one of Aang’s kids he had with a Kyoshi Warrior), and then they start a socialist revolution in the Fire Nation in order to dismantle all of the hierarchical societies across the Avatar world… Together Kya and Gora Fan the Flames of revolution… ehhhhh... Get it?? Oh! Oh, and then Katara, who had put in legit liberal reforms in her time as Fire Lady listens to her daughter after resisting in the first part of the story, but then realizes she can actually play a part in the dissolution of the royalty and is also active in the revolution realizing that moderate liberal reforms are no substitute for a society free of serving royalty (which she had always been uncomfortable with but had rationalized with herself that she was doing good in her capacity as Fire Lady.) I just feel like there’s a lot of cool potential for discussing these ideas and also having some aspirational change in the Avatar world. lol For aesthetics and just happy fluffy times, I can indulge in Fire Lady and Fire Lord Zuko stuff, but really at the end of the day, I take issue with the structures in a society that have to exist for monarchies to exist. Soooo, I kind of want to do my own corrective story for that… if I ever have the time or guts. On a less ambitious note, I would love to do a Zutara sparring animatic to practice doing action, but I need a good story; I am not good at doing fights just for fighting’s sake. Those are just some things I have rattling around in my head.  

6. Are you participating in ZFAW? If so want to give us a hint as to your plans?

Yes! The most I can say is I have one animatic almost finished and one that’s still being thumbnailed. The rest are probably going to be comics or emotive single pieces based on the fanfics I really like right now. :)

[aestheticaxolotl]

Lets Talk About Mimebomb

I used two images here because both are priceless and I didn’t know which I wanted to use more.  Let me start with Mimebomb, using the Carmen Sandiego Wiki to break them (mimebomb is non binary fight me) down as a whole, starting with appearance and personality (Excluding the comments around his action in the show, please bear with me once more as I do this).

Mime Bomb is a thin, red-haired young man (*Cough*) who looks like a stereotypical mime. He (*They*) wears a grey and black striped shirt, black beret, white gloves, black spandex and black shoes. His (*Their*) makeup consists of white face paint, black face paint around the eyes and on the brows, and a light red shade of lipstick. 

So I wanna talk about Mimebomb without their makeup first. We see that they are not meant to be an attractive character, and I appreciate that Carmen Sandiego created characters like that. But I digress, red headed males are stereotypically either super hot or super not. And they really tried to go with super not. But failed because I love them anyway and so does most of the fandom. Now, the mime get up is a very strange choice to me, seeing as people are more scared of clowns than global warming, and mimes are very similar to clown, but I don’t think it’s a fear tactic. But more of a ‘hey even Mimes can be cool yall’. 

For personality we do not have a lot to go on as some of the other but we still have SOMETHING, I was forced to reference the books for this so please, if you have no read “Clue by Clue”, check it out.

Mime Bomb has been described as quiet by El Topo and weird by Tigress. Mime Bomb is seen as an opportunist, immediately tattling to V.I.L.E Faculty when witnessing Carmen stowing away on the graduate mission during her holdover year, and secretly hiding a rare stamp in Detective Chase Devineaux's coat when he was on to him. In the Clue by Clue novel, Mime Bomb is said to be skilled in symbiology and cryptanalysis according to Professor Maelstrom. He is also prone to avoiding fights or physical contact when possible. When fighting Sheena in the Who in the World is Carmen Sandiego novel, she easily beats him while he is distracted. When offered a helping hand to his feet by Black Sheep, he declines with a shrug and silent nod. In Clue by Clue, when Le Chèvre and Tigress are fighting Carmen, he stands off in the sidelines and shadowboxes rather than assisting.

Now, let us begin on what I have brought to the table.

Mime Bomb is seen as an opportunist

I have to begin by defining the term ‘Opportunistic’ using the Webster's Dictionary, Opportunistic meaning “exploiting chances offered by immediate circumstances without reference to a general plan or moral principle”. And dumbing it down for myself “They take what is best for theirself rather than the people around them.” Right, so. Mimebomb being opportunistic is CANON and shown MANY times. I will draw your attention to every time Mimebomb has turned Carmen or who ever into the Faculty for not following the rules. I would have loved to stated that this is a ‘teacher pet’ thing but I was surprised when I realized it wasn’t. The Faculty really doesn’t like Mimebomb and are very sarcastic towards them, constantly underestimating them and using them as the butt of the joke! And yet we see them completing missions successfully and with finesse, other messing up the mission they set up so carefully and thoughtfully.

Mime Bomb is said to be skilled in symbology and cryptanalysis

Cryptanalysis is the art or process of deciphering coded messages without being told the key. While Symbology is  the study or use of symbols. This is very telling. Mimebomb studying codes and symbols can allude to selective mutism or even mutism. Personally, I prefer the former, Selective mutism is a childhood disorder in which a child does not speak in some social situations although he or she is able to talk normally at other times. And this can form in adults too. But the implications that they let if form how they preformed in school/college? Amazing, they made a choice and stuck to it for SUCH a LONG time. That commitment is amazing. This is also useful to more historical based mission or where it may lead into hieroglyph or other symbols. I’m willing to wager that these talents are why DOCTOR BELLUM brought Mimebomb on the hunt for an artifact. Because they would know some of the writing and symbols.

He is also prone to avoiding fights or physical contact when possible

Mimebomb being physically weak is not an accidental detail. Far from it! I think addressing that a male character who is more brains than brawn is a detail that needs to be pushed, and as off as Mimebomb is, they are the perfect example of this. They are not masculine and are easily taken down by Young Blacksheep, Chase, and other characters. Mind you it’s halariauous but PLEASE- You are KILLING their JOINTS. I have a feeling the avoiding physical contact is a very... Self protecting action that I feel would have to be more touched on in a headcanon post rather than an analysis post. The best I can come up with is the speculation that Mimebomb refuses to let people become close to them.

When offered a helping hand to his feet by Black Sheep, he declines with a shrug and silent nod

This, this the most telling thing EVER.  Mimebomb refuses a helping hand. They do not work well with others and when they are offered help, the refuse it. They have a self serving bias. A self-serving bias is any cognitive or perceptual process that is distorted by the need to maintain and enhance self-esteem, or the tendency to perceive oneself in an overly favorable manner. It is the belief that individuals tend to ascribe success to their own abilities and efforts, but ascribe failure to external factors. When individuals reject the validity of negative feedback, focus on their strengths and achievements but overlook their faults and failures, or take more credit for their group's work than they give to other members, they are protecting their ego from threat and injury. Mimebomb protects themself at all cost, and that makes me wonder, why? Because they know that they can’t accept others help or their comforts. And they are fine with it. They are okay with being alone.

he stands off in the sidelines and shadowboxes rather than assisting.

I feel like this was originally supposed to be a one off joke rather than an actual trait or habit. But... If you know me by now, I can twist this on it’s head so fast, it’s not even funny. But I can’t here, I can’t except maybe they do this to encourage others? I think when they do work in a team, they do try their best to support who they are working with unless its an annoying slime ball like Neal the Eel (Not hating on Slimebomb, I just noticed they work better as comical enemies rather than a relationship, and i love that)

Now, there was no abilities category in the wiki, and I found this interesting, so i drew from the Trivia section of the page and found out... A lot really, that is interesting. But only one of them made and impression on me and it’s the one I want to focus on for a paragraph or two.

Mime Bomb is actually classified by A.C.M.E. as insane; given he is locked up with Maelstrom in a loony bin. considering he NEVER speaks (by choice), makes sense.

I’m going to take a second to define the term “Insane” using “Wikipedia” rather than a dictionary. “ Insanity, madness, and craziness are terms that describe a spectrum of individual and group behaviors that are characterized by certain abnormal mental or behavioral patterns.” Hmm....What abnormal pattern are we looking at here. Selective Mutism. The mime outfit doesn’t help. I’ll make note that the official wiki says it’s choice that Mimebomb doesn’t speak, but doesn’t give us a reason why, speculation and theories are in store here and I will reference my V.I.L.E Operative headcanons.

In the end, Mimebomb was and still is one of my favorite characters in the whole freaking show. I enjoyed ever second of them on screen, every caper and ever wacky highjinx.  I’d watch the whole show again just to see them being the awesome character they are. As usual, requests are open and please! I love when requests come in! Stay tuned for the next one y’all!!

[entityneo]

... SO I KNOW I LITERALLY SENT THE MOST RECENTLY POSTED ONE but I have to fling moar wordz. Is the art of this comic actual ink on actual paper, that's then scanned into digital format and given the speech bubbles and stuff? (Also I've had such a wonderful time going through all of the older asks, there's so much I've realized thanks to them and also NapstaNEO getting to look happy absolutely sends me.)

Oh no no! Don’t feel bad for asking at all! (I’m honestly squealing with joy that people are actually interested in our comic!) :’)

I’ve actually always wanted to compile our process on the blog somewhere. Here’s the basics of doing a chapter of the comic!

After discussing concepts (and bugging Mod Migosp with messages until 2 am) Mod Migosp types out a script for the corresponding chapter. Here’s a tiny snippet. Migosp tends to be chill about letting me improv moments. (It’s pretty infamous between us that I tend to turn 5 lines of script into 20 pages. I like making my life hard I guess.)

I try to quickly crank out thumbnails for the pages and I send them to Migosp for approval, just so they get an idea of what I’m planning to show, and give me any feedback I need.

Next, I digitally sketch the pages, lower the opacity of each one, then print them to physically line each one. Lining is the most tedious part of the process for me. (Luckily I’ve gotten 43 out of the 70 pages lined for the latest chapter done so I’m hoping to get to inking soon!)

Inking is definitely the most rewarding step. I tend to map out where I want shadows and lighting to fall and I fill most of it either with brush pen, sharpie for when I’m short on nicer markers, and full acrylic ink with a brush for larger portions such as widescreen shots.

Finally, I scan the finished inks into my computer.  I actually have specific textures, layers, adjustments, and templates for the pages. I try to clean up as many scratches, smudges, and smears as I can before I start text. That’s when I add bubbles, watermarks, text, animation, color etc. Finally, I get Migosp to look over everything to correct typos, pacing, and even font alignment. I batch all the pages to lower their dpi for the web and get everything saved. The finished pages get stuffed into one of my many gigantic binders full of previous pages.

