#the art steals my breath away every time too especially as the comic goes on

[kiisaes]

every now and again i reread "always raining here" and get so got dam emotional !!! FUCK !!! that's my EMOTIONAL SUPPORT BL WEBCOMIC RIGHT THERE !!!!!!!!

CHECK IT OUT AND SUPPORT THE CREATORS IF U FEEL INCLINED

[needlefac]

I Travelled back to home Bolton this weekend (09.07.21) and its a big deal. I've been fully out as trans just less than one year. I have only seen my mother twice and my father once in that time. My uncle, cousin and her twin boy and girl are coming up from down south to see me too. I was nervous to say the least. This is just my diary of the weekend and I hope it resonates with some of you. Family can be difficult and I know my experience isn't unique but I feel like sharing this is necessary. I feel weird being in my old room. I was so sad here sometimes. I can see marks in the wall where I literally punched it. My mum has papered over it (no need to over egg the metaphor there) and she calls it the “guest room” now. I’m a guest in my own memory. Mum was digging out some old photos and I look miserable in most of them. Even at weddings, no especially at weddings. I mean, who’s the bitch in the frock getting all the glory! Oh yeah, it’s my sister. It wasn’t always bad here but I did have to run away to be who I am. I know that “small town boy” thing is a cliché but it’s totally true. Bolton is a dead town if your interests include techno, contemporary art and wearing latex. (Not necessarily in that order) It’s 01.45 am. The glow on the horizon from this window is Manchester. Only 15 miles away but a world of difference. I’ve only been back here 5 hours and I’m looking at that perceived emerald city like I used to. I’d tune into Kiss 102 and listen to the city until I was old enough to get there at night. The 0161 wasn’t always the answer but it allowed me to be Freda. When I got here today my dad was in bed. I took that a bit personally. He’s not seen me since Christmas, he could have stayed up a bit. I don’t know if he’s avoiding me or just tired. I’ll find out tomorrow, I suppose. My mum acts like everything is ok no matter what. There could be a hurricane coming at the house and she would just close the curtains and say “let’s deal with it later when we’ve all calmed down”. I wanted the hurricane so badly when I was young. I should stop over thinking this. I’ve had wine. I can’t sleep. I woke up early because my eyes were all crusty and itchy and my breathing was shallow. Then I realised the pillows my mum had put on the bed were feather and I'm slightly allergic. So that wasn't the best start but like everything about Bolton, I'm slightly allergic. My mums first concern of the day was picking up a bag of compost form the local hardware place, Maher's. In my mind I hear her say, 'I need some dirt from Mars'. Which causes the first laugh of the day. She needs me to do things like this for her because my dad can no longer drive due to a stroke he had 2 years ago. Anyroad, l wait outside Maher's for my mum and a burly lad in an England shirt brings out 3 bags of compost and says to me 'where do you want this, love?'. 'In my boot, love. Where all the shit goes', I say. When my mum comes back to the car l say 'oh he was cute', mainly to test her tolerance and also because I'm an idiot. Mum simply said 'football is going home'! So when we got back to the house my dad was up and shuffling around like he does. He's interested in the camera drone l bought. He wont say anything about me being trans or call me Freda. It doesn't even bother me. The fact he wants to learn to fly a remote control camera over next doors house is much more fun in that moment. He crashes it into the tree and he shouts 'mission abort mission abort'. Yeh, that's how l feel about coming to Bolton most of the time. My dad was in the RAF as an aerial photographer. I knew he would enjoy this but he was getting all too technical for a 80 quid plastic toy off amazon. I don't know what 'triangulation of trajectory' is. I always feel like Bobby Hill in these moments (my dad was actually a salesman for Calor Gas and sold propane and propane accessories for a while). Anyway, I think he appreciates that I found something to break the ice, even if he wont say she/her or call me Freda yet. I had to get out of the house before my cousin and her children turn up. She knows all about my transition and is very supportive but l haven't seen her for 5 years and it will be the first time I've met her twin boy and girl who are 7 years old now. The main reason for getting out was to explore Bolton town centre. Somewhere I've not been for quite some time. I went to one of my old haunts, The Olde Man and Scythe which is one of the oldest pubs in England, going back to the 13th century. They used to hang traitors outside here during the Civil War. So I decided to sit out side there reading Majesty Magazine sipping a gin and tonic in the Sun. Imagine living in a time when a culture