#windy mccloud

[melodythebunny]

Idk if you take commisions buut can u draw what you think would happen if modern day Tim and Windy met?

Windy is sally's ex in the reboot incase u forgot

Yea i do take commissions :3333

Its always fun to draw ocs and canon interact :33

@wordgirl-reboot-eva

[evaiskindaweird]

I tried singing again-

Also wouldn’t this song fir windy mccloud????

[asktherebootcharacters]

Windy in some other life maybe you and sally got together

Don’t play with my heart like that -Windy (as her voice breaks)

[evaiskindaweird]

Every reason Sally chose to break up with Windy:

-Windy started keeping her feelings and new interests (like breaking the rules) secret, much to sally discomfort because all she wanted to do was help her

-The fights. The amount of arguments they had because of windy’s selfishness is like 15 or smth

-Windy tied a lightning rod to someone that was bullying her’s back and they were put in a coma for 3 months after getting struck. Sally was infuriated

-Windy kept swearing revenge on people and getting into physical fights with classmates that even remotely bullied her

-Sally was sick and tired of Windy’s bullshit so she went to Tim for advice

Idk if these are valid reasons but these are pretty valid breakup reasons to me lol

What's your opinion on my sally mccloud au? (it's this au where Sally married windy instead. It's on my blog)

imho i do not like it, mainly because Sally and Tim are the parents i wish i had but also because i just don't see it, i mean if the relationship was shaky enough for Sally to ask Tim for advice then i don't think Sally would've married her.

[meeple-inc]

Your guys' security is awfullll i just have to tap the mephone guarding it and it goes down! Well not that it isn't extremely convenient, tee hee!

-windy was here

Hi, thanks for expressing your concerns! If you are talking about MeCloud, that is a serious issue that we will bring up to our security team. Nevertheless, McCloud is open to visitors, so you should not have to disable the android model MePhones in guard to get in!

[breakingournecksforhome]

Day 2 we went through Louisiana saw a REAL swamp and my dad told me about nutria, we got to Texas and switched drivers I drove us through Houston which was crazy. Brewster mccloud time. We got through the middle ‘hill country’ which was sooo beautiful, the wildflowers and hills! We stopped at a rest stop and my dad and I danced and he pulled my arms up to stretch me lol. Then we hit a more desert area, I read a chapter of my book I’m reading (Love Medicine.. very good…) we got dinner and checked into this hotel in the middle of nowhere, in Texas. It is extremely windy but the air is amazing. Also the guy who checked us into the hotel was very cute okay goodnight

[wgrebootofficial]

Meet the mysterious villain, The Observer, and the weather queen, Windy McCloud!

I need Wendie Malick to voice windy pls 

[davidaccampo]

Breaking Down Comics

A friend of Amanda Donahue, one of my co-creators on THE MARGINS, asked me some questions, and they were so good I felt it was worth dusting off Tumblr to answer. Thanks, Nick, and I hope these rambles give you something worth your while! 

Below are Nick’s two questions and my VERY long answers.

Sooo, my first question would just be how you got into it. Is it your primary form of writing?

Great question. So, is it my primary form of writing? Hmmm. I just finished a commitment to a set of 4 interactive mobile game scripts that took up quite a chunk of the last few months. In that time frame I also released a one-shot licensed 22-page comic and a 12-page digital creator-owned comic. So, on balance, I don’t think it’s currently my primary form of writing, but it’s definitely my favorite form, and it’s a medium and industry that I’m both very familiar with and passionate about, so whenever I’m given the chance to write comics, I take it.

However, comics as an industry is a difficult one to navigate. With the two biggest publishers owning incredibly popular franchises, the prime means for writers to make a living on comics is to essentially write super-heroes that you don’t own. And that, in itself, is neither good nor bad. It’s just worth noting that if you want to make comics your primary form of income, then DC and Marvel are going to come into your orbit in some shape. And that type of writing will come with its own set of thrills and challenges.

On the flip side, creator-owned comics and graphic novels can be an extremely fulfilling creative experience, if financially tricky to produce and sell. But the comics industry is still intimate enough that you can find ways to make and sell your comics. There’s a lot more to talk about there with regards to distribution and comics retail, but that’s another conversation.

It’s also worth noting that while the prevailing understanding is that digital comics sell only a fraction of the numbers of printed comics, it’s also a very accessible platform. With time and effort, you can put a comic book out to a global audience.

I may have veered slightly off topic here, but I think the point I’m trying to make is: if you want comics to be your primary form of writing, they most certainly can be. And you can and will make comics passionately and whole-heartedly, and you’ll put them into the world.