I take the lead in drafting the posts while Migosp helps on their end to put all the links in and officially post everything. I mean, it’s no perfect product, but we really take care to make sure everything matches our initial integrity. (Though I’ve definitely had my ‘emergency’ situations to aggressively fix a typo we missed before too many of you see it) ;)

But yeah, that’s the studio tour! When we were starting the comic, I originally tested out drawing the comic digitally and then traditionally, but I felt like I emotionally connected to the traditional ink more. Technically it’s an amalgamation of traditional art with digital touch ups (I WISH I was skilled enough to get the inks right on one try lol). No matter how long we work on this comic, at least I can say it’s been great practice with my pens!

— Mod NEO

[gummybeardraws]

Okay so right off the bat just a heads up, I wasn't sure how to tag this as it doesn't involve Setsuno in question but it still has an aspect of his design. I wasn't sure whether to add it to the character tag or to make like a separate tag? I just decided to use both tagging methods seeing as to how Setsuno is such a minor character. If I'm tagging it wrong please let me know because I'm convinced I have had a midlife crisis figuring how to tag this and just decided to do both and correct it later.

Anyway aside from my tag crisis uhh let me talk about this one for a bit.

So this ones origins are mixed as at first I planned to be a self shipping hanahaki AU comic thing that I wouldn't post online becuase no one needs to see that shit uwu. Then I realized I don't have the skills I see as being required to make that so then it became a practice piece where instead of focusing on drawing characters I focused on actual items as my ability to draw standalone items is pretty low. Then I decided to throw flowers in there as well, somewhat sticking with the original roots of the piece, as up to that point I could only really draw roses and even then I feel I still need a bit more development there. It also kinda doubles as comfort art in a way to me since the original idea itself stemmed from me wanting comfort. I also kinda just tend to derive some inherent sense of comfort from drawing in general when I'm upset and of course I wasn't holding up to well when this was originally drawn.

So like, aside from a mad tagging crisis this piece also has a fucking identity crisis too as it's not only fanart but also practice art and comfort art simultaneously. I wasn't even gonna post this originally. It was gonna remain lost in the forbidden scrolls, only to be accessed by the eyes of me and those close to me. Alas, I couldn't bring myself to hate it no matter how long I stared at it and now it's here. For all to see.

I'm thinking I might attempt more things like this that don't involve characters? I don't know while making the shift from traditional to digital in this one It was just kinda fun to do? There's just something about colours I think? I'm not sure what it is about it but something about making this one digital was particularly fun. Aside from the file corruption. That was not fun. Would not do that again as I nearly had a heart attack thinking I had to do everything all over again.  I would draw a piece like this again though. That would be cool I think.

[mobius-prime]

228. Sonic the Hedgehog #160

Birthday Bash! (Part One): Giving and Receiving

Writer: Ian Flynn Pencils: Tracy Yardley! Colors: Jason Jensen

Welcome to the beginning of Ian Flynn's reign, everyone! As many of you will know, Ian is a fan favorite amongst readers of the comics, and for good reason. Objectively, I'd say he has a much better sense than any previous writer of how to construct dynamic and interesting stories, as well as a great head for writing dialogue. Every character has their own unique voice when speaking, and as someone who takes a particular interest in dialogue in her own writing, it's something I admire a lot, especially given how stilted and unnaturally formal a lot of dialogue by Karl and especially Kenders often sounded, regardless of who was speaking. That said, I think that it took a good year or so for him to fully come into his own as head writer for the series, so some earlier issues are a bit strange and not up to par with a lot of his later work. Some of this, to be fair, is due to him essentially playing clean-up for this first year, untangling a lot of the bizarre leftover plot threads that Karl and Kenders left behind, and generally trying to make the world of the comics conform a little better to that of the games. All that aside, anyone reading the comics will likely notice an immediate and apparent improvement in the overall quality of the work starting with this issue. This is helped along, in addition, by none other than the very talented artist Tracy Yardley! who always (well, almost always) introduces himself in the story credits with an exclamation mark. It's kind of his calling card. Tracy took a while to really improve his art as well, so while his earliest issues sometimes have some strange proportions and poses, later on his style became easily one of the most visually attractive and recognizable ones in the series, simplifying a lot of the inconsistencies that many character designs had as well as doing away with the strange pseudo-human proportions that some artists tended to favor, particularly with the female characters. All this said, I will say that Ian isn't going to be immune to my criticism, as while I do recognize his skill as a writer and the good things he brought to the table, there are definitely some problems I have with the way he handled certain things. We'll cross those bridges when we come to them, however, so for now, let's dive into the new world he's creating and see how he does!

Elias and Sonic are walking on the outskirts of Knothole as Elias explains why his father approved the Metal Sonic troopers from last issue. We don't even really get to hear the explanation, but to be fair, we hardly need one, as the idea was so insane to begin with that the only true explanation is that Kenders needed a plot device. Sonic tries to make Elias promise that "you royals" won't hit him with any more weird surprises, and Elias says they only have one more, leading him to a building next to where the Great Oak Slide into the village ends.

I mean, canonically he's supposed to be turning seventeen here, even though realistically he should be turning eighteen, because remember, for him to have turned sixteen in StH#68, had the Robians be deroboticized in early June in StH#123, and still have managed to spend close to a year in space before turning seventeen, literally everything in between the two aforementioned issues would have had to take place in the span of a few weeks - yes, that's counting the month-and-a-half time span that Sonic was confined to Knothole, as well as major events like Eggman's return and the entire Green Knuckles saga. You can see why this huge discrepancy still bothers me, right? Hmph. Anyway, no sooner has the party begun than an explosion destroys the door, and two new players enter the scene - Bean the Dynamite and Bark the Polar Bear from Sonic the Fighters! Nack's been part of the comic for long enough now, so it's cool to see these two make their first appearance. Bark is totally silent - as far as I remember, he never says a single word during the entirety of the comic - but Bean, in the absence of an obvious personality to draw from in the game, has subsequently been given the personality trait of "criminally insane" in the comics.. He's erratic, he talks to himself, he cracks jokes where jokes really shouldn't be cracked, and most importantly of all, he loves his goddamn bombs. Bean starts chucking said bombs left and right at the various Freedom Fighters in the base, while Sonic tangles with Bark. He seems to think these guys are only after him due to something Evil Sonic did in his place, something which he has by now apparently finally explained to all the women of Knothole, and manages to break away from Bark to stop Bean's bombing spree by pinning him to a wall and asking about Evil Sonic. However, Bean happily insists there's been no mistake and he wasn't even aware of Sonic having an evil twin, nor does he particularly care. Oh, speaking of Evil Sonic…

Huh, it seems that Evil Sonic has actually explained his true identity to Rouge in between their previous failed attempt and now. I'm surprised she hasn't outright abandoned him by now due to Rouge not exactly being evil-aligned to begin with, but I guess the pull of the shiny is just too strong for her to resist. And as it turns out, Bean suffers from a similar insatiable need! Fiona pulls out a ring of keys and shakes them around, completely distracting Bean from his current activity of bashing Sonic's head in, and throws them out the hole he made in the wall, prompting him to immediately abandon everything to chase after them. Fiona then advances on Bark, who by now has gotten himself cornered by every Freedom Fighter in the room, and convinces him to stand down as he's outnumbered. Outside, Bean plays with the keys and talks to them, seemingly convinced that they're a beautiful woman with an "adorable accent" who wants his number, when a suspiciously-Shadow-shaped shadow converges on him, prompting him to try to invite him into smashing Sonic as well. Good luck there, buddy, I don't think Shadow usually runs with crazy…

Geez, Sally, cut Fiona some slack. Not everyone had a squeaky-clean record - hell, just look at Shadow! Back in the Chaos Chamber, Rouge and Evil Sonic begin to battle Locke, who tosses Evil Sonic to the side as he perceives Rouge to be the bigger threat. However, that turns out to be a bit of a bad idea, as with Rouge tied up in the fight, Evil Sonic takes his chance to go after the Master Emerald without her, obviously recognizing it as more than just a shiny trinket.

Back in Knothole, Shadow explains that he's only here to thank Sonic for saving Hope, as he knows he wouldn't have been able to do it on his own, and reminds him that as soon as he leaves this building they're back to being enemies, as Shadow's still aligned with Eggman for now. Sonic, to his credit, seems to recognize that Shadow is only allied with Eggman because he doesn't yet know better, and cheerfully invites him to come back here whenever he cuts out on that deal in the future. It's at this point that everyone realizes Bean has quietly snuck into the brain trust's comms room to casually let Eggman know that he and Bark failed to take Sonic down, and when Fiona ushers him back out of the room, Eggman is only too happy to let Sonic know personally that he wishes him a happy birthday and he's sending him a new, more metallic present. Within seconds a thud outside alerts them to the arrival of this present, and everyone rushes out to see a strange figure emerging from an egg pod - a figure which resolves itself into the combined forms of Crocbot and Octobot, now merged into the singular entity of… Croctobot! (Don't worry, Ian knows just how silly this is and even acknowledges it next issue.) But what of Evil Sonic and Rouge? How is their fight faring against Locke after the former got knocked aside? Well, Evil Sonic takes his chance to dramatically emerge from behind the emerald as the other two get ready to continue their fight…

Plot twist! How many people actually didn't know by now that Evil Sonic and Scourge were the same person? I'm guessing there had to be at least a few of you. You can actually already see Ian's new plans being put into action - it's very telling of his intentions when the very first issue he ever pens immediately makes a point of distinguishing a rather tired and boring character into a new and improved version of himself, with a unique name and new, visually distinct look. Apparently Kenders, who if you recall is the original creator of Evil Sonic, never liked this and continued to insist on referring to him as Evil Sonic, but screw that, Scourge is a much more interesting character and this was a change that sorely needed to be made.