war raged and people were divided along binary political lines and everyone was expected to take a side? Just imagine! I've never felt more fully actualised as a person as when a drunken fool approaches me and says 'oh you look nice, love. Can l steal a roly off you'. Yes, I'm truly validated as a woman now. This is it! No amount of psychological counselling can top this. As l lick the cigarette paper and make eye contact with this feckless tosspiece I'm reminded of how precarious my situation is if he clocks me. Is he going to read me? No he's too enthralled by my wide staring eyes, the silly sod. My next stop was the Bolton Museum and Art Gallery. There is an Egyptian room which l love. So, naturally took some photos to align myself with Queen Nefertiti and all my delusional fantasies of being some sort of mythical goddess. The thing that interests me most about this is the cotton industry connection. In my artwork and performance staging l take a lot of influence from the industrial revolution. The fact that Egyptian cotton was instrumental in that is something that creates a timeline we are all insignificant on. Its both cosmic and visceral, esoteric and factual. Seeing those cotton spinning machines alongside the astrological ambitions of ancient kings is so centring to me. An absolute connection of Heaven and Earth. From the universe of stars to the factory floor, Everything was built on immortality ambitions of industrialists and cotton in this town. I had to come down a bit from that museum experience. Whoever is curating that needs some sort of award. I had to get ready to meet my cousin, Sarah who is just one month older than me. We have lead parallel lives . Her Mother, my dad's sister moved away down south when she met her husband. They live in Wiltshire and she was educated in a way l wasn't. I've always had memorable moments with Sarah on the rare times we have spent together over the years. In some ways she was the girl l wanted to be when l was young. I was never jealous of her or held any bitterness but l remember wishing my parents would talk to me in the same way Sarah was. It just seemed to make more sense to me how her needs were met. It might be hindsight talking but I genuinely wished all the gifts for Sarah were the gifts for me. I was getting ready in my old bedroom and just trying to make myself look normal. Not some over done drag race also-ran. I've got pretty good at doing a 'day look' but even my day look is still scraping on foundation like Polyfilla! My mum came in saying 'that dress makes you look fat'. Thanks mum. This is just my mums way of trying to be funny. She said my neck looked naked and l wasn't sure what she meant. She went off to her bedroom and came out with a string of beads that looked like snooker balls on a rope. (yes, I exaggerate for comic effect). As she was hooking the necklace to the back of my neck l was held in a moment of mother/daughter interaction that produced a tear from my eye that l just didn't want to show. Time stopped there in that moment like every time that didn't happen in the past happened then in one consolidated event of simple love and I pretended to be more annoyed that I'd have to reapply my eye liner. So I drive with my mum and dad in the car to meet Sarah, the twins and my Uncle at the restaurant in the West Pennine Moors of Bolton. Its been such a build up this moment and now there is no bottling out. I'M here, I'm Freda and they are just going to have to deal with it. I see my cousin rolling up in their 4x4 super posh child transporter and the kids get out first and run up to me and l don't know what to do when they say 'hello aunty Freda'. I know they have be briefed, l know Sarah has told them to do this but even so those words feel like gold. Sarah says I look great and l bloody-well do, to be fair. No one mentions or brings up my trans-ness and while its noted my dad is the odd one out in not calling me Freda I notice the support is on my side. One of Sarah's children whispers to the other while looking at me. I say 'are you two ok there' and they say 'we like the drawing on your arm'. Its telling that the only thing they notice about me is the tattoo. I'm sure they have more to ask in time and I'm so glad they have a mother who is relaxed and open enough to answer any questions they might have in future as they grow up. I'd like to think my presence and influence is a good one. This wasn't the big deal I'd been building it up to be but my mum continues to embarrass me with her ways. She bought Sarah and the kids a few gifts which were in the boot of my car. While she was giving out all these lovely things she said to me 'Freda, don't forget that bag of compost from mars, ill save some for you'. Thanks mum. Bye bye Sarah. Don't leave it so long next time. I Drove my parents home and said my goodbyes. My dad didn't say much, just 'be careful with the drone. if you fly too high it will go out of out control'. I know dad, l know. Freda's come home.

