#file under: comic scripting

[just-ghaleon]

Ghaleon, scream-whispering and turning several worrying shades of red: DO THOSE LOOK LIKE TEENAGERS TO YOU????

Xenobia, nonplussed: I am 200 to 400 years old, everyone looks like a "teened ager" to me.

Ghaleon, ignoring her, struggling to unlock dungeon cell quickly: I am so sorry, oh god. Shit. I am so, so fucking sorry for-for the inconvenience. Oh. My god.

FANTASY ABBA, exit cell: It's cool.

Xenobia, rambling: What even is a teenager?? We don't have those in the wastes. "14ish to 19ish"??? That's a baby, that is an infant child.

Ghaleon, literally dying: Is there anything I can do to make it up to you two? Drinks? Are you hungry?? Can I give you a ride home???

FANTASY ABBA: No, we're cool.

Xenobia, lecturing: Did you mean "young adult"? Because the Vile Tribe equivalent would be 70 to 125 years, approximately. You have got to stop using all these human terms or this alliance is going to fall to pieces, Ghaleon.

FANTASY ABBA: So, like, we're cool to go?

Ghaleon, last shred of dignity dying dying dying: YEP. (cough) Uh, yes! Absolutely! Y-you're cool--t to go!!

(Exit: FANTASY ABBA)

(Dejected, distraught, uncool slump: Ghaleon)

(Exit attempt: Luna)

Ghaleon: NOT YOU. >:(

Luna: >:(

Xenobia: The vibe, as we say in the wastes, is in shambles.

~it's over!~

[olomaya]

Oops! All Updates (and Fixes)!

I've got a bunch of fixes and updates to some of my older mods and I decided to release them all in a batch. Please read below for the details to see what has been changed and then links to the files to redownload and replace in your game.

If this is your first time downloading, obviously you'll need to download everything and you should read the original post for more information.

As always, let me know if any issues and enjoy!

Voidcritters Mod

Fixed Read Card Stats animation

Added a new interaction to allow your sims to talk about and compare their cards. Sims will build relationship, gain skill and train their critters a little as well (the cards will vibrate as the critters train up)

Giving a rare or limited edition card to another Sim will yield a higher relationship boost.

Previously there was no way to get all 22 cards in the game as you only get one of the two Limited Edition cards. I've fixed that by adding the chance to also get Limited Edition cards by reading a Voidcritters comic book. There's a 25% chance if you have less than level 8 skill and 45% if 8 or higher.

Now that Sims can collect all cards, I've added a new skill opportunity. Sims that collect all the cards will get the Critter Collector reward and going forward their cards will be worth more.

Download MAIN file here and updated card file here

Student Council Mod

The Collect Signatures interaction now has a more appropriate animation of a sim collecting signatures

Increased the chances that more inactive council members will autonomously raise funds and collect signatures

The campaign tracker will no longer show blank information after you've closed out and restarted the game

All campaign icons will now show up in the notifications

Fixed an issue where the Sim would reset when submitting signatures for the Teacher Pay school campaign

Reduced the skilling level for council roles while at the afterschool activity

Download updated MAIN here

Hang Out Mod

Children and teens can now hang out in groups. Simply click on one of the two Sims hanging out and select “Hang Out with X and his/her friends” (you need to have LTR 30 or higher)

A child or a teen hanging out can also invite another friend to join them

I think you can have up to 8 Sims given that I have 7 in the photo and there's still room.

Added liking VFX and speech bubbles when hanging out

Download here (all ages version here)

Washer+Dryer Combo

I created a new mesh for the washer/dryer so it slots under the counter like dishwashers and trash compactors.

Added a stacked washer/dryer tower. This still uses the same script as the single appliance so you can’t run the washer and the dryer at the same time. 

Changed out the pod and detergent box meshes

Important: If you have the old version, you need to replace with this or remove it. You can't have both the old version and this one in your game or it will CTD. Also, the script is in the Combo file so you still need to download both if you only want the stacked tower version.

Download here (stacked version here)

Private Clinic (BASE)

The clinic controller will now push Sims that have certain traits as well, such as Neurotic, Commitment Issues, Insane, Hotheaded, etc.

Once pushed to the clinic, Sims will find a chair to sit in and then wait for an hour to be seen by a doctor. After an hour, they will stop waiting with an annoyed message (you can still see them though).

