#stuck between doing more thumbnailing and continuing my comic inks

[mcnuggyy]

another grave yard shift what evil drawings shall I make <333

[kosmicdream]

Your Comic Baby

You know that comic or story that you made when you were a teenager (or sometimes even younger) that propelled you to really WANT to create it. FOR REAL. You put all your energy towards it, for years, determined that it was going to be the one you HAD to make. But then something doesnt go right because, comics are hard-- so you start over and over and over and each reboot gets a bit more discouraging because you have SO MUCH planned out for this thing and you’re just stuck in the loop of redoing the first 5 pages every couple of years. But something about that story, you just cant let go of. You still want to make it happen because you’ve invested and dedicated so much into it. I know that feeling. I call those stories.. your Comic Baby.

You might have a lot of babies. I know I do. But there’s always this one certain comic baby that i struggle with more than the others. Its a difficult baby because I first made this baby when I was 13. And over the course of my highschool years, I was very outspoken about how i was going to really make this a real book for everyone to read. I was constantly working on it, even taking sketchbooks and clipboards to draw it or the characters in class. People were waiting to read this story because they could see how passionate about it I was. But comics were a lot harder than I thought they would be in my mind. I mean, i knew they would be difficult but it was like my art wasn’t as good as I knew it could be when i drew comics. I didn’t get it. And I’d learn so much and so fast that once i got one chapter finished and ready to read, i didn’t like it anymore.

This process went on until i graduated highschool. This dream of making a comic. Specifically THIS comic. I had a lot of stories i was planning on doing, but there was this one comic i really REALLY invested just. My maximum comic energy into. It was different from the other comics and stories. Not that the other ones werent good, they just didnt have the same bond with me that I had with this story. This comic baby was gonna be the thing i was going to be known for and be the first comic i would presented into the world. And in the end.. it actually wasn’t.

I mean, it was, in a way. Eggshells is a prequel to that baby comic. Set in the same universe. Part of the same story, more like a mini test version reboot of the One True Baby Comic. I decided to give the comics thing another try and started to work on eggshells in August 2011, then to ink in Febuary 2012 and finally started to post it in 2013.. sometime.

I took a really long break from comics between finishing highschool and starting eggshells. I would try here and there, but not getting this baby comic out when i was still IN highschool somehow made me feel like a failure of an artist. I was very hard on myself. I didn’t really know if i was even capable of BEING a comic artist because my comics weren’t coming out how i wanted and I couldn’t finish anything. Besides that, I didn’t even know if I could even make them as a career. (I still don’t know if I can but I know I’m going to continue to try.)

When I decided to start Eggshells, i decided that it would be another attempt at my favorite baby comic because I knew that if any of my stories had the emotional legs to motivate me to get through to the final page-- it would be that one. That special baby comic. I poured so much work into planning and preparing everything in a very tradition sense. Scripts, thumbnails, drawing layouts and props and character turn arounds.. ect ect.

Then the fire happened and I lost my ‘comic bible’ of sorts. The rough draft sketches of the entire thing. It was very sad.

But even before then, actually inking pages was not very fun. Because the process i made for it was .. not very fun. I was running into the same walls that I always had when rendering comic panels. It just was too slow and I couldn’t get a consistent look that i wanted. I wasn’t sure where to put detail (or balance the detail) so I would over render constantly. I would zoom in too much. I didn’t know how much to shade and word bubbles annoyed me. I wasn’t very satisfied and I would spend way too much time on each page.

I felt pretty exhausted after trying to ink it for one year and not even getting through the first chapter. Doubt and old dread of not being capable of a comic artist weighed on my shoulders. Of course then, when the fire happened, i just decided to put all that aside again. My life kinda was.. thrown in a loop.

Similarly, my life has been thrown in another one of those loops. A different kind but still, the same sort of disoriented “where the fuck should i live” kind of things. Some of these feelings have come back, the anxieties and unsureness but.. mostly just remembering about them rather than feeling the SAME things. I have acquired a sense of accomplishment in my art .. just with a totally different comic that came out of no-where. (the worm one, you know.)