But making a living off of them is much more complicated scenario and every creator out there will have different advice for you, but be prepared for an equation that’s pretty familiar to any who has ever freelanced: less control = more money. Generally speaking, of course. There’s always a Walking Dead situation, if all the stars align.

Oh, and I never answered the first part of that question — how did I get into it? I’ll try to bullet point my personal path, which is super wonky, but probably not much stranger than most writers.

It kinda went like this:

Dave’s Writing Career: A Timeline

I always loved comics. In high school, I even wrote and drew 80 pages of a comic that was a horrible pastiche of Marvel/Epic’s Elektra: Assassin by Frank Miller and Bill Sienkiewicz and DC’s The Question by Denny O’Neil, Denys Cowan, and Rick Magyar. However, in my 20s, I’d attend conventions and discover that I had no idea how to move from fandom into professional writing.

I went on to study English and Creative Writing, thinking I’d write prose novels.

Then I moved to LA and fell in with a crowd of Hollywood screenwriter types. I wrote a few screenplays with a writing partner, Jeremy Rogers, but when nothing really came from it, we decided to make our own short films.

We made 3 short films that went into film festivals.  At this point, I was tired of spending so much time and money making 10-30 minute films that didn’t result in much. We hatched a new plan: what if we availed ourselves of the iTunes platform and released an audio drama as a podcast?

Wormwood: A Serialized Mystery was the result. It allowed us to tell long, serialized stories, much like my first love: comic books.

Toward the end of the Wormwood run, an illustrator named Jared Souza contacted us. He’d adapted scenes from Wormwood into sequential art, and  was curious if we ever thought about turning it into a comic book. We jumped at the chance, and with Jared we wrote and drew an 12-page mini-comic that we printed and took to the San Diego Comic-Con. Hermes Press was interested in our book, and they offered us a deal shortly after the show was over.

From there, I kept thinking about what else I could do with comics. I partnered with Chris Anderson for Lost Angels, and we made another 12-page mini-comic as a sales pitch, and we were offered a digital-first deal with a new publisher, Comicker.

And it keeps going from there, but that is the long and windy road telling stories in a LOT of different formats, each with its own strengths and weaknesses. Learning the strengths of one format does help you to understand the strengths of another. For example, for Wormwood we could really lean into long, twisty passages of monologue because it was all about the actors’ voices. However, as soon as you bring that to comics, you realize the amount of word balloons those monologues would take would utterly cover up any artwork on the page. And so you adjust.

Which is a nice segue to your other question…

Secondly, I'd love to hear how you work things out. As far as layout in regards to story. The most challenging aspect for me is to convert my thinking from imagining in film to now these static images. Do you put a lot of thought into that area, or do you focus mostly on the story and then sort of work that out as you are getting it down?

My initial thought is: “I do both.” But let’s break those up.

In terms of static images: think about the key moments. The perfect still frame of film that sums up the core of a moment of story in your mind. You want to build out from there.

But almost more importantly: think about the gutters. The space between panels. The gutters are actually where all the magic in comics reside. I recommend reading Understanding Comics by Scott McCloud. McCloud is great for understanding how a reader processes the information when we’re as absorbing art in a sequence. And the key is the gutters: The narrative “time” between panels can last a millisecond or a millennium. And the reader understands that from the context. So you’ve got to figure out how much you can get away with in between panels.

A panel exists in one moment in time. One action can occur. Imagine a father and son playing catch. What’s the most important part of that scene? The father throwing? The son catching? That’s two panels. Or, it could be a wide shot of the two, the ball in mid-air, but that wide shot probably should take up as much space on the page as two close angle shots of throwing and catching.

So, you ask yourself: what’s the emotional context of the scene? Is it important to show the father about to throw the ball (perhaps metaphorically teaching his son)? Is it important to show the son catching that ball (perhaps showing the son absorbing the lesson)? Is the activity itself the most important part (the wider shot might work best). It really depends upon the what you want to get out of the scene.

Another example: A man sits in his living room. There’s a knock at the door. He answers. It’s his landlord.

How many  panels is that? The only concrete answer I can give you is that it’s ”more than one” — because the of multiple actions involved.

It could be two panels: 1) the man sits reading a newspaper, but his head is cocked because he’s JUST heard the SFX of knocking on his door. 2) he’s standing at the open door and the landlord is asking him for a rent check.

It could be five panels: 1) the main sits reading a newspaper. 2) We show the front door, with knocking SFX. 3) The man opens the door, but we don’t show who it is, building suspense. The man is nervous. 4) we reveal it’s the landlord, standing there, arms crossed and angry. 5) The landlord asks for the rent check.