[creative-type]

Chapter 218 is Amazing and Here’s Why (Continued)

So I had intended to finish my analysis of chapter 218 of One Piece in one post, but things were starting to run a little long and I split it in two. Here’s Part 1 for those who are interested. For the rest of you, let’s jump in where we left off

I know I say this a lot, but I really like that panel. For one thing, Usopp is using a desk lamp. Knowing him, he probably invented it himself just for the occasion. 

On a more serious note, the entire feel of this scene is completely different than the last time the Straw Hats as a group interacted with Robin. I wrote extensively on chapter 114 here, but what I want to draw attention to now is how the tables have (supposedly) turned. Remember how Robin held all the power and was seated above the Straw Hats while tossing them around like a bunch of punks?

Yeah, that’s no longer the case. Robin is surrounded by Usopp, Zoro, and Nami, the three Straw Hats who distrust her most. And while Usopp’s too much of a chicken to be intimidating, there’s no mistaking Zoro and Nami’s body language. They’re closed off, guarded, and Zoro at least has his weapons close at hand. 

At the same time, the way the speech bubbles are placed draw attention to Chopper and Luffy. You can barely make out a hand, and one might assume it’s Sanji’s, as he’s the only Straw Hat not visible. 

Which, of course, it’s not

This set up is the impetuous for three hilarious pages where Robin one by one wins over the Straw Hats (except Zoro, because he’s a killjoy). I recommend reading the entire sequence to get the full effect. It’s classic Oda humor from start to finish that makes me smile every time I read it

(especially this)

Now going back a bit, Robin tells Usopp that she’s an archaeologist from a long line of archaeologists and has been on the run for twenty years. Never once in this entire “interview” does she lie. In fact, I can’t recall Robin ever  lying in the entire series, except for when she didn’t give Crocodile Pluton’s location. 

There are a couple of different reasons for this. For one, it’s convenient for the narrative if the audience doesn’t have to second-guess everything the main characters say. On the whole the Straw Hats are pretty honest people - Usopp being the obvious exception. (Nami is also a bit of a wheeler and a dealer, but since Arlong Park is more prone to using her good looks and force of will to get her way over straight-up lying. That, or stealing what she wants outright.)

Secondly, Robin has had a bounty on her head for a long time. The Ohara incident was publicized around the world. There’s no reason to hide certain aspects of her backstory when it’s essentially public knowledge. 

Still, it’s interesting to note that the one Straw Hat who is known world-wide as a demon who has betrayed every group she’s joined tells the truth here. It’s obvious that in addition to winning the Straw Hats over, Robin is using her ability to direct the attention away from herself. One might even suggest that Robin tells Usopp she’s an assassin to rattle him enough to avoid more personal questions. She does a masterful job of using each of the Straw Hat’s weaknesses against them. 

It becomes more apparent later on that Robin is an incredibly private person. When Chopper and Sanji are looking for her on Water 7 they don’t know where to even to start, because there are no ancient ruins about, and that’s the only place they can think of where she would go. 

Now, this falls more into the realm of theories and head canons, but since Robin’s whole dream focuses around finding The Truth and since her whole life has been ruined by vicious slander and falsehoods, I would imagine that Robin hates lying more than the average person. She will misdirect, avoid questions, or tell bits and pieces of well-known information without giving context, but she won’t lie.