My relationship with my art has changed so much at this point and I’m so.. not.. what i had predicted for myself?? Not in a negative way. its just odd. FFAK is such a different comic than i thought I would make too. I would describe the experience of working on FFAK as like, im in a shitty junkyard car and ive decided to slam on the gas as hard as i can and see how far it’ll go. Then it just didn’t stop. It took me on a fucking journey but at 90 miles per hour. No careful consideration, so much explicit violence and sex, aggressive confrontations and social commentary. Sex hat jokes. I really got to see a side of myself that this story continues to bring out. And as I worked on ffak more and more, I would sometimes look over at the passenger seat at the Comic Baby. Crossing their arms judgmentally at me and giving me a look like “Having fun? What about ME? Wasn’t I the important one to you?? Am I not special anymore???”

So sometimes i’d feel bad. And try to work on that one again.. but it didn’t make me feel good. I felt like i had to ride the FFAK wave because that was what was happening in the present and I was discovering too much about myself to go back to this older thing that i had a frustrating history with. It wasn’t that I didn’t LOVE the other story, it just didn’t feel right to work on then. So i just let myself focus on where my energy was wanting to go: The Worm Fucks. And the worm fuck comic is the one people read first. Its the first comic of my own i really got to.. read and experience more than just the first chapter. Its been amazing but its so weird. I feel like its a different kind of artist that makes it sometimes.

I don’t regret the worm fuck comic being the one I’m known for but its still funny to me how easily it might have never happened. If the fire hadn’t taken away so much of my work, I probably would be still slowly pushing out pages for eggshells. Or maybe I would have given up and moved on to do something else with my art career? I don’t know. All i know is what I ended up doing was this weird worm comic that is still going on for .. thousands of pages! and has no end in sight! I didnt even expect eggshells to last 1,000 pages but now I can tell my page-pacing is different than how i expected. I still haven’t even finished a comic yet. Its weird? Am I able to finish comics? I guess I don’t know yet because I haven’t. i might “know” endings to my stories but its very different when actually getting it done. I understand that life is more complicated than that and things like fires can change the circumstances in 10 minutes.

So I’m feeling a fear about this uncertain future I’m facing, I’m seeing that I have to make a lot of huge life changes for where I am going to live and what I have to do to make money to support myself. I’m scared that my routine ive established with FFAK will have to change. I wonder if I’ll never be able to replicate the same exact “throw it all into the wind” energy of working like I was able to.. at least I know I can’t right now, because I need to be careful and calculated again. My surroundings arent stable enough for me to dive headfirst into my projects.

With that I’ve noticed I’m drawing eggshells a little bit and enjoying it like I haven’t before. Is it what I need right now? It feels weirdly comforting to know that, no matter what the history i have with this comic, I’ll come back to it and continue to pick at it a little. it makes me feel like, no matter where I’m going to be in this world physically-- my comics will come along with me and they dont have to leave. they arent a product of circumstance. I can get right back on the horse. Its just part of my life that doesn’t have to go away or be taken away from me. Its a nice secure feeling that there’s this art thing isnt something I have to start over. I’d rather build on what I’ve got and it might take me a long time but I enjoy the journey. That feels good to me.

Anyway, even if I’m scared about where i’ll go from here I know i’ll have my car of screaming comic babies at all different ages that are demanding my attention. and some are more patient than others, i’ve totally ditched some babies along the way that i might pick back up later or merge with other babies through some horrific experiment. I’ll even make some new ones because life inspires me constantly and I have so many problems to sort out and what better way than to project on some cool anime characters. but i love all my comic babies!!!!!! and they love me. i have unique and interesting histories with all of them.

comic baby is such a creepy word but it really feels like they are your strange brain children that are also you. i don’t ever want children of my own, but i can see that i pour.. small small aspects of that i think that energy might be into my comics. (im not pretending its actually the same thing to be perfectly clear.) They take up all your time + energy and make you constantly lose sleep..and they grow distinct personalities that you dont expect and have to deal with.. people will judge you for them and how you “raise” them (make them), you’re endlessly proud of these babies and protective and shed tears for them and want them to SUCCEED and live on forever. you want other people to love them TOO and see the best parts of them, for all their flaws. You want em all to grow up as you hoped or planned but they wont at all. They’ll be totally different but also better than you could have imagined.