Waiting patients now identified with a custom headline effect

Prenatal vitamins no longer have a weight loss effect (as I'm putting a similar feature in the breastfeeding aspect of the obgym module, it's not needed here)

Updated the Buy and Sell Pills animations

Updated the comically large horsepill mesh to make it smaller and more realistic. The animation has been updated as well

Updated the write prescription animation

Updated the apply ointment animation

Download updated MAIN here

Private Clinic - Psychiatry

Updated the therapist session animations – therapist will now take more notes to jot down how crazy you are

Updated the patient records layout to avoid text overflow

Sims can now do their coping mechanisms (breathing exercises and mindfulness) while sitting

Important: You need to download the updated Private Clinic MAIN file above as well if you download this

Download updated MAIN here

Disclaimer: My CAS cc for this world was not loaded. I am not responsible for any of these Sims' outfit choices.

[partyhorn]

Have u ever posted your comic or animation workflow anywhere? Im super curious on how you tackle the process, especially not using a drawing tablet. I know you have a very simple (and adorable) style so that probably helps in terms of workflow -- Im just curious about the steps you take.

Thank you! With both comics and animation my key thing is to not spend too much time on any particular thing, just draw loose and fast. Honestly the only downside to drawing with a mouse is that I can tell my arm has extremely specific muscle memory regarding it- if my mouse breaks and I get a new one I have to spend a good month or so just letting my hand get used to it again lol. Same with if my setup gets readjusted too much- right now my setup is my mouse on one of those padded mousepads, on top of 2 books, with my elbow resting on my 3DS case (I'll get an actual pillow or something for it eventually lol). But luckily thanks to this I suffer very minimal wrist pain 👍

(...Okay I started to go really in depth in my process here, so sorry if this is way more than what you were asking. Putting it under a readmore just to save space lol)

With MFM in particular, I start by writing out the entire script for the next story arc, which really is just all of the dialogue and vague notes about any important actions. Then I do the paneling with very loose stick-figure like sketches of where the characters are and what they're doing. I prefer having very little planning when it comes to character poses and panel shapes, coming up with those on the fly makes things much more exciting and faster to make. But it's the opposite with dialogue... it needs to be 100% FINAL before I draw a single line lol.

That's part of my script for my most recent chapter, as well as what my extremely loose goofy thumbnail sketching is like. I write the script as one big thing and don't separate it into pages until I actually start drawing- then I go and color change it just to keep track of what dialogue goes on each page

After that, I go back and do the ACTUAL sketch, as well as the lettering (I don't believe this is how it's done professionally. I used to do lettering as the very last step in the process... but then found it hard to cram speech bubbles in the right places lmao.) After that is lineart, coloring, background flat colors, then shading/rendering for all of it. I do each step in batches, as in I sketch out ALL pages of a chapter before moving to lineart, I line ALL pages before starting coloring, etc. I find it way easier to be productive when it's broken up like that, though when I first started the comic I used to draw each page to completion before starting the next (but also, the comic's style was DRASTICALLY simpler back then haha)

(Unfortunately I merged some of the shading to the background flat colors so it's not entirely accurate... oops) FireAlpaca has a sand texture feature that I only found out about last year- adding that to the backgrounds makes them look 10x better with WAY less effort.

With animation, it depends on the project. For simple 5-10 second animation I make for fun, there's very little planning lol. I skip some steps in the process- I'll sketch out the keyframes (and maybe any difficult inbetweens if necessary), line those, then go straight into making linework inbetweens. I'm not a cleanup artist and have no experience in that, so I always find trying to line my rough animation makes everything jittery and wobbly. If I do it with a clean line from the start then I can avoid that and save a lot of time 👍

For my bigger projects (such as the Parvey cartoon and the MFM Kickstarter trailer), I do the whole animatic with final audio first and foremost, with the animatic being almost like the keyframes. I split them up into individual shots, .mp4 files anywhere between 1-30 seconds usually, and animate those one at a time. I'm a huge fan of free to use programs and try to use them as much as I possibly can, here's a list of the ones I use:

FireAlpaca- for the actual drawing part itself (storyboarding/animating/etc). FireAlpaca has a feature that lets you export every frame as it's own drawing, as well as an onion skin mode

Windows Movie Maker- for compiling all of those frames into video format, creating individual shots. If you upload all of your frames and set them to around 0.08 seconds, it equals about 12fps (I usually animate at 0.10 seconds/10fps, its a bit slower but looks nice)

Onlinesequencer.net- for making music. It's the place I've made all of my songs on, like the timeloop song, hyperworkaholic, and the background music for the MFM Kickstarter trailer.