Moving on, Robin uses the same intelligence and playful nature that was established in chapter 114 to avoid any more of Usopp’s questions (consistent characterization, gotta love it) before having a private word with Zoro. I like how Robin doesn’t even try the same tricks she used with the rest, because I think she knows it won’t work. Instead she addresses him more or less as an equal.

Assuming this is a nuanced and accurate translation, when Robin says “This isn’t that bad” we can make the assumption that she thought it would be bad. It’s understandable that she would think this way - the Straw Hats were her enemies not too long ago - but it brings up the point that Robin willingly stowed away on a ship she knew she wouldn’t be welcome because she had no place else to go. When Zoro affirms that the Straw Hats are basically a bunch of dorks, Robin smiles.

Now Robin smiles an awful lot for someone who wants to die. It’s basically her default expression, and it’s nothing but a front to hide her real feelings. She even smiles when she’s just been stabbed and is about to be buried alive after living a miserable, meaningless life without accomplishing anything she’s ever set out to do. That’s one deeply-rooted defense mechanism.

This is the first time we see Robin really be happy, and her surprise at learning that the Straw Hat Pirates are fun-loving and cheerful even when traveling with a former enemy is the kick-start to Robin’s character arc.

Because make no mistake, the Robin who joined the Straw Hat Pirates was the same Robin who joined Crocodile. All the stuff at the beginning of the chapter helps flesh her out into a fully-realized character instead of a cardboard Vivi replacement, but at this moment Robin’s beliefs about the Straw Hat Pirates are challenged, and a character can’t change if they aren’t challenged. 

There’s a cute Zoro-pouty face to that ends this scene, and our focus swings back to the Straw Hats as a whole. An undetermined amount of time has passed because now they’re talking about the weather and Zoro is back to lifting weights

I don’t know if you can have foreshadowing that’s paid off in one panel, but Oda doesn’t waste a beat with the little clacks of wood against wood. For the second chapter in a row there’s an amazing twist at the end that no one could have seen coming. I already shown this spread in my last post, but it’s so epic it deserves a second viewing

I can’t remember if this is the only time Oda has used a real life quote in One Piece, but if not, it’s one of very few. And honestly, what could be more appropriate for a series like One Piece? The whole composition of this page is beautiful, and all the little details take my breath away. I really don’t get it when people say Oda’s art is ugly, because they’re wrong. 

Anyway, things get crazy for a couple of pages while the Straw Hats try not to capsize. Oda has this thing he does when he uses square or rectangular panels for his dialogue and uneven shapes like trapezoids for action scenes. I think that’s pretty standard procedure for comics (I’m by no means an expert) but here Oda helps sell the chaos by composing his pages so it feels like the panels are tilting with the ship

There’s also a nice gag with Usopp that doubles as a character moment. Instead of grabbing hold for dear life Usopp sits and closes his eyes to pray, completely ignoring the problem in hopes that it goes away. It’s funny here when he gets a skeleton to the face, but it highlights a huge flaw that finally comes to a head during the Water 7/Enies Lobby arcs.

After that we get this sequence of panels

Please forgive my horrendous edit, but I wanted to show how the speech bubble fits into curve of the wave in the second panel and leads the eye through the rest of the sequence even though the individual images don’t really relate to one another. Oda constructs this scene in such a way that we feel the chaos, but he does so in an orderly fashion. Each panel gets smaller and smaller - similar to the “fade to black” technique I talked about previously, and it leads directly the last splash panel on the page

The chaos ends just as abruptly as it began. The Straw Hats are mystified, and, honestly, Oda could have ended the chapter here. It’s such a high note, a good dose of Grand Line craziness after so much focus on the crew. But Oda isn’t satisfied with stopping here. He ends the chapter with what I believe to be one of the best story hooks in the series, tied only with Zou for sheer “WTF, the Straw Hats are going where?” moments in all of One Piece.

Skypea isn’t my favorite arc in the series. A lot of people say the same. But if you can pretend that you’d never read/seen what was coming next and take the end of 218 for what it is - and that’s pure hype - then you’ve got to admit that Oda has done his job.