How important is that scene to your overall story? Five panels is roughly a whole page. Do you want to spend a whole page to show that the man is late with his rent?

That’s brings us to the next part of your question, and the other aspect that’s really important to comics: page count.

Page count is crucial because of the amount of time it takes an artist to draw a page, and also because of the printing costs. A standard issue of a comic is roughly 20-22 pages. So you’ve got to start by knowing how much space you’ve got (some writers will refer to this as “real estate”).

As a general standard, I’m going to assume that you’re looking at a mini-series or story arc that’s probably 5-6 issues, at 20-22 pages per issue. That works for comic book issue publishing, and it collects nicely into a graphic novel.

Even if I know I’m writing a graphic novel (as we did with The Margins), I tend to think in those general terms because it helps me break the story down.

So, I might start by assuming I have 5 chapters that are each 20 pages. Then I figure out — where is the best place to end Chapter One? It shouldn’t just be a moment of pivot — a cliffhanger, something that pushes the reader to start the next chapter as quickly as they can.

I’ll use the film THE MATRIX for this example, but I’m doing this from memory, so this may not be the best story breakdown.

At first thought, knowing I have 5 chapters of 20 pages each, it seems to me a great end to the first chapter might be Neo waking up in his pod in the real world. I mean, you have to read Issue #2 if that’s where Issue #1 ends, right?

If that’s page 20, you now have 19 pages to get there. And you have to get through: Trinity and the agents, Neo following the white rabbit, Neo meeting Trinity, Neo getting a call phone from Morpheus, Neo taken by the agents and getting the tracker put in him. Neo getting the tracker removed. Neo taking the red pill.

That’s a LOT! (It’s probably more than 20 pages, but please bear in my I’m just using this as an example.)

Next I’d think about: how much real estate do I give to Trinity vs. The Agents. Maybe four pages. The first two are the fighting and running across the rooftops. The second two could be a DOUBLE-PAGE SPLASH (two pages that make up one giant image) of Agent Smith ramming his truck into the phone booth. That’d also make for a good title/credits page.

I can probably script that, but I first have to think if I can get though the rest of it with 15 more pages. Ack!

Luckily, the next bits contain a lot of conversations, so we can probably get away with 5-9 panels per page, lots of back and forth conversation, condensed onto fewer pages. And that’s key because we’re going to have to go to larger panels for key action sequences like Neo climbing out on the building ledge. Neo getting the tracker put into his belly.

To be honest, at this point, I’d probably have to rethink some of this — this feels like too much for 20 pages. But hopefully that example shows you how I approach the process. It’s basically taking the whole story and then breaking it into issue-sized chunks, then pages, then finally panels.

And as you think about panels, you do want to make sure you have a mix. Some kind of big splash page is important — it allows you to focus on the biggest moments, and it also gives the reader a bit of a chance to relax, slow down and take in the art. A sequential page can have more panels, but it becomes denser, and each panel can contain less information — one or two dialogue balloons, limited backgrounds, etc. The more panels, the less room and detail each panel can contain.

Personally, I like to think about most of my sequential pages being about 4-8 panels, peppered with one or two splash pages. I can bump up or lower the panel count as needed. If you start by thinking about 3-4 panels for big cinematic action and 5-9 panels for dense conversation or smaller actions, then you’ll probably find yourself with a decent balance through your comic.

Those are my long-winded answers. I hope this helps. There’s much more to talk about in terms of craft, but this covers most of what I think about when breaking down a comic book story.

[viralfeednova]