Audacity- for editing audio/music. Also great for recording things directly from your desktop

DaVinci Resolve- for editing and putting together all of the shots into one big video. Can get kind of intensive on the computer during rendering, so watch out.

YouCut (app)- also for editing and compiling shots, I used this one a lot a couple years back but I'm not sure how well it holds up. Doesn't need much phone storage to download but needs a lot to render videos.

MS Paint (yes really)- for typing up text. FireAlpaca has a text option but I don't like it as much as Paint's.

...The only thing I genuinely can't do alone is voice acting. Luckily there's a big voice acting community on Twitter and they're all amazing to work with!

This got... way more in depth than I planned for it to be, so sorry if this is way more than what you were asking lol. But that's my general process when it comes to my art 👍

[ffc1cb]

new price list, featuring a comics option now! for more examples of my art, feel free to browse my general art tag, fandom specific ones, or my tag for finished commissions. my boosty page is over here, and here is a guide on how to use the site. if you can’t commission but would still like to support me, i have a tip jar. thank you!

image text under the cut

sketches $30 per character (black / white + $5, simple color + $10)

alternatively: tip over $10 on boosty, and get a thank you doodle with a character of your choice (must be from pre-existing media (i.e no ocs))

lineart $50 per character, full color $80 per character

simple backgrounds free of charge (colors, frames, shapes, etc). complex backgrounds (scenery, furniture, etc) can be discussed (price depends on complexity)

icons $50 per character

one character per icon, can do matching sets

one page comics $100+ (50% upfront)

clean b/w sketches, possible accent colors (price depends on amount of frames and their complexity)

clear script (with dialogue, if present) or detailed scene description required

i will draw: - canon, fanon, oc x canon - your ocs - sonic

i won't draw: - excessive gore (blood & bruises ok) - nsfw (nonsexual nudity ok) - furry (humanoids with animal parts / characteristics can be discussed) - real people - incest / pedo ships

how it goes:

you send me reference images for character(s) you want me to draw. please provide clear images that make it easy to discern the character's design;

i draw the initial sketch and ask for feedback. major edits are possible at this stage;

when you approve, i request the full payment to be provided via my boosty* page;

after the payment is made i continue working on your commission. if the image is in full color, i will send the lineart to you for feedback as well. minor edits are possible at this stage. anything major must be discussed;

when the commission is finished, i will first send it to you for approval. only minor edits are possible at this stage. any major changes will only be done for additional payment. if everything is to your liking, i provide the hd files via email;

i reserve the right to post your commission on my blog & use it as an example in my future posts. please notify me beforehand if you'd rather i keep it private.

*boosty.to is a russian-based platform akin to patreon, and payments on it can be done via paypal - at the moment it's the only way i can receive money from abroad. you can find a clear guide on how the site works in the post below. sorry for the inconvenience.

if you're interested in booking a slot, contact me @ffc1cb here on tumblr or on discord salt#2983

thank you :-)

[artzychic27]

How would you do Horrificator Marc akuma?

First… He look like this

Second, as this isn’t a school project, and Nino probably just invited his friends (Plus Chloé) for support and to help out with equipment, Marc’s also joining in because according to Marinette, Alya shouldn’t have to write the script alone

They have a fun time collaborating on the script, geek out over comics, and Marc lets Alya in on his crush on Nathaniel

In short: Fast friends

The day of the shoot, it’s the same as canon: Myléne’s scared, Chloé mocks her, and no work gets done. Get the coffee

And then Nino has the audacity to change their script!

Marc: *While Alya holds him back* I’m gonna kill him!

Alya: Marc, no!

Marc: I will kill him!

(After Chloé sends Myléne crying) When they try to rewrite the script, Chloé calls their original ideas garbage or some shit like that because she doesn’t get to kiss Adrien

So now she’s just forcing Alya and Marc to write more romantic scenes between the two main characters and she ignores everyone’s criticisms because “Who cares? I’m better than these pathetic losers!”

But then Nath says (Read as murmurs)

Nathaniel: Bitch, who made you the director?

Chloé’s furious by that comment and yells at Nathaniel. By that moment, Marc’s had enough, turns Chloé around by her shoulder so she’s facing him and says to her

Marc: Say more shit about him, and I will rip that little ponytail off your head so hard that it’ll tear the scalp.