So that concludes our look into chapter 218 “The Log Pose and Why It Is Round”. To summarize my thoughts on the chapter and why it’s amazing

Ships fall from the sky

Oda never forgets 

But he does lure us into thinking he does

Ships fall from the sky

Robin is established as a “protagonist” without necessarily being a “good guy”

Symbolism

Excellent page composition

Gags that reveal character

Consistent characterization with hints of further development to come

and last but not least

      10. Ships falling from the sky

(Thanks to everyone who has the patience to read this far. Next I’ll continue my Nico Robin study with chapter 253, specifically looking at Robin’s place in the Skypea arc and how Oda prefers stealth development over big character moments. See you next time!)

[marvelandponder]

I ❤ Comics

Because I’m so incredibly creative, this month of Year of the Pony has been all about lurve. All kinds of the stuff! Self-love, romantic love, familial love, and, of course, some good ol’ fashioned friendship/platonic love.

But, we all know there’s one love to rule them all: dorky/fanatic love!

The obsessions and ideas that rule our hearts and, in MLP’s case, drive us ponies. 

As much as I don’t want to take all this too seriously, this kind of love really is something special. For many of us, it’s the reason characters stick with us for so long, through any kind of mood you can imagine. It’s why we get lost in fantastical worlds on our screens and pages, and come back feeling like we’ll never forget the adventure we went on. It’s common ground to socialize in if we wish, or a quiet comfort that yours and yours alone. 

These things mean so much to us that it becomes a part of our identity. I’m a Brony, I’m a Rainbow Dash fan, I’m a this that or the other. We want people to see us for things we love because we’re just that proud of them. So long as there’s a healthy dose of perspective in the mix, I think that’s a good thing.

And one of the nerdiest, if not the nerdiest MLP topics I could think of to geek out over is the official IDW comics (the Enterplay trading cards, Star Trek cast members voice-acting for the show, and upcoming table-top RPG, Tails of Equestria, obviously deserve some honourable mentions here, but the comics just gave me more to talk about on a technical level)!

I figured the best way to go about this would be to go by artist (sorry colorists, letterers, and editors; you’re necessary and appreciated but apparently not glamorous). Last month, when we dove a little into Design and Animation, I didn’t really get to talk about the teams behind the work---which is mostly because MLP is a script-driven show as opposed to a storyboard-driven show, so the same animation teams and the same style goes into every episode (unlike Steven Universe, for example, which is ‘board-driven)---but here, who’s working on a comic makes a massive impact on how it’ll turn out.

With that said, we’ll stick to the most reoccurring artists (and gloss over the writers to save on time); if you’re ever curious, you can check out this page on the wiki for a full list on who did what, but I really ramble on too much as it is. 

Artists 

Here’s a big name! Andy Price, the man with the shadows and long, bendy pones. Price excels a quite a lot in terms of expression, and I think it’s because he adds such a sense of drama to these characters without taking away the cuteness or light-hearted personalities we’ve come to love. 

If anything, he’s gotten to add personality, especially to characters like Celestia and Luna who express their emotion much less visually in the show. Just take a gander at the sketches he gives out at conventions!

And as to the shadows, look at how involved the shading is in these inked panels:

Just look at how much of his panels are darkened, and just how much more dramatic it looks than it would with flat or lightly shaded colours.

Even a simple scene can benefit from Price’s style:

See where the shadow draws your eye (even when the shot is coloured)? To the sinister looking rat emphasizing the books, to Sunset, and to the shocked librarian who would know these books best. If you’ve read this issue, you know Sunset’s reading some books she’s really not supposed to---and in fact this is what leads to her downfall.

It’s a simple panel, there’s not even a lot of dialogue on the finished product, but you can tell Price uses shadows to compose his shots in a way that tells the story visually. 

Also, a word on page layout (this isn’t necessarily exclusive to Price, but since we’re talking about layout in terms of one panel...):

This is one of those things that I had a hard time finding a place for in this post that I would kick myself for if I didn’t talk about. It’s something exclusive to the medium and something that’s extremely impactful (as comic fans know).

