Storyboard cut-out blow-ups are made opaqued and drawn over; rough sketches, not meant to be aesthetically pleasing/correct, but to allow a person other than myself the ability to interpret the story. AKA; THIS PAGE IS THEORETICALLY READY FOR A TEST AUDIENCE.—pic is page from the very end of the prologue; the beginning of the “title sequence,” which is a montage of sorts.

Storyboard cut-out blow-ups are made opaqued and drawn over; rough sketches, not meant to be aesthetically pleasing/correct, but to allow a person other than myself the ability to interpret the story. AKA; THIS PAGE IS THEORETICALLY READY FOR A TEST AUDIENCE.

—pic is page from the very end of the prologue; the beginning of the “title sequence,” which is a montage of sorts.

NEWS! With the storyboards are all done, and the page layouts 1/3rd done, I’ve decided to shift focus towards completing the prologue and chapter 1.
Wykkrwomb is my most ambitious Comics undertaking yet, but it is also the most dear to my heart — so sink or swim, I will see this behemoth to publication.
The last 3 years have been hectic, and to be honest, if I continue to work on the project as a whole we might not see its publication for another year or two! I want you guys, girls, and guy-girls to get to read this much sooner than that; hence my decision!
And so, I bring you another meekly rough work in progress update: we’re adding the text to chapter 1 finally!
Extra info: the prologue & chapter 1 are two of the longest chapters in the book, but I’ve had the prologue’s rough sketching phase done for a while now. Web publication will still take longer than we’d like, but it will be many, many months sooner than we’d dislike. Don’t give up on Wykkrwomb just yet!

NEWS! With the storyboards are all done, and the page layouts 1/3rd done, I’ve decided to shift focus towards completing the prologue and chapter 1.

Wykkrwomb is my most ambitious Comics undertaking yet, but it is also the most dear to my heart — so sink or swim, I will see this behemoth to publication.

The last 3 years have been hectic, and to be honest, if I continue to work on the project as a whole we might not see its publication for another year or two! I want you guys, girls, and guy-girls to get to read this much sooner than that; hence my decision!

And so, I bring you another meekly rough work in progress update: we’re adding the text to chapter 1 finally!

Extra info: the prologue & chapter 1 are two of the longest chapters in the book, but I’ve had the prologue’s rough sketching phase done for a while now. Web publication will still take longer than we’d like, but it will be many, many months sooner than we’d dislike. Don’t give up on Wykkrwomb just yet!

Here, we combine the storyboard single panel thumbnails (cude box images, scaled up to approx size) with the full page thumbnails (red panel with red numbers). I’ve already used Manga Studio to create boarders for the panels (in blue), so those are technically inked now (at the press of a button).

Here, we combine the storyboard single panel thumbnails (cude box images, scaled up to approx size) with the full page thumbnails (red panel with red numbers). I’ve already used Manga Studio to create boarders for the panels (in blue), so those are technically inked now (at the press of a button).

zimmay:

poisoncage:

auroreblackcat:


orpheelin: Spread the word :D

When there are an illustrator + scenarist, that means they have to share the 1.6$. So they earn (or repay) 0.8$ each for a 20$ book. :/

even if it has been reblogged a lot today I think it’s important for people to know the way artists are paid on the pro circuit instead of the selfpublishing one. So never hesitate to directly buy from artists ^_~
full size picture » http://imageshack.com/a/img62/2341/5igz.jpg

This is why I get so genuinely excited and flustered and happy every time someone buys a sketchbook from me. Artists appreciate every purchase for their self published work more than I can describe.

zimmay:

poisoncage:

auroreblackcat:

orpheelin: Spread the word :D

When there are an illustrator + scenarist, that means they have to share the 1.6$. So they earn (or repay) 0.8$ each for a 20$ book. :/

even if it has been reblogged a lot today I think it’s important for people to know the way artists are paid on the pro circuit instead of the selfpublishing one. So never hesitate to directly buy from artists ^_~

full size picture » http://imageshack.com/a/img62/2341/5igz.jpg

This is why I get so genuinely excited and flustered and happy every time someone buys a sketchbook from me. Artists appreciate every purchase for their self published work more than I can describe.

THIS IS WHAT IT MEANS TO WANT TO MAKE COMICS. NO, DO NOT TURN AWAY. FACE IT. FACE YOUR FUTURE.

THIS IS WHAT IT MEANS TO WANT TO MAKE COMICS. NO, DO NOT TURN AWAY. FACE IT. FACE YOUR FUTURE.

nattosoup:

nattosoup:

I’m not going to bicker on someone else’s post, but I wanted to share this with my followers. This is a follow up to my response to the angry white male nerd that replied to Ginger Haze’s comic about comic shops. I really identified with her experiences, and really took offense…

I was thinking about what you said back in Ohio, about how marketing to males often means intentionally excluding females. I think this is true for a lot of comic shops- their clientele and staff are intimidated by women, and don’t want to share their store with these intimidating creatures. The inclusion of women mean these men can’t feel safe. This isn’t because they’ve necessarily been abused by women, but because they are uncomfortable in their own skin, and to them, any interaction with any woman is an opportunity for rejection.