Then he storms out of the classroom and Chloé’s left looking as if she met Satan

Hawkmoth can’t decide between Myléne or Marc, so he just sends his Akuma to do whatever

It goes after Marc because anger is stronger than humiliation/sadness

It fuses with one of his chains, blah blah blah, Arachnus

Nathaniel goes looking for Marc because he’s boyfriend material, and finds only a bunch of spider webs on the floor

Meanwhile, the students are still trying get the movie back on track despite losing a writer and the lead actor, until they hear Nathaniel scream

They run out into the courtyard and find it all covered in webs, and his shoe is caught in one

Same as canon, they’re trapped, there’s no way out, and they need to find the Akuma to escape

So, they split up, allowing Marinette and Adrien to transform while making it look like they were kidnapped, too

As for Nathaniel, Arachnus keeps him trapped in the library because not everything needs to be like canon, and manages to talk the Akuma out of devouring his head several times

(Because spiders eat their mates’ heads)

Same fight as canon, Arachnus kidnaps everyone he can get his many hands on

Only when he tries to scare Juleka, he doesn’t get weaker, but still kidnaps her

Soon, they (Alya) realize that Arachnus is Marc when he didn’t try to hurt her when he had the chance (Because they’re friends) and she notices the hair

By the time they make it to the library, Arachnus is trying once again to eat Nathaniel’s head

Chat Noir manages to trap him under some bookshelves, but they won’t hold him for long, and they can’t get close enough to the Akuma without Arachnus trying to bite them

So, while Ladybug comes up with some convoluted plan with her Lucky Charm, Alya’s had just about enough, pulls out her nail file, cuts Nathaniel down, and has him kiss Arachnus to keep his distracted while she steals the Akumatized object and breaks it

Lucky Charm, and Marc and Nathaniel are still kissing

Alya: Ya welcome.

[scribbledquillz]

WIP WHENEVER

I was tagged by @blarrghe to share this week. Thank you so much for thinking of me!

I have unfortunately not been able to get much work in on my Dragon Age WIPs lately with summer shenanigans now in full swing. BUT I have been killing it with my comic script. And if you all can forgive some unconventional script formatting, I'd love to share one of the pages I've drafted up. ☺️

For a basic rundown of how this works - each page has a header showing how many panels the comic will have. The panels have basic descriptions of the action taking place in them, as well as notes of the overall mood of the moment for the artist I'm working with to capture the emotion I intend. Each numbered blurb is a speech bubble that will appear for the listed character. SFX is for visual sound effects - think onomatopoeia.

I hope you guys like the glimpse of what I'm building! Putting it under a cut to spare the dash, as well as tags. 🥰

PAGE TWENTY-TWO - EIGHT PANELS

PANEL ONE:

We see from behind SHAE as she opens her front door. ADAM is standing on her doorstep, a softer look on his face than we’ve seen since his arrival. His hands are in his coat pockets, the quad parked next to SHAE’s truck.

1. SHAE: …Dad? 

2. ADAM: Hey, sweetheart. 

3. ADAM: Did I catch you at a bad time?

PANEL TWO:

We see SHAE from the outside of the trailer at a side angle, one hand still on the door. She is clearly surprised to see that ADAM has come here. 

4. SHAE: Oh-! No, no I… I just didn’t think you-

5. SHAE: Do you want to come in? I just made coffee.

6. ADAM: That’d be real nice. 

PANEL THREE:

The two of them have stepped inside together. SHAE is walking back to the counter where her coffee mug is waiting, along with the rest of the pot. ADAM is wiping his boots off on a rug in front of the door as he looks around the trailer. 

7. ADAM: Looks good in here, Shae. Been doing a good job keeping the place up to your Mom’s standards. 

8. SHAE: Ha, yeah… Thanks. Pretty easy once you get into the habit, I guess.

PANEL FOUR:

ADAM is now standing next to SHAE’s table, and we can see the top of it from a downward angle. His hand is resting on it beside the paperwork SHAE has stacked back into a neat pile.  

SFX (from ADAM): whistle

9. ADAM (from off panel): This all for your school?

PANEL FIVE:

SHAE, who had opened up a cabinet and was reaching for another coffee mug, is looking back at her dad from over her shoulder with her hands still raised to hold open the cupboard, the other gripping said mug. 

