Oops
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I am apparently working on becoming a local cryptid at the store. Talents include:
- Monitoring the changing of the seasons via mozzarella
- Predicting the weather by picking up a piece of cheese and mysteriously saying “oh, the storm is gonna be bigger than we thought…” just before thunder
- Mind reading, e.g. “Can you help me find a cheese? It’s called, uh… [starts fishing out shopping list]” “Gruyere?” “…yes O_o”
- Mozzarella doubles in sales in the span of a week, right about when the first tomatoes show up
- Cheese that I’ve wrapped in plastic will acquire condensation in a few seconds when it’s about to rain big time
- “Gruyere” is always the cheese people want to show me on their list rather than try to pronounce it.
That is the nicest thing anyone has ever said to me
Cheesewitching. I respect it.
i feel called out
(via callmebliss)
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disgruntled-foreign-patriarch:
Hence the invention of the Porch
(via spongebobssquarepants)
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Three tricks to avoid plot armour
Plot armour can be difficult to avoid. We get so attached to our characters that hurting them in any way feels like a betrayal.
But plot armour is detrimental to any good narrative. Having your characters avoid harm, whether that be emotional or physical, means that there aren’t any stakes. And without stakes, it’s difficult for readers to invest.
There are three simple things you can use to avoid plot armour:
🔵 Injury
🔵 Sacrifice
🔵 ConsequenceIn every conflict, make sure the resolution contains at least one of these things.
If you don’t want to injure your characters, make sure that they sacrifice something, whether that be someone, or an object. If they don’t sacrifice anything, make sure there is a consequence. That consequence can be a loss, an emotional wound, or simply a blow to their reputation. The important thing is that your character doesn’t remain unscathed by their experience, and they walk out somehow changed.
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John Salt (British, 1937-2021), Black Ford in Field, 1972. Oil on canvas, 48 x 72 in.
(via spongebobssquarepants)
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i showed this to my resident geologist and she fingergun’d about it
(via itsclydebitches)
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what we should be wearing: a horrific mashup of victorian gothic and 80s clothes
Gonna wear these together
do it, coward.
I dare you to pull it off so well you start a new fashion movement
I dare you to pull
it off so well you start a
new fashion movement
Beep boop! I look for accidental haiku posts. Sometimes I mess up.
Rhys Darby!
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Admitting my star sign was a mistake.
“Oh, so that’s why you are they way you are. You’re two fire signs ruled over by water!”
Pretty sure it’s just the ADHD.
A fun thing to do whenever someone asks you your sign is to lie about your birthday. It still means listening to them attempt to explain your entire personality badly for a few minutes, but then you can undercut them as soon as it gets too annoying.
So, for a while I was doing mailroom/account followup work for a nonprofit, and on my firt day there, one of the ladies, “Debbie” asked me when my Birthday was. Assuming she was planning office Birthday parties, I told her.
The next day she came in with my ENTIRE star chart with personality tropes, life advice, predicitons for my future and so on. Now, I don’t go in for Astrology but I can tell when someone is making a well-meaning gesture and I can say “Thank you” and shut up.
Especially because I told her the Wrong Birthday.
See, my birthday is in the middle of a cluster of a whole bunch of family birthdays and growing up I used to have to share my Birthday with my older cousins and while that’s not really a big deal (even fun if you’re older) it kinda sucks when you’re five and none of your cousins share your interests.
So mom made a deal with me: We’d celebrate my “Un-Birthday” in January, when nobody else in the family has a birthday or anything else, and the “real” birthday would be my Cousin’s. I got my own birthday and they got a second party and it was fun.
As I got older, I just started using my Un-Birthday for everything except paperwork, becuase January is boring and bereft of holidays except the one that’s really part of Xmas these days. On paperwork, I put my real one, but I’ve been celebrating my birthday in the wrong month for over 25 years now, and didn’t think about it when she asked, and told her my Un-Birthday.
And for a few weeks everything was fine.
But Debbie had a RIVAL.
Another woman in the office “Sharon” was also big into Astrology and was convinced Debbie was Doing It Wrong, so when she was going over payroll, she saw my Legal Birthday, realized Debbie had filled out the chart wrong, and then proceded to drag Debbie on the company facebook group, and a bunch of astrology groups they were both in.
I found out when I came in three days later from a long weekend and Debbie burst into tears and sobbed “HOW COULD YOU LIE TO MEEEEEE???”
After an extremely garbled recounting by our coworkers, a talk with my manager about “Hey yeah I don’t think it’s Legal for Sharon to take my name and date of birth from Payroll and put it all over facebook?”, the manager had a talk about “I know you are all over 50 but this is NOT WHAT THE COMPANY FACEBOOK IS FOR”, Sharon was ‘removed from the premesis’ and I finally got to sit down with Debbie.
I explained the slip-up and how I sort of have two birthdays and think of the January Birthday is my “Real” one.