Comics & Art are such a special thing to get to experience. While i hope that i can make my dreams a reality with my art, I know that they’ll always be an integral part of my life + how i experience and see life and i’m so thankful ive decided to really let room for it there. Its amazing to me that i almost thought it wouldn’t. and i wasnt going to be allowed to be happy with my art because it wasn’t good enough and i wasn’t enough. but i am. and it is good.

Thank you for reading. -Kosmic

[maiji]

Process and wip images for A House That Holds Long Limbs

You can read the pages for part 1 here (full complete version will be linked from YYH North Bound master post whenever it’s done.)

Every so often I get questions about how I work, and I also enjoy reading about how other creators make things, so perhaps this might be interesting and useful to somebody out there too. I’ve talked about my process before but never really documented and shared it WHILE working on a project, so here you can see some of my thinking and decision-making (and poor habits lol) a bit more immediately, alongside screenshots, photos and scans.

Very long, everything is below the cut, and apologies to people on mobile and anywhere else this goofs up.

One question I get a lot is “do you start with words or pictures when creating a comic?” I jump between both a lot. That said, I tend to lean more heavily on words when documenting ideas in the early stages of a project. This is because, for me:

Words pack a lot of punch in conveying detail quickly. They work better when I need to quickly communicate something extremely specific to future me. I’m a sloppy drawer, so my sketches tend to make future me squint and go, “What the hell was this supposed to be?!”

A great deal of my thinking and planning is done during crowded commutes. It’s more convenient to jot notes on my phone than to whip out my sketchbook and a pen.

(For a while I thought it’d be awesome to have some sort of app where I can type notes AND have an accompanying thumbnail sketch, and be able to drag them around or break them out into more or fewer pages. At one point years ago I thought about creating a custom app... but ultimately too lazy/busy and my current process works well enough. If anyone wants to take this idea and run with it, please feel free to do so and just let me know about it so I can try it haha.)

I usually start with a few lines summarizing the gist of the idea, enough that’s recognizable and I don’t forget the important things to build off from. From there, I start point-form outlining the stuff that needs to happen, structuring them into key scenes/parts. These scenes are not always fleshed out in order - I just add to them whenever I have ideas for that part. 

Long Limbs, for example, had a progression like this:

Overall story idea: “horror story with rokurokubi, key plot point(s) happens, the end.” (There was a bit more detail than this, obviously, but we’re avoiding spoilers here.)

Initial description for Part 1 of the story: “Hokushin lured to go to somewhere. Separated from Raizen. HOW??????”

After letting it simmer for while, a solution: “Hokushin annoyed at Raizen. Opportunity for him to get away and go do his own thing.”

Gradually more detail: “Stranger invites him to go to this place to look into something/maybe has a paid job that needs to be done and Raizen is busy goofing off or whatever.”

Problem. I couldn’t resolve this chain of thought to my satisfaction. What kind of task/job can someone convince Hokushin to do on his own when he doesn’t know this person/it seems questionable? And how long will the conversation need to run to establish this as believable?

This was starting to get convoluted and I was getting annoyed because it was turning into a burden in being able to continue the story AND IT WASN’T EVEN THAT IMPORTANT. I decided to abandon this path of thinking, and left the entire story for a while.

Much later (like months?), I had an idea: “Mysterious person drops something, piques Hokushin’s curiosity.” Aha! Hokushin’s own initiative. Simple and plausible enough. HOORAY NO MORE THINKING. LET’S DRAW.

Then I realized, oh shoot, I need to figure out who this mysterious person is and what they dropped. More time passes. And so on… in between I’m always working on other things, so there’s no real creator’s block - at some point I start thinking about this comic again, and ideas work themselves out to some decent level of satisfaction and link together. Thanks subconscious!