It’s the flow of the page. How your eye moves from one panel to the next, and how different movements are expressed.

Price is one of the many MLP comic artists who do this effectively. In the first example there, you can see how the emotion shifts as we go down the page, how Celestia’s mane both transitions us into the next panel, and seems to hide her reservations from Sombra, Luna, and Starswirl.

And in the next example, there’s this wonderful transition mid-panel at the bottom there that takes us from the interior of the train to an exterior shot outside of it for Applejack’s final line of the scene.

It’s things like this (and even the layout of the word-bubbles, because those take a surprising amount of consideration to place in a panel) that shows you the artistry and thought behind these comics, and Price’s art in particular.

A personal favourite of mine, for sure.

What’s special about Amy Mebberson’s art-style is how it’s tweaked just so from the show, but certainly stands on its own as it draws emphasis to the roundness of these designs.

You’ll probably notice the simplicity of Mebberson’s designs, especially compared to someone like Price, but look how that works to her advantage:

Check out how close to the show it is, but just a touch rounder. Cute, right? The eyes are cartoonishly big, the heads closer to perfect circles than we normally see even in a 3/4 angle shot, it just brings your attention to how sweet these characters are.

Then there’s the fact that her work will often be coloured with a really soft, soothing texture to boot:

That powdery softness only makes these ponies cuter---and here I thought they had laws against that kind of thing!

Another awesome big player!

The thing about Hickey’s art is that it’s often coloured so that the manes are especially shiny, making the characters draw focus and pop off the page.

And even when things aren’t especially shiny, she still often finds ways to use the background to emphasize the characters:

(Underrated moment in the comics award might have to go to this, by the way)

It’s a very simple snowy scene, but that matches the tone so expertly, so isolating Applejack, her breath, and the snow is an excellent choice to get the emotion across.

And when things are glossy, it strikes me how energetic the characters can still look.

When things look this polished, the worry tends to be that you might make the characters look stiffer, but Hickey’s style strikes such a great balance between polish and flexibility.

This art style comes with its pros and cons, in my opinion, but it can still serve MLP pretty well. Garbowska’s art is often coloured as if with coloured pencils, which gives everything a really soft, soothing finish, and in addition can make for some pretty cute pones.

The downside is two-fold: The characters can seem like they all have Same Face syndrome, if you know what I mean; and the ponies are often posed in needlessly anthropomorphic poses (we’ve certainly seen a few more human-like poses throughout the series---yes, Lyra, we love you, you oddball---but there are some poses that just seem uncomfortable and [to use a slightly redundant word] unnatural for them to want to be in).

Still most definitely a great part of the team, just with a few quirks that come along with the sweetness.

Welp. Guess I couldn’t steer clear of controversy entirely. Jay Fosgitt’s art style in and of itself is divisive among fans---like, really divisive.

The reason being the drastically different shape to everything. Compare a Fosgitt head to a Mebberson head, for instance, and you’ll see there’s a lot more emphasis on the foreheads and cheeks than on the muzzle or an overall roundness.

It’s a very distinct style that comes with its advantages and disadvantages. Fosgitt’s not afraid not go for some extreme expressions, for instance, and that can really serve the story well in chaotic and/or comedic situations, but he’s also had that same problem of putting ponies on their hind-legs when it doesn’t seem organic for them to do so, and combined with the proportions exaggerated the way they are (like sometimes I don’t know how those necks keep their heads up), that can make for an off-putting panel or two.

It’s definitely cartoony. I’ve never been able to place exactly what artstyle it reminds me of, but cartoony is a good word. It’s grown on me, personally, especially considering the improvement from issue to issue, but I thought I’d mention this never-ending debate so you could make up your own mind.

Tony Fleecs is a great addition to the team. He’ll often give the eyes a point or just a different shape, which takes some of the cartoonishness out, but still allows for some great expressions in a way we don’t normally get to see, with our bulbous-eyed characters.

