artbyblastweave - Tumblr blog

[artbyblastweave]

Thoughts on Watchmen: The Ultimate Cut?

Never seen it. That said, my experience with the four-hour cut of Justice league is that I enjoyed the earnesty that resulted from just letting Snyder do whatever specifically because of the resultant self-indulgent excess. So with that in mind I might give it a shot sometime

[artbyblastweave]

was trying out a new face drawing technique 2day, used some of the worm girls as guinea pigs (don’t even talk to me about aisha and taylor, okay)

[artbyblastweave]

you can be peeling a boiled egg and think to yourself wow. that was so simple. and then you peel another one and it’s like being in the throes of war. shell everywhere. egg mangled. tears in your eyes. that’s how god keeps you humble

[artbyblastweave]

watching comic book movies just makes me wistful for problems that can be solved by punching them until they explode.

[artbyblastweave]

[artbyblastweave]

Got a Worm meta question for you. I'm starting on the early parts of Taylor's warlord era - I'm about to leap into Arc 13 - and the general concept of a ravaged American city being divided up by various supervillain groups is reminding me a lot of that Batman story arc No Man's Land from the late 1990s. Unfortunately my comics knowledge is rudimentary at best, and I haven't been able to any discussion comparing the two stories, so I was wondering if I could pick your brain on the subject. Was it just convergent evolution, or was Wildbow engaging with the Batman story in some way?

I myself have only read about half of No Man's Land- and several years ago to boot- so I've got limited ability to do a direct compare and contrast. No Man's Land is absolutely the sort of status-quo-shattering, history-book-making upset that, within Marvel and DC, nonetheless always inexplicably heals and loses salience until you can barely tell that it's still in continuity. Worm is heavily informed by Wildbow's irritation with that sort of thing, so I think it's totally reasonable to view the warlord era through the lens of "What if No Mans Land had no editorial escape hatch." Alternatively, I think it kind of makes sense to view it through the lens that it's working backwards from the premise of No Man's Land- In what kind of setting would it be plausible for the Federal Government to write off a sufficiently-damaged American City? In what context would the legal infrastructure have been established for that, in what context would that even fall within the Overton Window? What muddies my opinion on this is that the general concept of a ravaged, atmospherically-apocalyptic American city torn up by superpowered gang warfare is something that's kind of just been in the water in superhero comics since the mid-eighties at least, and it was a relatively common thing to see during the Dark Age- they were choice prey for all those overpouched musclemen with their poorly rendered firearms. I'd be surprised if Wildbow wasn't at least aware of No Man's Land, but it's definitely not the only cape book from the late 90s or early oughts where you could pick up that idea from. Ultimately this leaves me unsure if No Man's Land is the specific referent or if it's just part-and-parcel with trying to do an involved, thoughtful take on what cape comics were like at the time.

[artbyblastweave]

Are there any heirs apparent or new entries to the cluster of beloved-by-tumblr plot-driven Children's cartoons (SU, GF, Amphibia, TOH, ATLA, Infinity Train, etc.) or are in something of a dry period for that kind of thing at the moment?

[artbyblastweave]

Are there any heirs apparent or new entries to the cluster of beloved-by-tumblr plot-driven Children's cartoons (SU, GF, Amphibia, TOH, ATLA, Infinity Train, etc.) or are in something of a dry period for that kind of thing at the moment?

[artbyblastweave]

Inspired by that one post about how Worm feels like a long-running comic book canon- The UnderSiders issue #3 comic cover sketch! More details about the design under the cut

I think that the UnderSiders first two issues would be about the heist that they pulled, and Lung deciding to get revenge for it. This issue, #3, would be the introduction of Skitter (who would quickly become a fan favorite, giving her the leading role in the remainder of the UnderSiders run and her own spinoff series, Weaver- as well as the starring role in the Golden Morning crossover event), and issue #4 would be a flashback to the first arc or so of Worm the webserial.

I've put Lung's name in the sort of stylized font characteristic of titles, implying that he has his own comic, but I haven't designed anything for that. I also feel like he came out more 'demon' than 'dragon', but I had a tough time with him so I'm not doing more on that.