10. SHAE: Oh - yeah it is. 

11. SHAE: Just the financial aid stuff. 

12. ADAM (off panel): Seems like a lot just for a few classes.

13. SHAE: Yeah, I guess it is. That should be the last of it I need to finish up, though.

PANEL SIX:

SHAE is in the foreground still facing the countertop. The coffee pot is in her hand and she is looking down at the new mug as she fills it for her dad. ADAM is still looking down at the paperwork, his fingers pushing the papers to see what’s underneath despite looking only half interested. 

14. ADAM: What’d you say you were going for again?

15. SHAE: Um, well - right now just the basics. You’ve got to take some core classes no matter what you want to major in. 

16. SHAE: Redwood’s more affordable so I figured I’d do those there. Then once I’ve got some good grades on my file I’m hoping to transfer to State on scholarship. 

17. ADAM: Why would you wanna do that if Redwood is cheaper?

PANEL SEVEN:

For a moment SHAE looks dead ahead - her dad might not have meant it, but that comment stung. 

PANEL EIGHT:

SHAE sighs as she picks up the two coffee mugs, letting her dad’s comment roll off her back. Like always. 

18. SHAE: Because Redwood doesn’t have the Environmental Conservation program I want to get my degree in, Dad.  

19. ADAM (off panel): Hmmph.

20. ADAM (off panel, under breath): Woods seem to be doing just fine on their own, far as I can tell.

Tags: @heniareth , @siriskulksnerding , @rosella-writes , @melisusthewee , @greypetrel, @shivunin , @jinakadaisy and YOU!

[macabrecabra]

With my vacation fast approaching and the time to art about to be all there before me, going to lay out what to expect! Put a read more for those interested in the art and writing coming down the pipeline

ART NEWS FOR MACA To start, I'm going to skip the illuminarti this month. Couldn't come up with an idea I like and want to take the time to flesh out concept art for my webcomic project. HOWEVER in July, will be opening up another full-body dragon commission slot on Flight Rising, so not done with dragons for sure <3

Also finishing up the last four of the last batch is priority c: Speaking of webcomic, wanted to launch it this summer, but I dont' want to just rush out a half-assed project. Going to take the time to do this proper. I got the script and happy with it, but want to make sure the art/concepting 100% matches the vision. Also want to finish a buttload of pages before launch, make sure all assets are finalized and eyecatching, and get the modest patron set up! ( tiny tiers!) Will share a few concept arts here, but going to keep others under wraps to avoid spoilers c:

Got some Lovecraft stuff that is finally moving forward like a comic idea finally getting the time to get out there and also going to do the Lovecraft poll art at last! This has been simmering on the backburning and I can't wait to crack into it!! It will serve to be a steeping stone into the concepting of the fuller idea/story, nailing down the look of the eldric horrors!

Another goal is to clear out a ton of WIPs I've started that I want to clear out so I can clean up my art file! Some are old, some are ancient, but really want to take the time to finally get them done and post them out here.

Want to also do some fanart pieces because I like things and like to show things I like some love <3

Final goal....to redraw a thing I drew for an awful ex-friend's project as my own. It was a cover for a comic idea. I have since redone the idea in my own world, but feel I need to do something to fully reclaim the passion and feelings of the story core and this feels like the first strong step, so that personal (and super emotional!) art piece is in the works

Unfortunately ask art requests are going to be on the backburner/done when feeling a need for something quick to do, so please be patient about requests! I do get them, just going to take time to do em!

WRITING GOALS

Finish In Time, This Too Shall Pass. I'm dedicating a day to editing and finishing this beast of a fanfic. No doubts about it! By end of June I swear it is going to FINALLY be wrapped up

Finish Coded Connections. This Mass Effect fanfic has actually had a huge chunk written, just need to finish writing it and wrap it up

Jujutsu Kaisen fanfic brewing: Have...actually been writing and working on this because the idea would not leave me alone, so expect one soon!

FINALLY WRITING MY SHORT HORROR STORY COLLECTION!!! I had a crazy ass horror dream last night that I recalled in perfect detail as if it wanted me to make sure it was written down and it has inspired me to pick up the project again.

And that's all I got for now!

[mrsketchy]

4. Fav character/subject that's a bitch to draw

8. What's an old project idea that you've lost interest in

9. What are your file name conventions

10. Favorite piece of clothing to draw

11. Do you listen to anything while drawing? If so, what

12. Easiest part of body to draw

Sorry for the wait! Here goes~

Long Post inbound!

4. Fav character/subject that's a bitch to draw?

Fanart is very intimidating, especially when it comes to complex designs with lots of details. Currently I'm a big Genshin fan but all the characters give me grief.