Sonic Rush (Part One of Two)

Writer/Pencils: Tania Del Rio Colors: Ben Hunzeker

So unfortunately, Sonic Adventure 2 isn't the only case in the preboot of a partial adaption of a game being included without any actual ending. Sonic Rush, the game, introduces Blaze, a cat from an alternate dimension that is controlled by the Sol Emeralds rather than the Chaos Emeralds, and most of the plot revolves around the Sol Emeralds ending up in Sonic's dimension and her trying to recollect them to bring back to her own world. However, things are a bit different in the comics universe. In this story, Blaze comes to Sonic's dimension because, apparently, she's been having nonstop dreams about him, dreams which show her visions of Eggman threatening the Sol Emeralds and Sonic helping her protect them. She's frustrated that she would have to rely on anyone else to help her protect the emeralds at all, believing them to be her sole responsibility, but nonetheless she's tracked Sonic to Knothole. However, while deliberating her next move, a squad of swatbots - yes, ordinary ones, it's been a while since we've seen them rather than shadow-bots - happen upon her and decide that they should take her in for interrogation.

Yeah, I guess Blaze doesn't understand the dangers present in this universe yet, does she? An hour or so later, Rotor sends for Sonic, informing him that they caught the aftermath of Blaze's capture on their video surveillance. Neither of them know who she is, but they decide she can't be from their village, since she left several disabled swatbots behind, while most people in Knothole are noncombatants and those that aren't are accounted for elsewhere. Sonic rushes out to find their trail and tracks them to a nearby facility set up amidst the trees, and while he begins fighting his way in, the scientific robots in the building go about studying their new specimen.

Sorry, but why the hell would Eggman be looking to add some random Mobian to his team? He only likes robots anyway, and tends to either betray or enslave every living being that comes to him. Blaze suddenly awakens and becomes furious - not that she's been captured, mind you, but that they took off her coat while studying her. She must be really goddamn attached to her coat, because she starts absolutely trashing the place, exploding into flames and screaming so loudly that Sonic becomes genuinely worried about her wellbeing, rushing to where he last heard her. The door of the lab she's in is completely blasted off its hinges by the force of Blaze's explosions, but thankfully after this she seems to have found her coat, because the blasts subside and she appears in the doorway wearing it once again, staring down at an utterly shocked Sonic with a look of fiery fury (the literal flames coating her entire body probably help with the "fiery" bit). Uh… good luck dealing with that, buddy boy!

[puffyartist]

Another year, another summary! Despite Tumblr becoming more and more dead, I still hang around....I guess the plus side of being dead is it’s a bit more quiet and I can just play in my own space without feeling as much pressure about being professional. 

The year had a lot of changes and a lot of exciting opportunities pop up! Some highlights:

- My pitch for a comic anthology got accepted and I got to draw a comic for it! The whole experience has been really enlightening; it’s one thing for folks to lecture ‘consider what your publisher can do for you and promote yourself’, but it’s another to experience it for yourself. As the kickstarter did not reach it’s final funding I have yet to be paid for it, and the last update from the publisher was they planned to redo the campaign at a later date, though that was a few months ago. I still have a few months to go before the contract will hand over the publishing rights back to me again, but at least I have a better idea on what my publisher can do for me & how to promote myself & the projects I’m in more effectively. I also ended up having to be more open about being a queer gal with my friends and family %v

- Did OTP commissions in February, and actually got a handful of commissions! It was a lot of fun, and I wanna do it again next February! 

- Tabled at ECCC with a friend! That trip made me realize folks are more open to my original works then I give myself credit for, and I got to see Seattle for the first time with a friend!

- Due to Patreon’s changing conditions, I hopped right into getting a Patreon for myself. It is by no means a money maker, but there is one person there & I’ve been doing weekly updates on my projects/what I’m working on. This, combined with the bullet journal I started, has actually done wonders for me. It feels good to have something I can regularly check up in and keep track of my progress.

- Got a job offer and moved out to Chicago! Moving in general really helped me with the feeling of stagnation I get from being in one place too long, especially if it’s a place a lot of friends actively aim to move out from, but Chicago is a lovely city and I’m enjoying my time there very much. I’m making more efforts to get out of my apartment instead of staying in and only doing art

- Worked on the first issue of Super Ghost Girl! It’s not my strongest comic per say, but it’s an introduction that lets me get to the smaller stories I wanna tell. I’m still figuring out how I want to have this shared online; I did originally plan to pitch it to Hiveworks, but I’m kinda caught in the pressure of having a completed outline/end goal in mind when I have SGG very much in a episodic format that I want to keep. I’m still considering my options, and I almost want to make a 2nd issue before I post the 1st one online, but that’ll have to wait for 2020!

- Opened a online store! I was trying out different formats, but I eventually settled on Etsy. Hasn’t been a money maker either, but it’s been a fun way to apply some stuff I’ve learnt from my day job!

- Tabled at SPX! Realized that while ECCC was surprisingly more welcome to original works then I gave it credit for, SPX seems more open to fanworks (my guess is it gets overwhelming when everything’s original & seeing a familiar face/name means more to a tired audience). I still made enough to cover my table money, and I got to hang out with good friends!

- I didn’t do as much animation as I did last year; I experimented with some programs before I heard back from the Chicago job, and I’ve been too busy since to really do more. I was invited to work on the Felix the Cat Reanimate project, however! I experimented with abusing tweens and it’s a fun result imo.

- SPX left me inspired to work on a kid’s graphic novel that I want to try pitching to agents! This is what I’ve been working on for most of the end half of the year. The pitch isn’t as solid as I’d like it to be, but I still want to try sending query letters out to agents and see where it goes.

- Pals have been encouraging me to submit a shirt design for the Yetee for eons, but I actually had some shirt ideas I was interested in enough to draw out, and they ended up getting accepted! There’s no release date as of yet, but I’m excited to share them :>

My day job isn’t creative, but I’m surrounded by creative people, and it made me realize that I’m ok not working with a explicitly creative job like drawing/graphic design/etc if I’m surrounded by creative folks striving to make something fun. I think I want to work to develop my business skills so I can do more to help out at my job, and keep art as a side gig. It doesn’t mean I’m gonna stop making art, I’ll likely always keep working at it, but I wanna stop beating myself up if not much comes from it. I would like to find an agent for the kid’s graphic novel idea I have within the year, though! Become the kids author I always dreamed about as a kid.

[xexilia]

I notice when you do your comics, it applies a certain level of toner. I ended up deciding on the route of using paint brush india ink, and charcoal for toner instead. Does this aesthetic difference change the marketability of graphic novel, compared to just using toner? In the context of the prologue in this web comic, it is used to denote a fog atmosphere. In the upcoming chapter, I might use it for graveyard fog.

I think first I need to establish that what you mean by “toner” is “shading”?

I do use tones, but tonER is the stuff used in and by physical printers. Print tones refer to the dots, lines, etc. that are present in the majority of my work and that Roy Lichtenstein emulated in his paintings. Tones are dots because that’s how printers print; Thousands of dots. The closer together, the more solid the shade or color is. I’m not trying to correct you on terms, but knowing this difference will help you later because I promise, if you buy toner online and expect to get tones, you’ll be disappointed by what arrives in the mail!

So, I think you’re falling into a common trap webcomic artists make in the beginning, which is focusing on the wrong parts of the project. You asked me if this changes marketability; But you didn’t tell me:

What medium do you want to publish in? Do you want to ONLY have your comics online, or do you want to print them?

Who is your target audience and age group?

Do you want to sell or profit off your webcomic?

The first question is important because far too often, webcomic artists design for the web/screens first, foremost, and only; Later, they decide to print a book, and this is when all hell breaks loose. Lots of media (Charcole, watercolors, etc.—media is the art term for materials) can look both better OR WORSE on a screen—this is where technology comes into play, like the scanner you have, the DPI (dots per inch) its able to scan things in at, and the size of scannable area. A lot of my favorite media and mediums (I like pencil on paper), are really delicate drawings—and like a lot of artists who favor these materials, scanners just never seem to do them justice. Lots of fine artists I talk to admit that they feel their work looks best in person, and no matter how high the quality scanner, small, delicate details get lost. Part of it can be a cheap scanner, the wrong DPI setting, but the other part can be the wrong medium (That’s the term for things like canvas or paper), or the wrong SIZE medium.

Size matters; Both in terms of the scanner surface area AND the size of your medium. A lot of people (And I did this myself for a lot of the first book), work on standard size paper—8.5 by 11 inches; But professional artists, print or not, are always better off to work at a LARGER size than the end result will be. When I printed my book, I didn’t come out too terribly for the size I worked in, because manga book page sizes are smaller than their American counter parts. I also knew I planned to print from the first page onward, so everything was designed for print first and web second—this is much easier and less time consuming to do than the reverse, because a lot of print errors can occur that don’t appear on screens—and literally can’t—and can take hours, days, weeks or more to fix, depending on how bad and common the issue is and how many of your pages have this problem. A big one is called moire, which DOES NOT show up on screens; This happens when an artist applies on tone directly over another. Because most of us work digitally these days, it’s even easier for artists to start doing this and not realize the consequence until you print a book. . .and discover all places where tones overlap create this weird square pattern within them—which is called moire. This is why it’s critical to use separate tones for different shades and such, because unlike solid color printing, you cannot overlay tones like you would layers in Photoshop or other such programs. Ignore this at your peril!

My first suggestion before you go to far is; Of you want to ever, EVER print this, print out a copy of a page at home. Even if you’re happy with it, consider how you may be printing or mass producing these things; If you’re going to make them via a copier at Kinko’s, take a page down to a copier at Kinko’s and see what quality you get. If you don’t like it at full size to the ratio you worked in (In other words, printing on the same size paper you created it on), you can get some improvement by using smaller pages—but going UP in page size will cause quality to drop. I now work on paper—digital or not—that’s always 11 by 17 inches AT LEAST. For anything I make, I try to work in a size 3 to 4 times larger than the end result will be.

When I first began, I made my comics with a copier at Kinko’s, and discovered while my ink wash method looked good, it looked better with color printing; Color printing is ALWAYS more expensive, hence why when digital comic creation tools (Like Clip Studio) got invented, I was an instant convert! It saved a lot of time and money (Tones and such are all expensive), the environment (No trees died for my drawings), effort (Tones are REALLY tricky to work with by hand), and it’s no wonder that manga artists now are nearly ALL working digitally.