The Undersiders themselves are up on top of the roof, although they're partially obscured by the title, so they may be hard to see. In issues #1 and #2, that cockroach on the second R wasn't there- adding it was a way of indicating that Skitter is going to join the team.

[artbyblastweave]

it has been a while since i drew tattletale so i wanted to draw her again in my updated style :+D

[artbyblastweave]

Got a Worm meta question for you. I'm starting on the early parts of Taylor's warlord era - I'm about to leap into Arc 13 - and the general concept of a ravaged American city being divided up by various supervillain groups is reminding me a lot of that Batman story arc No Man's Land from the late 1990s. Unfortunately my comics knowledge is rudimentary at best, and I haven't been able to any discussion comparing the two stories, so I was wondering if I could pick your brain on the subject. Was it just convergent evolution, or was Wildbow engaging with the Batman story in some way?

I myself have only read about half of No Man's Land- and several years ago to boot- so I've got limited ability to do a direct compare and contrast. No Man's Land is absolutely the sort of status-quo-shattering, history-book-making upset that, within Marvel and DC, nonetheless always inexplicably heals and loses salience until you can barely tell that it's still in continuity. Worm is heavily informed by Wildbow's irritation with that sort of thing, so I think it's totally reasonable to view the warlord era through the lens of "What if No Mans Land had no editorial escape hatch." Alternatively, I think it kind of makes sense to view it through the lens that it's working backwards from the premise of No Man's Land- In what kind of setting would it be plausible for the Federal Government to write off a sufficiently-damaged American City? In what context would the legal infrastructure have been established for that, in what context would that even fall within the Overton Window? What muddies my opinion on this is that the general concept of a ravaged, atmospherically-apocalyptic American city torn up by superpowered gang warfare is something that's kind of just been in the water in superhero comics since the mid-eighties at least, and it was a relatively common thing to see during the Dark Age- they were choice prey for all those overpouched musclemen with their poorly rendered firearms. I'd be surprised if Wildbow wasn't at least aware of No Man's Land, but it's definitely not the only cape book from the late 90s or early oughts where you could pick up that idea from. Ultimately this leaves me unsure if No Man's Land is the specific referent or if it's just part-and-parcel with trying to do an involved, thoughtful take on what cape comics were like at the time.

[artbyblastweave]

“Mime” is a general term referring to silent clowns that evolved under circumstances where stealth was useful for their survival. The common mime (balatro pantomimus) we know today became the predominant clown species in France as a result of this exact type of natural selection during the French Clown Hunting Fever of the early nineteenth century, when more colorful and more aggressive clown species became prime targets for those who hunted clowns for sport. 

Clown hunting is now illegal or highly regulated in most places in the interest of protecting species that are at risk for extinction, but there remains a thriving network of poachers who continue to endanger dwindling populations of certain clown subspecies.

[artbyblastweave]

you know, fallout 3 gets a lot of criticism for very valid reasons, but it's got its strengths (giant fucking robot, convincing the president of the united states to kill himself)

[artbyblastweave]

Gonna be in Portland in June. Anyone I know here in Portland

[artbyblastweave]

i have played fallout 4 for the first time recently and got the railroad ending, and suddenly being told to nuke the institute straight up was just. SO jarring. like. why is this being presented as a heroic moment. why did bethesda make us do that and expect us to cheer. why.

Deeply odd, yeah. Particularly because IIRC it comes after a military overrun of the facility proper in all Non-Institute endings. You're nuking the Golden Goose. (If they weren't cowards, Liberty Prime would be the final boss in all non-Brotherhood endings. Let me fight the one thing in this game that could possibly constitute a mechanically unique boss.)

[artbyblastweave]

Fallout 3 is the one where it doesn't feel jarring to get attacked by spike-covered cannibal maniacs every six seconds, the logistics are undeniably borked if you give them any real consideration but it's plausible on an emotional level that spike-cannibal-mania would be the cornerstone of the local economy, you look around the world and you're like, okay, this feels like the right kind of place for this. Fallout 4 has trees

I wanna say that Fallout 3 would be so good if it was good, but in reality the more I replay this the more I feel like I can now see the largely cohesive-if-frequently-stymied shape of what they were going for, so it's kind of just good. Fallout 4 is the one that would be so good if it was good

[artbyblastweave]