8. What's an old project idea that you've lost interest in?

Going way back to Deviantart, I started a roleplay worldbuilding project with a friend called DNAnarchy.

Unfortunately, it was too ambitious for our skill sets and attention spans. A lot of the characters still live on, either recycled or redesigned to better suit our new aesthetic preferences. I still have the Lore sitting in the back of my mind, but I doubt I'll do much with it.

That's not even starting to touch upon the comics I'd love to make.

9. What are your file name conventions

For the longest time, I would use keysmashing ie: asqwerkljn.jpg.

After a few unfortunate computer crashes or reformatting, I eventually sucked it up and sorted everything into folders based upon original characters/fanart/roleplay.

File names that would be a combination of Character name/Pairing name + verb/noun and usually with some janky spelling to stop accidental duplicates of the same subject manner.

It took a long time to relearn this new system, but now it's so much easier to find anything in a pinch.

10. Favorite piece of clothing to draw

The easy answer would be shoes/boots, they're always challenging and fun to design!

A more in depth answer would be:

There are a lot of repetitive shapes/angles in my drawings. If you know what to look for, you'll find them everywhere. My favourite bits usually involve this specific squiggle S shape that can be found in zippers, ribbons, frills, shoe laces, tassels, etc.

11. Do you listen to anything while drawing? If so, what

Most of the time I'll listen to a variety of true crime podcasts/youtube videos. So long as hosts have a voice cadence that I can follow easily without subtitles/video (since processing what people are saying is a difficulty for me)

On the other hand, I also enjoy Distractible, video game long plays or media analysis (youtube video essays). Essentially, just having people ramble on helps me keep focus.

12. Easiest part of body to draw

A cool stylistic trick I use is solid shadows to block out shapes, this means I can essentially cheat by technically not drawing certain body parts at all and your mind fills in the rest.

Most commonly I use this for under the jaw, and it will very quickly make a face pop out.

Thank you for your questions!

If you've enjoyed these, please check out the original post below

feel free to ask something off script too~

Weirdly Specific Artist Ask Game

Support me on Ko Fi

[elijahthemouse]

Vent comic I made this week. Played around with the “tone” layer setting in CSP. Image description below the cut.

A 5 page, black and white comic with text in greenish-blue boxes.

Page 1 has 4 panels.

Panel 1: A person with short hair is slouched over a desk. A cintiq, a wireless computer mouse, and part of a keyboard are visible. The person is holding a cintiq pen. He is wearing rectangular glasses, and he looks tired.

Panel 2: A view from slightly above and behind the person, showing more of the desk.

Panel 3: A close-up of the person’s face. He is frowning.

Panel 4: A close-up of the person’s hand, holding the pen and shaking. They have a glove on their hand. A text box says: “What if I’m not cut out for comics?”

Page 2 has 2 panels.

Panel 1: A fish-eye perspective of the person’s face, with duplicated lines to create a jagged look. He has sweat drops on his face. A text box says: “I don’t know what I’m doing.”

Panel 2: Several silhouettes of characters are lined up. Each character is holding their arms out. Some of them are humans, some are mice, and some are alien creatures. A pile of papers is below them. Text box 1 says: “I have several stories that I’ve been working on.” Text box 2 says: “Some of them, I’ve been trying to make for years.”

Page 3 has 3 panels.

Panel 1: A view of the person from just behind his head. The cintiq’s screen is visible, showing a blank page. A text box says: “But every time I get to the point where I would make the comic...”

Panel 2: A frontal view of the person, showing the top right half of his body. His hand holding the cintiq pen is shaking a lot.

Panel 3: A text box says: “I just get so scared.” The person is sitting on the floor, his knees to his chest and his head with blank eyes. A cartoon ghost floats from his mouth. He is surrounded by hand-written text that say the following: “What if the story sucks? What if I accidentally make something offensive? Is my art good enough? Are my characters compelling? Do their motivations make sense? I don’t want to mess up.”

Page 4 has 2 panels, and a text box above both of them.

The text box reads: “I end up giving myself all this work to do that, in theory, progresses the comic.”

Panel 1: The person is standing in front of a big fire, determination in his expression. His arms are raised and their hair is fluffed up. Hand-written text floating around him says: “Character turnarounds,” “Location illustrations,” 3D Models,” “Edited script,” Thumbnail the WHOLE THING,” “Color Pallets,” “Detailed Outline,” “Clothing Research,” “Expression Studies,” and “Prop Design.”