Also, for the disabled (Like me), digital allows us to work from beds, at home, etc. instead of in front of a desk, all hunched over. I don’t accidentally smudge ink, my cat doesn’t drink my ink (Yes, it’s a thing cats do!), and if I mess up, the power of Undo/Redo/Copy/Paste/Transform CANNOT be understated. I’ve mentioned it before, but I believe in working smarter, NOT harder. This is why I draw out a lot of backgrounds (Which you can’t see on the free copies online, but you can if you buy a physical copy or the Amazon eBook), separately, and I can just drag and drop them around as I need. That way, I can focus on drawing the characters and not on drawing a giant cathedral for every damn appearance it makes or scene change I do.

As for marketability; A lot of this depends on your target audience and age group. Even so, people tend to grow to like something even if it may be atypical of the general stuff they like. I’m generally not a fan of shoujo-ai—but many of my favorite anime and manga ARE in this genre! Turns out, if the story is good, I don’t care about the sexuality of the characters!

A lot of people expect or want color comics these days though, which is odd to me, since the manga produced in Japan is in black and white (Color printing is expensive—even for a major publishing company!) People still read it, and those who expect an artist to make a free webcomic with color pages and update several times a week or month aren’t aware of the time, effort, or consequences. Generally; No, they will NOT buy a book they’ve read for free online (As much as people love to say to support us creators, they rarely actually do), and they damn sure won’t pay for the extra cost of color printing. If you want to see the difference, check out Ka-Blam comic printers and do a price comparison between printing pages in color versus black and white.

Yes, there are people who do a Kickstarter and such and get these funds up front; They are exceptions, not the rules. Consider them—and most artists who make comics or art they make of their own choosing (Not commissions, but only originals), the same as you might someone who plays a sport and decides that they are GOING to play professionally for some orginazation or team—which is, they are counting on being in this LESS THAN 1% of their field. Yes, some people pull it off; The vast majority don’t—and skill isn’t the biggest factor in the end. Just like an athlete with all the promise in the world can have their career ended before it’s begun by an injury that never heals right, art itself is a career path with MANY hidden pitfalls and problems—and health is a major one. Too many of us don’t eat right, don’t exercise our bodies and minds, and so on; It adds up. I personally really recommend a diet with a caloric/carb intake ratio that works within your activity levels; In other words, if you’re determined not to work out (Which—don’t make this mistake), you can’t eat as much as you’d like—not only will you gain weight, but it impacts your health health, your blood sugar—it can be a recipe for an early, but preventable, grave or a LOT of suffering that could be avoided. I try to jog at least two miles a day, meditate daily, and really put my health as the main focus in my life—even before my art. I can’t draw anything or write more stories if I’m dead, after all, and I can’t produce my best work if I’m not in the best condition I can manage. With an autoimmune disease, there’s only so much I can do or control and I’m often still very sick and in a lot of pain; But I still do all I can to run or walk two miles—at least, and even if it takes me an hour or more—and to keep my heart rate at 120 beats per min. when I do. There’s a lot of days where this is about the ONLY thing I can manage and where my pain is so bad I cry and cry—because right now I don’t have a lot of means of relief; This doesn’t happen to everyone, but it means that health—no matter what you do in life—can make or break you at times. Audiences aren’t always understanding of these circumstances and yes, ones career can dry up as a result. Just because someone manages to play for the sports team of their dreams doesn’t mean their health can’t or won’t turn on them, or a serious injury will end their career; We do not live in a world where people will continue to support you because of a series of or singular unfortunate event.

This brings me to the last point, which is if you plan to sell or profit off your work; We all want to, but often making sales can come at the cost of producing something that we, as the creators, really love or are passionate about. I decided from the jump that, while profiting was nice, I’d much rather make the title I wanted to make rather than the one that sells the most copies; If I were concerned with it, trust me, Eternity Concepts would be a wildly different story, with different art, etc. I’d have written a formulaic story that was entirely predictable and changed so many aspects, you’d never recognize it; Manga fans tend to be teens, so I’d have made the cast all teenagers! It’d be set in school! Someone might magically transform to fight evil or some such thing.

I didn’t want that; If you do, there’s no shame in that, but audiences will keep buying and reading what we keep producing, and if we’re too afraid to take a risk on a chance that our story won’t make a dime—because making a dime is the most important part for you—then we can’t be surprised when it’s what people keep buying—because we aren’t even attempting to sell anything else.

Publishing houses (With novels and such) can be really guilty of pushing for changes based on market research; The thing is, the research is often based off past sales of what’s already in the market. Plenty of novels that became classics and best sellers got rejected for years and years until a publishing company was willing to take a chance and discovered that people can, will, and do enjoy new and different things. They might also do market focus group testing—but these are small sample sizes of average people—and your audience may NOT be average people.

All creative pursuits involve risks, at the end of the day; You just have to decide what rewards you want or are willing to sacrifice if you take them.

As for aesthetics, there’s no accounting for taste and I’ve seen plenty of paintings I hated sell for insane amounts of money, plenty of art styles I hated become popular titles, etc.

I will say this; When I, PERSONALLY, see a comic with tones or color, usually that’s digitally produced (It cuts out the need for a scanner!), it looks to me like it’s professionally made—by someone who is on their way or already at such a level.

While a lot of newer artists try to make do with other materials, again, the world is not a kind place and making do is just that—making do. Yes, there are a million and one reasons why one can’t get their hands on better or more professional materials—but sadly, people don’t want to hear excuses, and many successful artists got their tools by working jobs they hated, saving up, living in their cars—making major sacrifices to get to where they are now. There’s no easy road or shortcuts to the end; Yes, I do, sadly, think the mixed media approach you’re trying won’t be favorable towards your marketability—but I could always be wrong (Look at how many MS Paint comics made it big!) There’s a first time for everything.

Comics, though, is also about production speed, and traditional materials can come at the cost of working quicker. I’m a big fan of suggesting people save and wait and invest (And it IS an investment) in serious materials and tools if they wish to be seen and taken as seriously; This means making sacrifices and at the end of the day, plenty of people still won’t like what you make, no matter what tools you have or plot you employ. The person who NEEDS to like it most? . . .Is only you.

You cannot please all of the people all of the time, and the faster you accept that, the happier you’ll be with what you make.

[katewillaert]

My Secret Origin (Part 1): How To Fail At Comics

[Above: Art from 20 years ago, when I was in High School.]

What do you want to be when you grow up?

When I was four I said “mad scientist.” It was 1987 and I was a big fan of The Real Ghostbusters and Doc Brown. My mom insisted “mad scientist” wasn’t a profession. And weren’t those characters are inventors? What did I want to invent?

Clearly I hadn’t thought this through.

My mom also informed me that all those cartoons I watch were made by people. Those were drawings, and there are people whose job it was to draw those.

This blew my mind. From that point on I decided I was going to be an animator.

Discovering Art

I don’t remember when I first started drawing. It seems like something I always did growing up. As far as my memory is concerned, I came out of the womb holding a pencil and began drawing before I said my first words.

In reality, I probably started in preschool when I was four, just before I discovered what an animator was. I remember my favorite subject to draw was the Ecto-1 from Ghostbusters. I must’ve drawn it something like 10 or 20 times.

My mom kept almost all of my childhood art, so in theory I could figure out when I started drawing from that...except the earliest drawings were ruined when the basement flooded.

After the flooding, my mom was condensing what was left, and I saw something surprising: a box filled with Ecto-1 drawings. I hadn’t drawn it 10 or 20 times, I’d drawn it 100 or 200 times. Repetitively, over and over, without consciously thinking about what I was doing.

It was practice without realizing I was practicing. I guess that’s how my art “leveled up” so quickly?

Later I discovered other details about my early development. There was a time around age 2 where I stopped talking. There were times when I liked to line up toys. My obsession before art was Legos, building complex shapes and stairs.

Today these might be recognized as possible indicators of autism, but this was the ‘80s.

Because I was shy and lacking in social skills, a teacher suggested to my parents that I might benefit from being held back a grade. I had a summer birthday, so holding me back would make me one of the oldest rather than the youngest.

Thankfully my parents didn’t take that advice. I would’ve been miserable. Despite being the youngest in my class, I surpassed everyone in terms of scores. A CAT test says I scored “higher than 99% of all 3rd grade student in the nation in total language.” 91% in reading. 90% in math. My reading comprehension was 98% in the nation, but was brought down by my reading vocabulary which was only 72%.

Yet this new information called into question a things about myself I’d never considered. Maybe certain things suddenly made more sense? In particular, the way I don’t have interests so much as obsessions. Any time I take an interest in a topic, it leads to an obsessive amount of research.

Discovering Comics

I think the first comic I ever saw was a Chick Tract some kid showed me in Sunday School. He was surprised I’d never seen one. It must’ve hadan impact on me, because I attempted to draw a tract-style comic starring C.O.P.S. (“Fighting Crime In A Future Time”).

I didn’t discover REAL comic books until a few years later. In 1991, Terminator 2: Judgement Day marketing was in full force and I thought it looked so cool. But it was Rated R, and I was only seven. My mom spotted a couple issues of a Marvel comic adaptation (drawn by Klaus Janson), and I guess that was the compromise until it was out on video.

I attempted to illustrate a comic imitating Janson’s cram-packed panel-per-page ratio. It was an epic crossover where Michael Keaton Batman encounters a Delorean driven by a T-1000, then the Ninja Turtles show up, and maybe the Ghostbusters? I knew how to introduce characters but not how to finish a story.

At this point I was still imagining becoming an animator, even though I barely knew anything about what it involved beyond some flip books I’d done. But all that changed when I discovered the X-Men.

X-Men and Batman: The Animated Series both debuted on FOX during the fall of 1992. I was a huge fan of the Tim Burton Batman movies and I’d seen every episode of the ‘60s show when it was revived in reruns, but I didn’t know the comics existed? I didn’t even know where to find comics.

My brother and I were both really into this new X-Men thing, and my brother was given a set of X-Men comics for his birthday. I borrowed them of course, and wanted to see how the story continued. My mom showed us a book store in the mall that had comics, and then we discovered the local comic store. That started my monthly addiction.