Debie looked up from where she’d been sobbing into her tissue all morning, realization dawning on her less like the illumination of the sun and more like a baby sea turtle headed in the wrong direction because of light Pollution.
“Oh!” She said “You’re TRANS-ZODIAC! You might have been born as an Aries, but you’re really a Capricorn!”
As someone who’s been hit by a minivan and gotten a minor skull fracture from it, I’m pretty sure hearing that sentence gave me more brain damage.
“Sure Debbie.”
You know, I had no idea where this ride was going to take us, but of all the outcomes I expected, that was not it.
What, and I cannot stress this enough, the fuck.
Debbie was a kind woman with room in her heart for all the people of the world and the critical thinking skills of a Sea Cucumber.
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Surprise triplets 😂
I can’t decide what’s funnier, if this was a genuine candid photo of the father’s shock, or if he was an excellent sport and was like “hey folks, know what would be hilarious…”
“Yknow, Ted, the guys at the bar are gonna wanna know what it was.”
“Bring the photo! It’ll be funnier if you bring the photo.”
Story Time!
My father, who is an identical twin, has two older sisters who were also identical twins. My grandfather’s favourite way to tell the story was that in 1956 when he was awaiting the arrival of 🤷♀️ Child™️, the doctor (who, in the small town where we’re from, had delivered my aunts a few years earlier) came to the lounge, lit a cigarette and took a seat next to him.
“Clifford… how are ya?” the doctor greeted.
“I’m alright… yourself?”
“Good, good…good, so how many ya want this time?”
My grandfather, even in the retelling of the story heaved the most world weary sigh and said, “…how many ya got?”
(via seekingabetterusername)
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A master post of Thomas Romain’s art tutorials.
There’s not enough space to post all of them, SO here’s links to everything he has posted (on twitter) so far : 1 2 3 4 5 6 7 8 9 10 11 12.
Now that new semesters have started, I thought people might need these. Enjoy your lessons!
archive.org links (because fuck twitter):
support artists and the internet archive!
(via morgan-artrefs)
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how do you atually write a script for a comic fhhhdhdhdh like do you write it the same as a movie script idk how to start
Anonymous
My basic system is using bulletpoints inside a table. Each table cell is a page, which is handy for planning page spreads, and each bulletpoint is a panel. This script also divvies up the scenes by colour so I can block out how long each scene is:
Because I’m the sole artist, I don’t include any information that is obvious to me; that means expressions, poses, or individual panel sizes don’t usually make it into the script. If there’s something really dramatic and important I’ll include it, but otherwise I tend to work out character poses when I’m thumbnailing or pencilling. I’m already kind of laying out the page in my mind when I’m writing so when I go back to actually draw it I’m like yeah I know exactly what face Vic is pulling here.
I do also have @spiremint on board now as colourist but because I don’t really think in colour I don’t have any notes for that in the script. Instead, I make notes on the inked/pencilled version of the page when I’m sending it to Spire for the colour script. Those notes will say stuff like the mood I’m going for, the weather, what happens in the scene so he can give me some cool alternate background colours. Spire never sees the script, it really is just for me when I’m pencilling/lettering, and then I discard it and work from what I have in front of me. It’s a stepping stone tool, not a strict guideline of what the page should look like.
That’s how I write a script, but you can write your script literally however you want! If it’s just for you to read, you only need to include as much information as you find important. For some people that’s everything because they either can’t envision the scene without a description or because they want to make sure they don’t miss anything important out, and for some people it’s the most barebones thing imaginable. If it works for you, just do it!! You don’t need to write a script like you would for a movie unless you really want to, or it’s for someone else to see. Do you want to see the entirety of my script for the Chapter 5 lasertag scene?
Now here’s a more helpful answer. I always start with an outline of what exactly needs to happen on each page so I don’t need to work too hard figuring out how many panels should pass before I need a page break. Example:
You will probably want to think about three main things when putting your script together: dialogue, environment, and character. Each panel is an individual moment in time. That means you shouldn’t have too many things happening in a single panel, and one panel should generally only have one dialogue moment, one environment note, and one character action. Someone can’t jump up in alarm and then look relieved all in one panel, because that’s two character actions (and would also be pretty difficult to draw but shh). A character shouldn’t (can, but shouldn’t) say they want to leave, then change their mind and ask for another drink all in one panel, because that’s two dialogue moments. For environment notes, you really shouldn’t have an explosion and the hidden treasure revealed all in one panel, because that’s two environment notes. You don’t need to stretch everything out into its own panel, but make sure you watch for too many things of the same category happening in one panel.
That’s a lot of info, but I hope it helps!
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I’m doing a little Q&A right now to celebrate the launch of the Inhibit: Book Two Kickstarter! If you have a question about Inhibit, comics in general, or anything else, shoot me an ask 🔥
Adam is a constant source of comics knowledge and you should all listen to him!!!