Panel 2: The person is standing away from the desk, with his back to it. The empty page on the cintiq screen has a frowny face on it. A text box says: “But it’s really a way to procrastinate.”

Page 5 has 2 panels.

Panel 1: The cintiq screen has a page on it with a simplified character turnaround. The character is a silhouette, and has no details to it. It has a front-facing drawing and a side-facing drawing, and the head of a 3/4-view drawing. The 3/4-view drawing is scribbled out and incomplete. A text box says: “I get so caught up with trying to make it perfect...”

Panel 2: A text box says: “That I never end up making it at all.” A Windows file explorer is open. A file titled “page001.clip” is listed. Under the “Modified” section, it says “forever ago.”

[savage-kult-of-gorthaur]

"IT IS A MISTAKE TO MERELY REFER TO METALLO AS A MECHANICAL BEING OR ROBOT..."

PIC(S) INFO: Spotlight on the Kryptonite-powered supervillain, enemy of Superman, and member of the dreaded Legion of Doom, Metallo, from the pages of "Justice" Vol. 1 #4. April, 2006. DC Comics. Artwork by Doug Braithwaite & Alex Ross. Sketch art by Alex Ross.

MINI-BIO: "It is a mistake to merely refer to Metallo as a mechanical being or robot. Cyborg is perhaps a better word. Metallo still has the brain of John Corben.

Corben was in a terrible accident, one that a scientist, anxious to experiment on a human possibilty beyond what the law would allow, took advantage of. Corben's brain was transplanted into a cybernetic body fueled by uranium. Perhaps the loss of his body was too much for him. Or maybe he was also inclined towards crime. Under the name Metallo, Corben became a criminal.

But it is not Corben's robotic strength that is a threat to Superman. In time, Corben found a better source of energy than uranium. At the heart of this robot criminal is a piece of Kryptonite, the only mineral capable of killing the last Kryptonian."

-- BATMAN, from Bruce Wayne's Private Files in the Batcomputer (script by Jim Krueger)

Source: https://dc.fandom.com/wiki/John_Corben_(Justice).

[twiststreet]

I got a question about how I handle lettering for those webcomics, so I’ll put an answer under a jump.  

0::BUYER BEWARE

I should start by saying-- I really don’t know what I’m doing at a “pro level.”  I think pro dudes use Illustrator and I don’t know how to use that program.  

This is just my “just getting by, good-enough, I guess” way of doing things.  

Also: I just work in Photoshop-- I don’t know what I’d do in Gimp, say, so this may only be useful to folks using Photoshop... Sorry!

Here’s Salgood Sam showing an analogous technique (he does things slightly different) on Youtube, though.

1:: SETUP

So I have a “Comic Page” template that I keep as a Read-Only file-- it has a layer so I can see where the page bleeds are, some pre-set grids in case I need a grid, etc.  It takes about 5 minutes to set something like that up, and I think it comes in handy.  

The top-most layer is a “TEXT” folder where I try to keep all my work, just to stay organized.  (It’s really easy to get lost in all your layers in Photoshop). I keep some baseline lettering and invisible in my template locked-- so if I need Photoshop to “remember” what my “normal lettering” looks like, I just click off of that, and that saves me having to look things up.

So, when I need to letter a page, I start by typing everything out in that text folder.

2:: TEXT LAYOUT 

Photoshop has a text tool. I usually draw a little box and THEN type, instead of clicking the text tool because when you draw a little box, you can shape the words faster.

This is the aggravating part-- say your script is “The quick brown fox sumersaulted the lazy dog.”

You have to shape it so it’s

THE QUICK

BROWN FOX

SUMERSAULTED

THE LAZY

DOG.

And the only way I know to get that shape right is just by doing it.  But it’s also valuable to do because you sit there sometimes and realize “Oh, I should just say JUMP instead of SUMERSAULTED, it’ll look better.”  (It’s why I’m always a little astonished when comic writers don’t do their own lettering-- it’s **not fun** but it’s the part where you can fine-tune the words the reader sees.  A writer should be interested in that!).  

But it’s aggravating because you just... can very easily end up tweaking and tweaking and tweaking and tweaking...

3:: THE BALLOON STAGE

Once the words are in there, I go and click that layer Text Box.  That’s UNDER the words.  So then I switch to blue or green, and under my words, I use the circle tool in Photoshop and I draw out a balloon.