Now age 10, I decided I no longer wanted to be an animator. Comics were my true calling. And my dream was to break in at age 16.

Learning Comics

Age 11: I went from reading just Uncanny X-Men to buying the entire X-line, thanks to and event called Age Of Apocalypse.

Age 12: I started buying Wizard magazine. The first two issues I bought included life-changing information, like that you get hired by building a portfolio and showing it to editors. There was industry news, and art tutorials by Greg Capullo. I added the magazine to my monthly buy list. An X-Men 30th anniversary special gave me the entire history of the characters, and a run-down of the key artists and writers with examples of their work. It was like a Rosetta Stone before Wikipedia.

Age 13: I started buying most of Marvel’s output thanks to an event called Heroes Reborn. I never got into the Batbooks, I guess because the art didn’t look as cool? Comics contained ads for the Joe Kubert School, which became my backup plan if I didn’t break into comics on my own. I also discovered the internet around this time.

Age 14: My first year of high school. I spent every lunch hour in the library browsing the internet, since we didn’t have a computer at home yet. I discovered several comic art forums where pros and amateurs traded tips. During the summer I attended a week long art session taught at a local college by a professor who grew up on ‘60s Marvel. There I learned I’d been using paper that was much too thin to ink on, and I learned about the importance of Jack Kirby.

Age 15: I started buying Comic Book Artist magazine. I thought it’d be about drawing tips, but instead it was filled with fascinating comics history, which became an obsession of its own.

Age 16: A year of disappointment. I knew I wasn’t at the level I needed to be to get pro work, but wasn’t sure how to get to the next level. Nowadays there are all sorts of resources I could’ve used, but back then there was no Youtube, no social media, and few books about the craft of comics.

I was now certain the Joe Kubert School was the way to go.

Changing Plans

My family took a trip to Dover, NJ to visit the Joe Kubert School campus, and it was pretty disappointing. The town didn’t feel super friendly, and the school wasn’t accredited, which raised issues in regards to getting student aid. Plus the idea of spending so much money on a non-degree.

The guy showing me around tried to sell me by pointing out that comic companies don’t care about whether you went to college, they just want to see the portfolio.

I took this to heart and decided not to go to college. I was pretty crushed at first, because I’d had this dream plan for so long, and now I was plan-less. But eventually a new plan began to form.

It was time to start doing conventions.

A startup called CrossGen had a sample script and were taking submissions at SDCC 2000, so I went there. I still felt like my work wasn’t quite ready for prime time, but i was worth a shot.

And nothing came of it, other than a cool Crossgen rejection letter in a box somewhere. None of the other publishers could be bothered to even send that.

In hindsight, I was trying to enter at maybe the worst possible time in comics history. When I first started reading comics, they were at their peak during a boom period. When the bubble burst, the industry experienced year-over-year plummeting sales with no bottom in sight. No one was hiring.

But I kept at it, hoping for a lucky break. Top Cow was impressed that I did backgrounds (lol), and suggested I send in “background samples,” but I didn’t want to go down that route. But maybe that’s what a lucky break looks like? (On the other hand, many aspiring pencillers who start as inkers or colorists get stuck there.)

The next summer I went to Chicago with a Marvel sample script. I’d just graduated from high school, so I was really hoping. This time I got a critique from an editor who had actual advice to offer, and I learned a few things. But still no one was hiring.

I thought if I just stayed home and worked on art for a year, I’d eventually come up with pages so impressive that they’d HAVE to hire me. And if it didn’t work out after a year, I’d start looking for a college.

But now I was struggling with a new problem. I suddenly hated my art. I’d heard about a few professional artists who didn’t like looking at their own art, but I was certain this was different. After all, they’re actually good.

The year passed and I accomplished nothing. Based on things I’d heard, I was nervous that college might actually price me out of comics entirely. But I didn’t know that for sure, and I was super inexperienced when it came to money, since I’d never lived on my own before.

But I kept hearing how so many people have gone to college and they all turned out okay (this was before social media and before student debt became a crisis). I was clearly having trouble moving forward on my own, and Youtube still didn’t exist, so what choice did I have?

Choosing Schools

There were only a few colleges with comic art programs back then (maybe three total?), but one of them just happened to be over here in Minnesota. Art school appealed to me because all the classes were art-focused, so I wouldn’t have to waste my time with math and other BS.

And as I humble-bragged earlier, I’m good at math. But I hated it. At one point some kids from Math League asked if I’d join the team. “‘MATH LEAGUE?’ You mean you do math for FUN??”

I hated math so much, I took harder, accelerated math courses via a local college, just so I could finish math early and spend my last years of high school wonderfully mathless. If there’d been a similar way to graduate from high school earlier, I would’ve taken it. When I realized we were all graduating regardless of how much work we put in, I stopped caring so much about grades and let an occasional B+ slip in.

When I would see classmates busy studying for their SATs or ACTs, I was so glad I didn’t have to bother with that.

But the joke was on me. Because this art school didn’t just require a portfolio review (which I was more than ready for). It also wanted ACT test results.

I remember wondering if I should study before I take it, since everyone took it so seriously in high school. But I didn’t even know how to study. It’s not a skill I’d learned, because I never needed to. So I decided to wing it.

You’ll hate me, but without studying I scored in the top 96% for English, the top 94% for Reading, the top 96% for Science...but only top 87% for Math, because I hadn’t taken a math class in three years. That brought my total down 90%..

(Later, I had to learn to study in order to pass some horrifically-taught art history classes. That teacher made me hate art history, which is ironic given how much of my own writing is focused on history.)

So I got into the school, only to discover that even structured teaching wasn’t going to solve my new art problem. During my first year I told my mom that I don’t enjoy art anymore, and she thought it might be depression. I mean, that’s plausible, losing interest in your passions?

In hindsight, I now have enough experience with real depression that I can definitively say it wasn’t that. I mean, I was occasionally depressed back then, but hating my art was unrelated. It took me years to figure out the actual problem.

Dunning Kruger

The Dunning-Kruger Effect is named after a study which found that:

1) People who aren’t knowledgeable about a skill tend to think they’re better at it than they are, because they don’t know enough to know what they don’t know.

2) Conversely, people who ARE knowledgeable about a skill tend to think they’re worse at it than they are.

My problem went one level deeper. I’d learned a shit ton about every skill related to comic art, but I hadn’t put in as much time actually practicing. And now practicing was tough, because I was hyper-aware of how bad every line was as I laid it down.

In other words, the exact reverse of when I was four and drew repetitively on auto-pilot. Back then I was oblivious that I was practicing anything at all. Now I had the benefit and detriment of a critical mind.

But this realization came later. At the time I was just miserable and didn’t know what was wrong with me.

Halfway through art school, I realized I’d likely already priced myself out of comics, and I needed a real degree that would function back-up plan. So I switched majors. Instead of a Comics major filling my electives with design classes, I became a Design major filling my electives with comics classes.

In order to change my major, I had to explain it to the head of the school. This was awkward because it partly involved explaining how the comics industry worked, and he didn’t want to believe it. He told me I was being cynical.

I tried doing comic samples one last time after college, for a convention in 2006, but couldn’t even finish a page. Then sometime around 2008, I gave up drawing entirely.

How I got started again is another story.

You can also find me on:

Instagram - https://www.instagram.com/katewillaert/?hl=en

Twitter -  https://twitter.com/katewillaert

Art Patreon - https://www.patreon.com/katewillaert

History Patreon - https://www.patreon.com/acriticalhit

[flockofdoves]

asked this in some leftist media discussion groups on fb but i’ve been thinking about this a lot and wanna talk about it with people so i’m posting here too

theres a variety of thoughts mixed into this that i'd love others insight into, i hope this is legible!!

recently i've become a bit dissatisfied when planning out stories i am in the process of creating. i hope to eventually begin posting/publish my current main project in the form of a webcomic, and most of my creative narratives i gravitate towards making them as comics as well.

i love plotting them, researching them, making character designs, writing the script, laying out each page, and finally drawing the finished product. i hope to grow as a comic creator in all of these aspects and more.

but with certain stories i have been trying to plan out for ages, i've come to feel that regardless of skill level i will never be able to put them out in a way that does their basic concepts justice. i think the advice often given to (typically prose fiction) writers to write what they know, you can write about characters and situations that are different from your experiences of course, but writing stories that center around things you don't have personal experience with that marginalize others can often be harmful or trite is understandable. but with the scope of some of the stories i wish i could help bring into the world i feel they might feel a bit half baked if i just relied on impersonal research.

i think i have seen what i wish i could do with my comic projects in media that is more necessarily collaborative like film/tv/movies. some of my favorite tv/movies the care put into things like say, historical research, costume design, interviewing people with experiences related to the medias subject matter, sensitivity reading, consulting people with various expertises that can add more subtle detail that not everyone might notice, but works together to make a clearer/more accurate/more intimate picture, etc is really noticeable. of course getting these resources for film media is much easier and in some ways expected, because by nature of how it is structured there will be a wide variety of people coming into its creation with a wide variety of expertises (like costume design, set design, research of various sorts, etc) and even less typical tasks are still logical to add considering it is a collaborative project regardless.

i'm just an individual comic creator, with very few resources or connections at my disposal, who would be publishing things for free online with hope of money being reliant on things like patreon or future physical publications.

nonetheless, while i love doing research on my own time, theres only so much i can pick up on some topics (whether that be for lack of resources or literally just because i can't possibly authentically portray certain experiences i haven't lived through in a way i feel is appropriate without consulting others). for my current project for some examples that might mean interviewing people at an organization that part of my historical fiction comic took place in and that might mean having people be sensitivity readers.

i don't want to profit off of the contributions of others or pass off their contributions as my own work though. on a bigger project like i talked about above it both is widely understood that these are media/art that are made collaboratively, and beyond that there are well established (although ofc not always ideal) systems in place for compensating all those involved. as an individual webcomic creator i am not sure the most sensible/ethical/sustainable/fair/etc way to go about crediting and compensating people who i see as collaborators in helping create my artistic vision (and i'm sure it is possible their artistic visions could mold with mine too, making me even less prominent beyond just being the person to first approach about the original idea.