Hat Fire Map: Location of Fire & Evacuation Details

The Hat Fire just developed on August 9 and by today (Friday, August 10) it is already 2,500 acres in size. The fire is 15 percent contained. Read on to see maps and details about the fire. The fire began at Highway 299 and Fish Hatchery Road, northeast of Burney. It’s near the community of Cassell, west of Fall River Mills along State Highway 299. So far, no structures have been damaged. The cause of the fire is under investigation. Air tankers are being used to help suppress the fire, but hot, dry, and windy conditions are challenging firefighting efforts. Here are some maps to show you the fire’s location: Hat Fire Map #hatfire pic.twitter.com/eN4BIG9BOo — donna fuentes (@epizeteo17) August 10, 2018 We added #HatFire to the tracker. It's in Shasta County and has closed a section of Highway 299 East and prompted evacuations. Currently 2,500 acres with 15% containment. See the perimeters here: https://t.co/hzqRXAWTS4 via @sfchronicle pic.twitter.com/c1G0wo9uLT — Emma O'Neill (@emmaruthoneill) August 10, 2018 This interactive map from CAL FIRE will also show you the Hat Fire, but you may need to zoom in to see it: The following evacuations have been ordered: HWY 299E from Pit 1 Grade to area of Glenburn Rd and all homes west of Glenburn Rd. Fall River Mills area. Due to power outage in McArthur and surrounding areas, the evacuation center is moving to Adin Community Center at 605 Hwy 299E in Adin, California. The BLM Pit River Campground is also closed until further notice. Check with Shasta County Sheriff for the latest evacuation information, as it may change with little notice. The Hat Creek Ranger District Office in Fall River Mills closed on Friday due to power outages from the Hat fire. Highway 299E, eastbound closure at Cassel Road and westbound closure at Main St. in Fall River Mills, is closed. The Hat Fire is just one of multiple fires in Shasta County. The Carr fire has reach about 50 percent containment. And the Hirz Fire (which actually refers to three fires) is also burning in the Shasta Lake area, near Hirz Bay on the McCloud River arm of the lake, IJPR reported. Read more about the California fires in Heavy’s story below. Read more: heavy.com

The post Hat Fire Map: Location of Fire & Evacuation Details appeared first on ViralFeedNova.

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[mountainjourney]

Skiing The Trinity Chutes In Avalanche Gulch On Mount Shasta In California’s Cascade Range

Location: Trinity Chutes, Avalanche Gulch, Mount Shasta, California Starting Point: Bunny Flats – 6950′ Aspect: South Distance: 10.5 miles Time: 8-12 hours Top Elevation: Mount Shasta – 14,162′ Vertical: 7500′ USGS Maps: Mount Shasta, McCloud Guidebook: The Mt. Shasta Book by Andy Selters & Michael Zanger

Heading north from the Eastern Sierra, we decided to stop in and ski Mount Shasta. Sitting in Northern California, this 14,162′ stratovolcano is part of the Cascade Range. Avalanche Gulch on the mountain’s south face was named one of the 50 Classic Ski Descents of North America. People flock to this straightforward ski mountaineering route to take advantage of ski descents of over 7000′. It’s unreal.

Avalanche Gulch, Mount Shasta

Towering over its surrounding landscape, Mount Shasta sits just east of I-5. We pulled into town and grabbed a bite to eat at the Black Bear Diner. Then we cruised up the Everitt Memorial Highway and drove to the end of the road aka Bunny Flat at 6950′. Bunny Flat was definitely hopping too. There were people and cars everywhere. We were lucky to even get a parking spot.

Bunny Flats Parking Area aka The End Of The Road

Bunny Flats, Mount Shasta

Once we parked, we scoped out the area, used the bathroom facilities, and signed up for our $25 climbing fee for going above 10,000′, filled out our wilderness permit, and grabbed a poop bag. Then we packed light with the intend of doing a single day ski mission on a California 14er.

The Bunny Flat parking area was buzzing all night long. People were coming and going, partying, and gearing up. We slipped on ski boots around 5 am and started skinning straight from the car. There were headlamps illuminating the snow all over the mountain. From other people going for a single day mission to people tagging the peak in multiple days, it was amazing to see so many people on the mountain.

Climbing In The Morning Light

Sunrise

We set a slow and steady, all-day pace. Trying not to walk faster than we could breathe, we made decent time up the drainage and over the rolling moraines. We stopped a few times for snacks and water and to slip on the ski crampons as the sun rose over the mountain.

Finally we reached Helen Lake at 10,433′. The wind was whipping and most people were booting straight up the face of Shasta. We continued to skin as far as possible – finally transitioning to boot crampons when the slope got too steep. Our route continued up Left of Heart, below the Red Banks to the base of Misery Hill at 13,384′.

Approaching the sunlight

Super Windy

Climbing

Looking Up the Trinity Chutes

Setting The Booter

The Red Banks

We rallied up Misery Hill despite the strong winds and rime conditions. As we crossed the summit plateau the wind almost knocked us off our feet more than once. Approaching the final summit blast we found a calm spot and ditched our skis around 13,900′. With knock-you-off-your-feet winds and crazy wind we didn’t think we’d be able to ski from the summit proper. Then we went fast and light through the wild rime to the summit of Mount Shasta at 14,162′.

Misery Hill

The Summit Plateau

The Final Summit Blast

The Summit Of Mount Shasta

At the top, the world drops out below and the views were outstanding. But with the whipping wind, we didn’t stay long. We down climbed through the rime and carefully transitioned to ski mode. We crossed the summit plateau, skied the rime on Misery Hill despite the gusts and reached the top of Left Of Heart.