It can especially work if he’s trying to capture something menacing:

So, I think he’s among the better ones.

On the other hand, there have been a few times Fleecs’s art has lacked depth solely because of how things are shaded, like here (I can obviously tell where everyone is in relation to each other, but it’s flatter than if there had been some shadows to it):

But overall that feels more like a nitpick.

Now, we’d be here all day if I started going into all the cover artists (as much as we appreciate their work), but there’s one in particular that’s done enough that I’d feel remiss leaving her out.

Sara Richard is a good name to know because once you know it, you’ll always be able to point out her art. She’s got some of the only traditional art in our little roster, and it’s often got some gorgeous swirls. So many swirls.

If I wanted to be crass, I could call it colour and swirl porn... so I will. It’s colour and swirl porn, and I love it.

Writers

To preface this section, I’d like to take a moment to steal a catchphrase from the ever insightful MovieBob, previously of Escapist fame: comics are weird.

Really, even the best and brightest of the medium will occasionally have some really out there arcs or issues. For every intellectually stimulating, deeply meaningful story you can tell with these characters, there’s a silly rendition of them that’s just... odd. The same Batman who comes to grips with the death of his second ward, Jason Todd, is the same one who later owns a Batcow, thanks to his son Damien.

Yes, Batcow is canon.

So, if genre-defining superhero comics have been known to divulge into stranger stories from time to time, it absolutely follows that we’d see the same from colourful, pony-based children’s comics. Basically, that shark-jumping weirdness just... comes with the medium.

You can make all sorts of arguments about the origins of that oddness---the creative freedom available, attention-grabbing to boost readership, the Comics Code Authority heavily censoring violence and delinquent behavior in the 50s and 60s which forced writers to come up with tamer but also more creative stories, etc---but one thing is clear, if you’ve noticed some interesting choices mixed in there, it might just be a comic book thing.

But, then again, there are also issues that go way more in depth than you would think!

In particular, I have to make mention of my absolute favourite arc (I never claimed to be unbiased): Reflections. For the details, the comedy the lore, the immaculate world-building, and the emotions---but most of all the character-building.

Starswirl is an absolute delight, the good King Sombra breaks your heart, Twilight faces exactly what I wanted her to face once she became a princess, and the Princesses and their sisterhood get to be developed even more here than they have been in the show (especially Celestia; here’s hoping season seven really will break that streak).

Okay, example time. 

Here’s a detail that was just pointed out to me recently that really nails all of this on the head (and granted, I don’t know whether this came from its writer Katie Cook, or the artist Andy Price, but if nothing else it shows you what they can do together):

Two silent frames that tell us so, so much. 

It’s a simple idea, that these parallel universes have developed in different ways, but that tells us so much about why Equestria’s technology is the way it is. Having the power to jump to more technologically advanced universes has allowed our Equestria to be as anachronistic as it has been---to have arcade machines and silent movie theaters, but not automobiles or light bulbs in common use.

But this is what the comics can do: contextualize. 

Take characters and worlds we love and expand on them in new lights. Some weird, strange, or just cute for the sake of being cute, but some more involved and some even inspired.

The comics, overall, can be pretty divisive in this fandom. There are fans who frequent them for every new issue, and those who have sworn off them entirely. Artists and writers we revere and some we outright revile. But when all is said and done, being able to take on this new perspective of MLP in an entirely different medium is something I for one really appreciate---especially when it’s this good.

Here’s some more pony analysis for you! The whole compilation post here, or three of the latest/most relevant, just for you:

EMLP: Design & Animation, Pinkie Pie’s Editorial, and Top 10 Cutest Families

Year of the Pony

Header Image and Art Wouldn’t be Possible Without...

Luna and Celestia by dSana Elements of Harmony by SpiritofthwWolf Elements of Harmony by TechRainbow

There’s of course all those great comic artists and writers to go check out, but aside from the official art in this post, there’s some hard-working fan-artists who made some stellar vectors! Check ‘em out!

Love Me Some Comic Books