i'm really curious if anyone has input/suggestions/experience/advice about that sort of thing!

also, that made me really curious to learn more about various creative industries and how they are structured because honestly i don't know that much i'm realizing. i'd also be interested if say, theres any precedent for more collaborative and less exploitative structures whether that be in the creation of media in socialist countries/movements or things like cooperatives or the demands of unions?

i'd love for a world where it would be easier for anyone to exchange ideas and create art and stories together where intellectual property wouldn't be a thing because of course we all are inspired by one another, but of course as our world stands, plagiarism and profiting off of others creative work and ideas can do real harm to people, so i want to domy best as a creator within that context, and of course i'm intrigued speculating on how things might look like beyond class society too

sorry this is so long and i hope it makes sense!!! theres like multiple different discussion topics/questions here lol

[witcherislovewitcherislife]

My gift for @captainofthekryptonspacemarines for Steggy Secret Santa 2018

I am very sorry for how extremely late this is. It is difficult for me to write with a lack of motivation and I have been busier than usual these last few months. But I finally got it done. I really hope it was worth the wait and I hope you enjoy! :)

You said you enjoyed domestic life fics so that is what I wrote. Also, some there is some Star Wars stuff because you said you liked sci-fi. :)

The Perfect Gift

As a child, Christmas was always one of Steve's favorite days of the year. He and his mother had very little, they were already poor when the Great Depression came and then things just got worse. But his mother always made sure that Christmas was special. Every year she bought Steve a new comic book, replaced some old art supplies, and got him a chocolate treat. Steve knew that she had to take extra shifts on top of her doubles already as a nurse just to earn the extra money. And he would be eternally grateful for that.

Now, around a hundred years later and having a family of his own, Steve made sure to make Christmas for his family just as special as his mother had made it for him. Every year, the Rogers-Carter family would cut down their own Christmas tree. Peggy and their two children always loved to see Steve lift the tree up with ease and carry it to the truck (borrowed from Tony of course) and throw it into the truck bed.

Often, the two little gremlins that Steve and Peggy called their children would wrap themselves around Steve’s legs like monkeys trying to hold him back with no avail.

They’d take the tree to their home in the suburbs of Washington D.C. and spend the evening decorating it with various ornaments. Some store-bought and some homemade. Sarah, Peggy and Steve’s daughter and eldest child had her father’s knack for art. Steve and her would make various ornaments for the tree, ranging from little drawings to larger clay figures that Sarah loved to craft. Their younger son, Michael, got the job of choosing what would go on top of the tree. He always chose a small replica of his father’s shield over a star or an angel.

The day before Christmas, Auntie Angie (as Sarah referred to her) would visit and bake cookies with the children. Sarah liked to bake them in the shape of her mother’s fedora and Michael liked frosting them to look like his father’s shield. Michael liked to sneak their dog Dodger cookies under the table while he thought no one was looking, his little giggle giving himself away each time. Steve and Peggy usually noticed but never minded as long as their son was happy.

Peggy was always unsure what to get Steve for Christmas. Steve’s gifts were almost always homemade, putting his amazing art skills and creativity to good use. For their first Christmas together in the modern age, Peggy went the comedic route. She knew Steve loathed Captain America merchandise, having his superhero identity plastered all over items ranging from clothing, stuffed animals, and mugs to the X-Rated items for the more adventurous fans of his had always made him a bit uncomfortable. But for Christmas, she had bought him a surprisingly well detailed Captain America bobblehead and a Halloween costume of his original USO uniform. She giggled as he unwrapped it, joking to him about how he could finally dress up as his favorite superhero. The laughter the gift gave them both was a gift in and of itself. And as much as Steve didn’t like Captain America merchandise normally, he loved it coming from Peggy. He still kept the bobblehead on his office desk till this day and kept the costume in storage because he would cherish anything coming from her. Peggy had to admit that she rather liked some of the items though. She owned several articles of Captain America clothing, an adorable stuffed bear version of Steve, and one of her favorite mugs donned his shield insignia.

Nature did Peggy’s job for her on their second Christmas together. The sonogram picture of their first child was sure to take Steve by surprise. Steve ended up being open-mouthed and awestruck. Peggy being pregnant was the best news he had gotten since the news that she was staying in the modern day to be with him, timelines be damned. “Best gift ever,” Steve had said and she couldn’t have been happier.

The couple decided against getting presents for each other on their third Christmas. Deciding instead to focus on the new addition to their family. Peggy did break the rule slightly however, buying herself some lingerie to model for Steve.

“There was no rule against buying ourselves a gift, my darling,” Peggy said, stalking towards him slowly.

“From this angle it looks like this is a gift for me too,” Steve had replied with a wide smirk on his face. Finally getting to spend some one on one time with his gorgeous wife after months of only fleeting moments in between the cries from a hungry baby. Sarah always chose the worst moments to decide it was time to eat.

“I wouldn’t mind seeing you in this if I’m honest.”

“You’re a perv, Peg.”

“And you wouldn’t have it any other way.”

The years kept going by and Peggy kept having to be creative come Christmas time. One year Peggy had gotten a new compass made for Steve. This time the compass opened to a picture of Peggy holding beautiful little Sarah. Steve absolutely loved it. The compass always pointing north and always pointing home.

Steve tended to go the homemade route. He liked to put his art skills to use and make something personal and unique.

A few years ago however, Steve got the chance to do something a little different. Tony Stark, with the help of Hank Pym, Hope van Dyne, and Scott Lang had finally unraveled the key to time travel using the Quantum Realm. They had wanted an excuse to monitor the effects a miniscule change could have on the modern day. How they were going to do that was beyond Steve. But since Tony was planning a trip back in time anyways, Steve enlisted his help in getting a nice gift for Peggy.

“You want me to do what?” Tony had deadpanned, a little baffled at Steve’s seemingly silly request.

“Like I said, I just want you to buy some lipstick from London. The brand she used went out of business ages ago and I know how much she misses it.”

“Couldn’t have been too good if they went out of business.”

“I’m serious, Tony. I’d really appreciate it. It would be the perfect present for her.”

“Fine! I’ll consider this assisting the elderly. But you owe me. You are coming to all my charity events from now on.”

“Deal.” And they shook on it, Tony adding after the fact, “Time travel is invented and we’re using it to get ancient lipstick for God’s sake,” Tony muttered sarcastically.

“Well if you want to go back and stop the Nazis and HYDRA be my guest.”

“That would have too many repercussions. Who knows what the present day would look like if I changed something so drastic.”

“Then stop complaining.”

“Yeah yeah yeah, if this causes the world to go to hell it’s on you.”

Tony had returned from the past safely with a case of “Victory Red” lipstick in hand as expected. A part of Steve was kind of hoping that this subtle change to the past had some positive present consequences but to no avail.

Peggy had been shocked by the gift and even more shocked by the explanation. Ironically she made the same comment that Tony made about time travel being used for such silly purposes but she would be eternally grateful for such a thoughtful and spectacular gift. Her years of experience in rationing were sure to come in handy once again. They were both pretty sure that Tony wouldn’t agree to go back and get more when she ran out. But they did both got a good laugh at the idea of sending Tony back in time to get more lipstick as if it was a simple errand to the corner store.

Other years Steve had drawn beautiful drawings and portraits for her. Peggy had a place for each and every one. On the wall of her office in Avengers Tower hung a large and detailed painting Steve had painted during the war. It was of the Paris skyline, the lights from the Eiffel Tower illuminating the sky. Steve had drawn it after the Liberation of Paris in 1944. It hung in a museum until Steve came out of ice. He had taken it back and replaced the one in the museum with a copy. Now Peggy had the original and cherished it every time she gazed upon it.

Steve and Peggy were amoken Christmas morning by Sarah and Michael jumping on their bed.

“Mommy! Daddy! Santa came! Santa came!”

Their children’s eager voices brought smiles to their faces, even if they weren’t particularly happy with being woken up at seven in the morning on a holiday.

“Alright alright gremlins, calm down a bit my loves.”

“Mummy, come on!!” Michael begged, tugging on Peggy’s arm trying to get her up so they could open presents.

“Sweetie, the presents will still be there in an hour.”

“Or two,” Steve added, trying to negotiate for some extra sleep. Christmas Eve was one of the few nights that they got all to themselves. The kids agreeing to go to bed early on the promise that Santa would come if they did. And Steve and Peggy were sure to capitalize on this opportunity, making love late into the night, or more accurately early into the morning.

“Please mummy!!” both the children said in unison, using their best puppy dog eyes.

Steve and Peggy both shared a knowing look upon realizing that they would get no more sleep.

“Fine, my loves. You can each open one present before breakfast. We’ll open the rest after.”

“Thank you mummy! Love you!!” Sarah and Michael both exclaimed before running out of the room excited that their favorite day had finally came.

“What about me!?!?” Steve yelled after them

“Love you too, papa!” They yelled back, their voices getting quieter the further they got away from the master bedroom. The children's response caused a chuckle from both Peggy and Steve as they rose out of bed.

“Make sure they open the Star Wars Lego set. That will keep them busy for bit.”

By the time Steve and Peggy made it down to the living room, the kids had already chosen a gift to unwrap. It was in fact the lego set. Peggy had a feeling they would go for that one as it was one of the bigger boxes under their tree.

“Share please, my darlings!”

Seeing their children playing together warmed Peggy’s heart.

Steve went to make breakfast while Peggy helped Sarah start building the Millenium Falcon.

Breakfast made by Steve was more of a feast. Steve’s super-soldier metabolism ensured that he always would need a lot to eat. And his children never having to worry about food was what made him proudest in life. Between growing up poor and then needing to ration, food was always scarce in Steve’s life before the ice. Knowing that his children would never feel empty bellies warmed his heart. He cooked a smorgasbord of eggs, pancakes, waffles, bacon, and sausage for his family. Steve’s many years of Captaining were as useful in the kitchen as the were on a battlefield. Multi-tasking quickly so that his family could all enjoy their favorites.

After breakfast, the kids were eager to get back to opening their presents. Sarah chose first, choosing a long rectangular box to open.