And if you think about it that way, it’s heartbreaking. ‘Home’ isn’t safe enough, they need to be surrounded by males (I refuse to call them ‘men’ in this context) who are just like them. There’s no need to change or improve, no need to learn how to communicate with other people with other interests, no need to accept or respect any sort of diversity. This club is made up of members just like you, and presents no challenge to fragile egos.

It has little to do with comics or heroes, I’ve seen American otaku behave the same way, I’ve seen model builders do it too. It has to do with a small sense of self, and a self limited world experience.

Women and people of color are always forced to accommodate, often forced to listen, and so we are better able to tolerate situations that may be personally uncomfortable because it’s outside our usual comfort zones. We usually don’t demand that others unlike ourselves leave just because it makes us feel safer, though we may not always be immediately welcoming. This is just a generalization, an explanation for why comic shops that only cater to a white male clientele may not feel ‘safe’ when someone outside that type enters, shops, and asks for help with their purchases.

I think you’ve hit the nail on the head here.

When these two things merge (I blow them up onto full-size Manga Studio pages together), beautiful things start to happen.

Finally finished the choreography of 1 of 3 chapters where the main character and her handsome but horrifying love interest play a board game (with high stakes). To celebrate, have some oddly juxtaposed, terribly unfinished prologue art featuring a main-but-not-the-main-main-character Lollengrē! (a monster girl).

((Moved from analog planning to digital because my printer ran out of ink — pro tip: skip the analog when planning stupidly complex things like this. Much faster & clearer)).

All images copyright R.J Whyte 2014, yatta yatta. My gonna-be-a-webcomic Wykkrwomb is ©2011.

When reading a comic wherein half the book features a fictional board game, you expect pieces to remain where you see them placed in future panels. This type of world building is one of the most taxing on creators, but it’s nonetheless mandatory. Being visual, these potential flaws in the environment of the comic are often glaringly obvious to readers. They make it difficult to believe that what is being read is real—and the less real a work of fiction feels, the harder it is to enjoy, and the less useful it serves as a teaching measure/work of art.Above picture: one of the TiConqui board grid print offs, showing a number of piece movements, along with a piece of the storyboard, now with numbers at the bottom of the panels where certain moves happen.I’m doing this near last. It’s one of the final things being edited in before switching from storyboards to the actual pages. Making sure the armature, tension, and pacing (etc) are all solid is much more important — or at least it’s just easier to do this after (to avoid needing to redo it all because of some dumb pacing change for example).

When reading a comic wherein half the book features a fictional board game, you expect pieces to remain where you see them placed in future panels. This type of world building is one of the most taxing on creators, but it’s nonetheless mandatory. Being visual, these potential flaws in the environment of the comic are often glaringly obvious to readers. They make it difficult to believe that what is being read is real—and the less real a work of fiction feels, the harder it is to enjoy, and the less useful it serves as a teaching measure/work of art.

Above picture: one of the TiConqui board grid print offs, showing a number of piece movements, along with a piece of the storyboard, now with numbers at the bottom of the panels where certain moves happen.

I’m doing this near last. It’s one of the final things being edited in before switching from storyboards to the actual pages. Making sure the armature, tension, and pacing (etc) are all solid is much more important — or at least it’s just easier to do this after (to avoid needing to redo it all because of some dumb pacing change for example).

Paul Dini Tells Kevin Smith about Hollywood’s Fear of Girl Cooties

dcwomenkickingass:

And to think just earlier this week you had the New York Times calling Hollywood about their long time claims about not being able to lead movies. And now you have a big name comic and animated creator telling us exactly what Hollywood thinks of girls when it comes to shows targeted at kids.

Paul Dini is interviewed on Kevin Smith’s Fatman on Batman podcast this week and during it he explains from personal experience how Hollywood devalues female viewers and female characters. Dini was, of course one of the creators on Batman: The Animated Series. He has also written and produced a number of other animated shows including Batman Beyond in addition to writing comics. The Emmy award-winning creator also had a live-action show targeted to younger viewers call Tower Prep.

In the interview, transcribed by Agelfeygelach Dini talks about the change in how Hollywood views the audience for animation (this starts around 41:00.- bold is mine)

But then, there’s been this weird—there’s been a, a sudden trend in animation, with super-heroes. Like, ‘it’s too old. It’s too old for our audience, and it has to be younger. It has to be funnier.’ And that’s when I watch the first couple of episodes of Teen Titans Go!, it’s like those are the wacky moments in the Teen Titans cartoon, without any of the more serious moments. ‘Let’s just do them all fighting over pizza, or running around crazy and everything, ’cause our audience—the audience we wanna go after, is not the Young Justice audience any more. We wanna go after little kids, who are into—boys who are into goofy humor, goofy random humor, like on Adventure Time or Regular Show. We wanna do that goofy, that sense of humor, that’s where we’re going for.’”

Okay, so they want younger kids. But wait, it gets worse.

Dini talks a bit about Young Justice and how it had a sophisticated mythology (he calls them “Buffy style stories) but now they have to be, based on his interactions and observations, funny and … NOT FOR GIRLS… (warning f bombs ahoy!)

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