Looking Down From tehje top of Misery Hill

Lots of people were still climbing this route so we decided to ski the Trinity Chutes – a series of steep, rime covered chutes near the top of Casaval Ridge that drop roughly 3000′ back down to Lake Helen and Avalanche Gulch. The wind had deposited a nice layer of fresh snow. After a few tight turns the terrain opened up into  smooth powder in a cathedral of rime. It was amazing.

Trinity Chutes, Avalanche Gulch, Mount Shasta

Jeremy In The Trinity Chutes

Jeremy

After the rime ended, we navigated through a field of sastrugi wind formations down toward Helen Lake. We kept passing people heading uphill. As we approached Helen Lake, countless people were setting up tents for an alpine start in the morning. We continued to ski perfect corn along the moraines while avoiding the swarms of people climbing Shasta on a bluebird Saturday. We followed the snow all the way out the drainage all the way back to the car.

Helen Lake

Snowboarding 7000’+

Mount Shasta Seen From The South

Even though it’s a madhouse of mountain enthusiasts, Mount Shasta is a must ski. It’s a straightforward climb and ski without too many tricky elements if you stick to the Avalanche Gulch route. Timing is key. Super glad we skied this one in one day.

We climbed and skied Mount Shasta in 9.5 hours. We covered 7450′ in 10.5 miles.

See our route for skiing the Trinity Chutes on Mount Shasta:

Here are additional photos from skiing the Trinity Chutes on Mount Shasta:

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Bunny Flats, Mount Shasta

Bunny Flats Parking Area aka The End Of The Road

Avalanche Gulch, Mount Shasta

Trinity Chutes, Avalanche Gulch, Mount Shasta

Sunrise

Climbing In The Morning Light

Skinning as far as possible

Left Of Heart

Approaching the sunlight

Super Windy

Climbing

Looking Up the Trinity Chutes

Below The Red Banks

Setting The Booter

The Red Banks

Misery Hill

Looking Down From tehje top of Misery Hill

The Summit Plateau

The Final Summit Blast

Rime Covered Summit

We left our skis way down there. =(

The Summit Of Mount Shasta

Trinity Chutes

Jeremy In The Trinity Chutes

Rime Riding

Jeremy

Helen Lake

Perfect Corn Harvest

Snowboarding 7000’+

Mount Shasta Seen From The South

This trip report from skiing the Trinity Chutes In Avalanche Gulch on Mount Shasta is from April 29, 2017.

Trinity Chutes, Avalanche Gulch, Mount Shasta, California Skiing The Trinity Chutes In Avalanche Gulch On Mount Shasta In California's Cascade Range Location: Trinity Chutes, Avalanche Gulch, Mount Shasta, California…

[evaiskindaweird]

Just made an au where Sally stayed with Windy-

So in this AU, instead of following Tim’s advice to break up with her, she accepted Windy’s proposal and they go married. Tim was infuriated, and that fury turned him into..well..a villain.

Some extra things:

-Becky is adopted by Windy + Sally, and unlike canon Becky, her powers aren’t secret and she helps people on a regular basis

-TJ is a clone made to help Tim in this au

-Becky is still friends with Violet and Scoops, but she’s also dating Tobey

-Villain!Tim’s name is Tyrant, a villain who occasionally steals priceless jewels (specifically wedding rings...)

-Sally misses Tim, as she misses their friendship

ALSO SOMEONE MAKE ART OF THIS PLS-

[asktherebootcharacters]

Everyone-

Your favorite book or show or both

I like the snow queen!-Icy

I like the book Two-brains wrote (supervillains and you). He won't let me see the one from before he was two-brains, though....-Stella

Eh, I don't read. -The observer

I like reading engineering and weather data books! - Windy

..Princess trianna-Liam

BWAHAHHAA YOU LIKE A PRINCESS BOOK????-Icy

Don't you like it to?-Stella

Shut up.-Icy

Your all heathens. -Odella

Everyone but odella: SHUT UP!

[not-a-vegan3]

What's your opinion on my sally mccloud au? (it's this au where Sally married windy instead. It's on my blog)

imho i do not like it, mainly because Sally and Tim are the parents i wish i had but also because i just don't see it, i mean if the relationship was shaky enough for Sally to ask Tim for advice then i don't think Sally would've married her.

[evaiskindaweird]

POV: Your Windy McCloud

[evaiskindaweird]

Windy got the uno reverse lmao

[evaiskindaweird]

I feel like drawing college designs for Tim, Sally, Windy and Liam. Should I give tim a varsity jacket and a tiny 3 hair mustache-