“A lightsaber, papa!” Sarah burst out with excitement. Star Wars was her favorite right now. She wanted to be just like Rey. The lightsaber handle was made from genuine vibranium. Upon activation, the handle would project bright blue light like a hologram giving an authentic look to the prop. The lightsaber would also emit a low buzzing when you swung it. Sarah could barely hold the heavy handle but the smile on her face was brighter than the saber itself. She rushed off to her room to change into her Rey outfit. Steve and Peggy knew they had gotten the perfect gift for their little daughter.

All the gifts were opened by mid-morning and the kids were playing excitedly. Sarah still enraptured by her lightsaber and Michael engrossed in the newest Batman video game. Their dog Dodger was enjoying his new bone very much as well.

While the children played, Peggy and Steve snuck off to go get their main gifts for each other.

Steve gave Peggy her gift first. She had to admit his wrapping skills had gotten quite good.

“I didn’t have much time to work on this but I hope you like it,” Steve said nervously, eager to see what his wife thought of his gift.

Peggy unwrapped the gift carefully, opening up the small box to reveal a homemade comic book. The cover boldy read “THE ADVENTURES OF DIRECTOR CARTER AND CAPTAIN AMERICA”. Below it Peggy and Steve were drawn gracefully standing proud in the midst of a battle.

Peggy spoke slowly, in awe over how amazing a gift she had received. “Steve, this is incredible. My darling you are so talented.” Peggy added while flipping through the pages. The compliment caused a faint blush to rise to Steve’s cheeks as well.

“You really like it? I know comics aren’t really your thing.”

Peggy responded with action rather than words, firmly kissing Steve before whispering, “I love it. I love you.” against his lips.

���I am quite glad you put my name first as well, I must say.

“As it should be. You do wear the pants after all.”

“Sounds like you are just trying to get mine off,” Peggy teased back.

“Not while the kids are awake.”

Peggy giggled a tapped Steve on the chest, “Open yours. I hope you like it.”

Steve unwrapped the gift carefully. It was clearly a painting and he was eager to see what of.

“I wasn’t able to draw it myself obviously so I enlisted Maria’s help. Did you know she could paint this well?”

Steve in fact didn’t know that Maria Hill was a painter but he was glad that he did now. The painting was a recreation of The Incredibles poster but with their family. Peggy knew The Incredibles was Steve’s favorite Pixar movie, mainly because they reminded him so much of his own. Steve was Mr. Incredible of course, with Peggy as ElastiGirl, Sarah as Violet, Michael as Dash, and even had Dodger in place of Jack-Jack.

“This is outstanding Peg. Thank you so much!”

“You’re quite welcome, darling. I only wish I could have made it myself.”

“I could teach ya if you’d like. We should have some free time. I don’t think the kids will be bothering us too much for the near future.”

“Alright then, you better be as good a teacher as you are a husband.”

“We can start tomorrow. You know, I think the kids might be napping, I don’t hear them.”

Smirking wickedly, Peggy caught the slight tease in Steve’s voice. “Well then, maybe we should take this time for an afternoon fondue.”

The old reference caused a laugh from the both of them before Steve added, “You are never gonna let that go, huh?”

“Oh no darling, never.”

[akysi]

Always wanted to do one of these, and now I have. :D 8 years of improvement, wow! I’m also really bad at picking things so I don’t know if I picked the ones that best represent my progress, but eh. I did some edits, but the original base for this can still be found here. Extended thoughts about each year below, it’s a lot! Here’s to bigger and better things in 2019 (please ;_;)

2010: I started drawing digitally in 2006, though regrettably I didn’t save any of the art I did back then. 2010 was when I joined DeviantART, and thus when I started uploading art online. I had frequented DA well before that though (from about 2007 I think), and influence from the artists I followed are pretty evident. A few notable ones were ShaloneSK, Fourth-Star (now SeaSaltShrimp), and thazumi, all primarily dragon artists. Though none of my traditional art is showcased here, this was still a time when I did it often, usually via doodles in class when I was bored. The digital art you see here was made with my first tablet, a Wacom Graphire 3, and Photoshop Elements 3 that came with it. I had little knowledge of file quality, layering, colouring, and other mainstays in using Photoshop properly. Humble beginnings are these! My art education at this point was limited at best, but art was always something I did in my spare time. And like all of the art years leading up to 2010, I drew almost entirely dragons. Aside from practicing foxes for a story I had at the time, I wasn’t interested in drawing much else. I didn’t draw people at all until college, but we’ll get to that. 2011: Christmas 2010 / New Year’s 2011 marked the time I got Photoshop CS5, a version of PS I still use today. For a while I was obsessed with the idea of PS’s Pen Tool, as I saw it could give me much cleaner line art than what I could achieve on my own. I was finally able to test that when getting CS5, and while it worked well for the time, I soon learned the tenets of line weight and tapering, something I would have to practice myself. Up to this point all of my lines were either shaky or fabricated via the Pen Tool, and it shows. This was also a year of trying to mimic Fourth-Star’s dynamic perspective...without any knowledge of how it actually worked. Not a lot of improvement happened here outside of that. 2012: This was the year I bought my Bamboo Create tablet, something I still use with my laptop nowadays. I remember trying it out at my friend’s house before I bought my own, and really loving how I was able to do the line tapering without the pen tool. It still took a lot more practice, but looking back now it was easy to see I was on the way to making line art one of my art’s strongest qualities; something that stays true today. I find it ironic that line art used to be one of the weakest aspects of my digital art, but I suppose that speaks to how far I’ve come. I did more fanart this year, oddly enough. I’d always done it before but I guess I felt shy about sharing it. Notable fandoms were Danny Phantom and Sonic. I didn’t grow up with either, but ended up liking them both a lot, and would doodle them as much as my dragons. 2013: I graduated high school and started my first year of art college, specifically Art Fundamentals at Sheridan College. At this point, everyone I knew pointed to that school (and only that school) for anything related to what I wanted to do; if it wasn’t fine art, go to Sheridan. So I went into college with a bit of tunnel vision at first, but I knew from the start that I would be gunning for animation. Not to animate specifically, but to do character design / concept art for animation. I would learn later on what having this tunnel vision would mean for me, but we’ll get to that later too. This is about the point where more expansion of design and subject matter occurs, albeit slowly. The art featured here doesn’t include my schoolwork, but the much needed increase of anatomy, structure drawing and other college level art courses started me on a path to better things. I still had a long way to go though, and Fundies could only do so much. Unlike most people I actually got decent practice from it given my limited art background, but I still can’t say it was at peak efficiency. This was the first year I actually started drawing people, and it certainly didn’t come without its growing pains.

2014: Surprising no one, I didn’t get into Sheridan after my first year, though that didn’t stop me from being disappointed at the time. I took what was effectively the second year of Fundies, called Visual and Creative Arts (VCA). This was the year that sparked my interest in graphic / logo design, an interesting turn of events all things considered, and that would stick with me a lot more than I expected. This year also featured a few smatterings of character designs, or more specifically design sheets with multiple views, costumes, etc. Character design was a required segment of the animation portfolio, so this is likely what spurred my practice in it, aside from my pre-existing interest. That does not mean I knew how to rotate a character though, yikes! At this point I’d gotten pretty good at clean line art in Photoshop with my current tablet, as well as the merits of high quality imagery. There was a lot of purple in this year and 2015, though that’s nothing really new for me.

2015: This was easily the busiest (and most path altering) year. Second semester of VCA happened during this time, but also what would be new beginnings for me. If I didn’t get into Sheridan animation, I had a choice to make for a plan B: Either stay at Sheridan for VCA Year 3 and try again for animation, or try to get into animation at another school. My buddy Amelia then dropped Seneca’s name in one of my elective classes, and I had no idea how much of a fateful conversation that would be. She mentioned it was considered a second to or even better than Sheridan, and that at least provided a clearer answer for me. A lot of trepidation followed: I didn’t get into Sheridan animation for the third time, and thus applied to Seneca (and a few other places). I was pretty scared of being a first year again at a new school with new people, and while my art definitely reflected the time I spent at Sheridan, I had no confidence in it being good enough for a portfolio given my track record. But low and behold, I got in! I was on my way to a three year rollercoaster of all-nighters, amazing ride-or-die classmates, and relentless, rigorous training. The art from this year does reflect this, both in quantity and quality of uploads, though in more of a “transition period” kind of way. This was the year I really started to draw human characters, most notably with the creation of my first comic project: Starglass Zodiac. This was the first time I had a story idea with a primarily human cast, much less a comic idea, though the designs for them didn’t start appearing in my uploads until the following year. As you might expect I didn’t have a lot of confidence in drawing people. Ironically, my first year of animation taught me all the skills I initially needed for the portfolios!

2016: When I mentioned a path altering year for 2015, I was referring specifically to the path in my art education. 2016 was a path altering year for everything else, and a polarizing one at that. 2016 was a year that was kind to no one, and while the details of what happened to me are not really relevant to this post, there’s no denying what effect it had behind the scenes. This was the year that I fully realized I’d developed symptoms of depression, and with my increasing anxiety to match, this didn’t (and still doesn’t) go so well. I don’t think that’s really reflected in my art, however. Regardless of my mental state, the outside view of my art still features the colourful characters that they always had. By this point I was in my finishing first year / starting second year, and this was easily the best time for me. My time to shine, if you will, at least when it came to character design class. We had an overarching story project that was perfect for SGZ, so I used that time to develop the characters. The double-edged sword of troubled times is my escapism is cranked to 11, so this was probably the year that spurred the most story ideas out of me. This year (and part of the next) started both Id Pariah and Feather Knights. I got my iPad Pro for Christmas this year too, and that proved to be a game changer in the amount of art I could make. I was already used to the Cintiqs at my school, and I was lucky to finally have a screen tablet of my own. 2017: The end of my second year and the beginning of my third and final year of animation. Classes split, streams chosen and a world of missed opportunities began. I didn’t do a lot of art at the beginning of the year, aside from the beginning of my Feather Knights stuff. On top of that, my college had a 5-week long teacher’s strike that literally no one wanted to be a part of, effectively derailing all hope for a good semester. Attempting to do a short film project with this happening was a recipe for disaster. During this strike was the start of my first month long challenge though: Huevember. It was an uncertain time, and most of us were not compelled to get much school work done. Completing Huevember did feel like an accomplishment though, as I was actually able to keep up with it even when school started again. I’d say this art year focused a lot on colour for this reason. What art I was able to complete outside of my schoolwork saw a lot of expansion in that area. In all honesty 2016-2018 tends to blend together for me, for better or worse. 2018: My graduating year. The strike did its damage to my final semester too, but ultimately I survived. Despite completing 5 years of college, my path became the most unclear. Third year taught me a lot of things about myself and how I approach art, but most were not positive revelations. The expectations set out for me are ones that I cannot achieve. However, I have more time than ever to do art, making this year the most art I’ve made to date. I also participated in Inktober, which reminded me how far I’ve come as an artist, despite not doing traditional art for what felt like a century. My illustrative work for Inktober ended up being some of my best art this year, and the prompts made me get creative in more ways than one. The dark cloud hanging over my head has not disappeared since 2016 however, and the toll that has taken shows more everyday. As far as my art was concerned I did more of what I loved, mostly in the form of character sheets and designs. It’s all I can do, for now. 2019, I have one thing to say: Don’t you DARE.