Eventually, enough key scenes are fleshed out that I feel confident enough to turn this into a real thing. At present, for example, not all scenes in Long Limbs are totally worked out, but I’ve got enough that I ran ahead with Part 1.

Screenshot of the Google Docs notes/script for Part 1: 

This is a close-to-final version. The === on top is just to separate this from notes on other stories or ideas. This is the beginning of the document, but this document actually includes many other notes and stories for North Bound. I delete them as I finish and post the pages. Every so often I wonder if I should bother keeping them, but they’ve been refined throughout the process and usually don’t bear much resemblance to the original jotted notes anymore. Long Limbs was originally planned to be a later story in North Bound, but I got especially excited about it and fleshed it out further than the others. When I reviewed the earlier stories, I didn’t think there’d be a big continuity or reader experience issue if this was finished and posted first. So I moved the messy notes for this story to the top of the document. 

The page breakdown for the script is done by me generally picturing in my head how I might want the scene to go and how much action I might be able to fit on the page for good effect. I’ll sometimes start paginating without thumbnails, and sometimes will do both side by side (thumbnail and update pagination in tandem).

As you might imagine, pagination frequently changes. For example, you’ll see the script above is 9 pages instead of 10.

The original script for this section was broken up into maybe 4-6 pages, with 5-7 being more condensed.

When I started thumbnailing, I found it felt too cluttered and moved too fast.

So I stretched out the part of Hokushin and the mystery girl exchanging glances, and added pages to be able to create a (hopefully) more cinematic feel and really focus on the reason they catch each other’s eye - the bandages on their necks.

I then went back to the Google Doc and updated the script to line it up better.

I was also tweaking the dialogue at the same time and didn’t want to forget any key phrasing I liked. Dialogue is another thing I get really hung up over, often changing words up to the last second. (Sometimes this is because I messed up the size of the speech bubble, if I’m lettering on the computer...)

Thumbnails:

Pretty close to the final in this case - mainly because the sequence is pretty simple and straightforward and not many people are involved. I keep my thumbnails very crappy and rough so that I don’t get upset later when I can’t redraw something as good as the thumbnail. Bottom right was a quick attempt at designing the mystery girl.

Once I think the thumbnails are good enough - translation: I get impatient and just want to start drawing - I proceed to pencils for the actual page.

Throughout all this, I’m repeatedly reviewing script and thumbnail and playing sequences out in my head and then trying to figure out how to better direct the “camera” and the action. I may go back to the script and the thumbnails even as I’m finetuning the actual page if I encounter issues. You can see in both the script and the thumbnails that there are still deviations in the dialogue and the art from the final. Here are a few examples:

Page 3: The panels were originally 1) the setting, 2) Hokushin with his arms folded, 3) Raizen laughing, 4) we see that Hokushin is watching Raizen. After reviewing the thumbnail, I felt it’d be a better setup to flow into the scene if I switched panels 2 and 3. That’s closer to how you’d experience it in real life, or how it might be directed in a shot sequence: you enter an area/place, you hear the sound of some guy’s loud laughter filling the air, then the camera zooms up to the annoyed expression of this one particular dude and you see he’s staring at the laughing guy. Moving from bigger ambience to smaller details around the room.

Page 7: The girl was originally turning in the other direction (hard to tell because I redrew it right on top of the original sketch lol). However, this meant all the directional action would be pointing to the right - Hokushin is facing the right, and when he leaves the bar he’s angling towards the right side of the page. Facing the direction that readers will read in gives a sense of driving the action forward, while facing the opposite direction provides a bit of a mental stop. (This is something from Scott McCloud that always stuck with me.) So, I flipped the girl around.

Page 8: Script has Hokushin going “What’s this?”. When thumbnailing, I thought, “obviously it’s self-evident he’s wondering what this is when he picks it up”. It added nothing to the panel, and the speech or thought bubble would have interrupted the smooth action of him picking up the paper. So, axed.