[kinixuki]

Answers for the “Questions about creating your ocs” thing, as a read more because it got REALLY LONG. There’s some AU rambling too because why not. The first time a character gets mentioned their name should be a link to their tumblr tag, just to keep track of who’s who because there’s a lot of them :v

1. What was the first element of your OC that you remember considering (name, appearance, backstory, etc.)? 

Kal – Kal came from a dream I had, he was an angry guy with muscles and 0 chill (this never really changed), I think the first conscious thing I did myself was trying to make a small backstory for the dream because I felt pretty strongly about it. I tried to get the look down at the same time but my drawing skills were terrible at that time, so the backstory got more attention. And then it turned into Fisher along with some other dreams I had!

Umbrella – Umbrella is originally from a dream as well, a different one but it had Kal in it too, so it tried to fit it into the story.

Shetla – she happened when I started writing shamans (which had no plan at all at first), I needed someone who would talk with Kwiri so I made her

Oqooto – Oqooto was born as random fish kid for a small comic, so they got a bit of backstory and appearance for the comic. I liked what came out of it and kept thinking about them :>

2. Did you design them with any other characters/OCs from their universe in mind?

Moru – I want to say Ishke, but other than trying to not have them look too similar not really. Maybe Yixi the bird, Moru used to have a hood with a nest, now she has falconry equipment.

3. How did you choose their name? 

Kal – playing with random letters, after he was nameless for a year or two. I think I first wrote it down into a German textbook when I was bored during a class :v His name is also one of the Czech words for mud, which I didn’t realize for a while, but it fits sort of.

Umbrella – in the dream he came from he was basically a ghost that came out of an umbrella, so he got to keep it, both as an object and as a name, because it sounded silly and he’s weird. It’s more of a nickname in the actual story, he so old that no one remembers his name and telling people would spoil the fun for him, and because he always carries the umbrella with him it’s how a lot of people refer to him.

Teeku – playing with random letters again. I think his name just popped into my head when I was writing and was like “hey, this shaman guy needs a name”. I wish this happened more often, I’m terrible with making names :l

Bronze – I had hard time understanding how naming characters with actual words one can understand works, so I tried it myself with Bronze. I don’t remember why I picked that anymore, but it had something to do with him being Fisher and Narya being gold in my head.

Oqooto – I think I saw something close to that in random word generator? It looked super weird, but also felt like an instant fit after like a year of not knowing what name I want.

4. In developing their backstory, what elements of the world they live in played the most influential parts? 

Oqooto – it’s mostly based on the comic idea I had – a kid living in marshes that goes fishing, then I expanded from that. It’s technically part of Ishke’s world, but I haven’t really connected those two yet. There’s a lot of spirits in that world though, so after a bit Oqooto turned into something that’s closer to a shaman/medium than just a fish kid.

5. Is there any significance behind their hair color?

Narya – for a long time there wasn‘t, other than me thinking it’s nice, but now it’s an ethnicity thing along with the ashy skin color. I’ve been playing with the idea of that being the sign of a pureblood Fisher, but it makes some story mess with how easily they would be identifiable in the city. So it might be more general group of people, but still with them being known for their Fishers being crazy good. Bronze is another of those people, but not really directly related to Narya, despite the appearance. Most of them live in the forests outside of the city.

9. Are they based off of you, in some way?

Kwiri – ummmm yes a bit…. I started writing his story as an angsty teen with zero friends, and having a character dealing with similar problems felt nice because hey, finally a friend. It wasn’t really a conscious thing like “it’s me, but in another world”, just a character I wanted to understand and write well. After a while of writing I was probably more based off him than the other way around to be honest. For some reason Kwiri is also pretty close to how I look irl though, which wasn’t intentional at all xD

10. If they have an LI, how much of their character is tailored to be compatible to that person? 

Moru – I wanted her and Ishke to have fun together, so they’re both kinda rebellious, but Moru is still there to explain all the human and social stuff to Ishke. She doesn’t understand much either, but almost anything is better at it than Ishke. And she gets to learn about spirits/forest from him!

12. What have you found to be most difficult about creating art for your OC (any form of art: writing, drawing, edits, etc.)? 

Kal – other than waiting few years for a name he’s tricky to draw for me, first he was the muscle guy when I didn’t know how to draw muscles at all, now it’s drawing him properly during fights and all the cool action scenes. He’s surprisingly easy to write to though.

Umbrella –having him not turn the entire plot upside down. I changed the entire thing at least three times because of him, he’s always been one of the major characters but having him fit into the story in a way that worked well was hard. He’s hard to write as well, it’s easy to get carried away and turn him into the carefully planning villain stereotype because most of his role in the story is watching from behind the scenes, but he’s supposed to be super chaotic. Well thought out plans are literally the last thing he would do.

Moru – I am. Really bad. With female characters. Guys? Cool. Nbs? Super cool. Girls??? Seriously I made her to have a girl character I would be comfortable with, it’s still not 100% it and I still don’t know what to do with her, so probably that. She needed over 5 years for a name too.

13. How far past the canon events that take place in their world have you extended their story, if at all?

Shamans – I wrote down a short story about how some late story events turned out differently and keep thinking about a lot of what ifs. Then I have a lot of things from when Teeku was younger figured out, some of them are important, some of them are just fun to think about, most of them don’t get enough space in the actual story though.

Then there’s several AUs, including one where Teeku is a grumpy farmer with an old smelly tractor and a straw hat. Kirta hates him there because of the hat, he’s a rich farm guy and has been looking for The Perfect Straw Hat™ for months. When he finally saw it across the street and fell in love, Teeku came and bought the first straw hat he saw, which was this one. There’s also a modern AU where Teeku owns a tearoom and his visitors are my and Sari’s characters from the other stories. There’s a lot of fun stuff happening there and it has quite a bit of stuff thought out, I wanted to draw some of it during the summer but didn’t get to it D:

Bronze – I have a ton of stuff from when Bronze was younger and didn’t live in the city, but that’s deep in the spoiler territory. In the tearoom AU he lives in Umbrella’s flat and works in his sushi restaurant, but kind of wishes he didn’t, especially when Umbrella (who despite owning the flat doesn’t really live there) decides to visit, eat every single thing in the fridge and then talk about all sorts of vaguely illegal stuff Bronze doesn’t really want to hear about before leaving again.

14. If you had to narrow it down to 2 things that you MUST keep in mind while working with your OC, what would those things be? 

Isidor (the grandmaster of the Order who has no tag atm) – he’s elegant as heck, and his behavior is kinda human but also not really, he’s young for what he is but he doesn’t age/die naturally and is already older than normal humans get, so he’s pretty detached.

15. What is something about your OC can make you laugh?

Siva – okay so. At one point a friend asked what kind of food they eat in the Fisher universe. Part of the reply was that they also probably have some of the food we have here, like schnitzel. And the friend asked something like “so there’s gonna be someone coming to Siva and asking ‘Hey Siva, do you want some more schnitzel?’”. It’s Siva’s fave food now, because he’s a super srs person and this totally doesn’t sound super silly.

ALSO THE TEAROOM AU, Siva is a head doctor of a local hospital and Narya is a student with training there and Siva overseeing it. They don’t really like each other, it’s the same as the canon story. They both visit Teeku’s tearoom though, Narya because he either has a part time job there few days a month or just uses that as a study place, and Siva because he’s a tea connoisseur and Teeku’s tearoom is the best tearoom in the city when it comes to tea quality, but there aren’t many visitors because Teeku is super grumpy.

So Narya and Siva sometimes meet there. Siva comes in a pretty bad mood, because “this one student was supposed to do all this work at night and he didn’t and just kept talking back, I need some good tea to drink”. 5 mins later, Narya comes late for his shift, because “this one idiot doctor wanted me to do all this stuff at night, can you even believe it what a jerk, I didn’t even sleep”, and he gets to make Siva’s tea without knowing who is it for and then he brings it to him and they’re both like “YOUUUU”

Minghe – the main idea of his story is that he got stuck with exactly that one person he can’t stand at all (Sheon) and is forced to cooperate. It’s the sad kind of funny.

16. What is something about your OC can make you cry?

Siva – @sariannearies saying bad things about him and wishing terrible things to happen to him >:

Minghe – the fact that I still don’t have a single colored artwork with him except one speedpaint. He’s one of my faves D:

17. Is there some element you regret adding to your OC or their story? 

Kwiri – I’ve been rewriting his story for years and deleting thing I didn’t like, so not really?

19. What is your favorite fact about your OC?

Kal – he really really REALLY hates Siva, the doctor. It’s mutual, but Siva is way better at hiding it, though he sometimes “accidentally” forgets to give Kal painkillers and so on. Sometimes Kal regrets that he wasn’t successful with what he tried to do at the end of Roommates.

Bronze – he’s super obsessed with being independent, but because of that he ended up as the opposite and it took him forever to realize. With no real way out \o/

Moru – she likes birds. That was unexpected, right?