The damn friggin’ bar and gambling: You’ll see the script mention this, and at one point I actually had the guy standing across from Raizen saying “Is this guy drunk?” I’m actually not sure if they’re in a bar or if Raizen is drinking, but neither were important to the actual story because I just needed Raizen and Hokushin to be in a place where Raizen could hang out with humans and be stupid. So I dropped these details. This is mainly because I ran into historical research problems about bars and alcohol during the Kamakura period (more on that near the end of this post), and this was the only way to stop myself from getting hung up on trying to make it “perfect” and “correct” and just get it done. 

Drawing the actual pages. This part is fun!

Inking the actual pages. THIS PART IS NOT FUN :( 

I don’t have very steady hands and I get very anxious about messing things up, so inking always takes me the longest. (I also get distracted easily, e.g., ink two lines and then surf tumblr for ten minutes lol). I’ve improved a lot since I started drawing comics much more frequently a couple years ago, and my choice of tools and style has helped a lot (I lean to variable lines and sketchy style, which is more forgiving than, say, a very precise art style with fixed-width pens) but I still get nervous at this stage.

I’m very lazy so I usually stick with one tool for inking. For Long Limbs I tried to effort more and actually used three. Right to left: Sailor fude de mannen for panel borders and text, Muji pen for artwork (0.4 because that was the only size available at the store when I went to get my refill), Pentel pocket brush for filling in blacks. I refill the fude de mannen and the pocket brush with fountain pen inks.

I usually ink panel borders first, then speech bubbles, then everything else. I hop all over the place and pages are generally in varying stages of completion. I also sometimes add in some more text lines because it seems like a good idea at the time - Hokushin’s complaint on page 3 about how he should have left Raizen when he got into a fight with a fish-seller in a previous story, for example. Sometimes these work, sometimes I regret it later and edit it on the computer.

Cover thumbnails and pencil sketch:

The one in the page thumbnails was the original idea, but then I thought, “seems kinda cliched. Can I get a more interesting angle where he’s not looking straight at the viewer?” (OK, his eyes are covered, but you know what I mean.) I quickly tried a few other angles and compositions, didn’t like them and ended up going with pretty much the original idea, but more zoomed in.

In the thumbnails, you can see all my little x’s indicating “ehhhh I don’t like this”. I wanted something with a particular mood/atmosphere especially with all the hands and arms, and I was conflicted between zooming out (for more environment and more arms, and the focus on the “long limbs” part of the title) or having a tighter, more close up shot. Ultimately I think the latter works better as it conveys a sense of claustrophobia, and it’s more intimate which supports the idea of psychological horror. ALSO IT’S SEXY (maybe???). The end.

Other random thoughts:

I took a lot of heart/inspiration/motivation from Togashi’s last few volumes of Yu Yu Hakusho to keep the backgrounds as lazy - I mean sparse - as possible and also speech bubbles over plain backgrounds lmao. I think it takes a lot of confidence (or maybe laziness) to be so minimalist and restrained, and it’s an impressive and economical way of working. I was always impressed that when reading those pages of his for the first time, the lack of detail never really bothered me - you had everything you needed for your brain to comfortably fill in the gaps and complete the sense of narrative and story progression, and there are still visual flourishes when the situation calls for it. So I’m trying to bring a bit of that tighter philosophy in.

Research. I struggle a LOT with not getting bogged down by details, especially when it’s something “just” for fun or “just” a fancomic. I have very lovely and helpful friends and family who every so often patiently allow me to whine and bounce things off of them, help me look things up, and/or tell me when I’m getting myopic about stuff. For all the North Bound comics, finding quick and useful historical references for the time period has been a challenge. There’s a ton about aristocracy and warriors but very little about the ordinary/common people, not surprisingly. I frequently question my instincts about what makes sense because I tend to automatically draw on similar/equivalent Chinese culture (there was certainly lots of cross-over, but not always appropriate/relevant) or Edo period references (wrong time frame! Too far in the future). I often end up losing a ton of time trying to find something with roundabout searches, and then give up and look at other comics I have close enough to the time period. And then referencing those and compounding whatever historical errors they have in them. (e.g., “Well if it was good enough for Osamu Tezuka’s Phoenix it’s good enough for this rando fancomic!”) I just would like historical/subject matter experts to know I did try...