(A thing that helps me at this part:  it’s rare that I pick the exact right top-left corner to start my circle, but usually I’ll find a decent bottom-right spot.  So then I just hit control-z and redraw the circle now that I know the bottom-right spot to begin at.) 

Because I’m drawing it, I can use the wand tool to grab the circle and resize it different ways-- either just with a straight transform to get the shape just so, or by warping it.  

I’m trying to get the words to fit in the balloon, and to have enough space around the words so that the balloons don’t feel cramped.  Nate Piekos has a lot of tips that I’d recommend taking a look at to see some good do’s and don’t(s).  (And his website Blambot has some excellent fonts available for hobbyists-- I’ve used Anime Ace before anyways).  

(I believe 90% of the whole shebang though is choosing the right font for the job.)(OH; for finding the right font size, when I made my template, I just (a) copy pasted some pro comic pages into my template, and (b) then typed out some of their dialogue so I could put it side by side to the pro page).  (The mistake I made being ... I think pro American comic pages letter too small, compared to manga, say... I think that was a mistake on my part, but...). 

Anyways, so then I have my art, and above my art I have the balloon layer, and above the balloon layer, I have my words.

(Sometimes you want something besides a circle though-- then you just get in there and draw the shape you want with a pencil tool or the lasso. Shouting doesn’t “look” like talking, as an example-- but sometimes those sorts of graphics are corny; depends on the story.)  

 (I’d always use pencil and not the brush because brush leaves these lame half-grey pixels that are impossible to cleanup and could mess you up later).  Here’s an article that calls anti-aliasing the “secret menace of coloring” and I guess that’s how I learned it, anyways. 

4:: Connecting Balloons and Making those Pointy-Bits

Then, you just have to draw the balloon pointing at whoever’s talking, or connect up balloons.

Usually, I just use a quick and dirty Polygonal Lasso-- I lasso something that points the right way, fill it with some more blue, and there you go-- I blue myself.  

But sometimes you want some curves in there-- there, you probably should know how to use Adobe’s curve tool.  And I think I have learned how to use it a couple times over the years but I always forget, so instead I do something extra cheap and lazy...

I go into a new layer, and draw a circle in a different color... and then I use the circular select tool to select a portion of the circle so that when I hit delete, it leaves a cool pointy-bit.  (Balloon tail?  Whatever you call it).  

So here’s an image that kinda shows what I do:

And then I hit delete and...

(I’m lying about one bit-- I just do everything in black because I’m too lazy to switch colors like this, and I’ve done this a zillion times.  The color bit is how I *should* do it, but).  

Here’s the thing-- one you get one good curvy bit on a page, you can just duplicate that layer and rotate it around, to use it other places.  Especially after you learn how to use Edit-Transform-Warp.  The warp tool lets you take something like that and really distort into all kinds of different shapes-- sometimes you can take just a normal straight pointer, and just go right to warp tool, and get enough of a curve to be happy.  

(I just do whatever feels like it’ll go the fastest in the moment because I really don’t enjoy lettering, so I want it to be over as quickly as possible).  

Anyways, once I get the shapes the way I want, I color the yellow bit blue, and then smush that layer down into the word balloon layer. So I hopefully end up with something that feels like it has a good shape to it.

5:: The Bit Where it Turns Into a “Real Word Balloon”

Then I do something that I do so often that I just made into an "Action.”  (Photoshop Actions are insanely useful).  And this is the Action I use more than any other action.  

I use the wand tool to grab that blue balloon.  And then I hit the action.

My action says :  

1) Whatever is selected?  Fill it black.  

(Weird Note I Barely Understand:  For comic book black, I sometimes use C: 60, M: 60, Y: 40, K: 100-- Photoshop’s black is actually not all that black, according to comic colorists, if I remember right.  But I don’t remember if I have my Action setup that way.  But I should and you may want to, too).  

2)  Then, it says “Select-- Modify--Contract”.  What that means is the selection is shrunk. Not the image-- the selection.  So if you select the blue balloon, it’ll shrink how much of the blue balloon you’ve selected. So I usually say... you know, contract maybe 4 -6 pixels (some number that “feels right”).  

3)  And then my action says, okay, now whatever you’ve selected-- that shrunken bit?  Fill it white.

So you have this all black shape (because it filled black at first), and then it shrinks, and then it fills it white.  I have it set so that happens everytime I hit like command-F2 or something...

It’s not the “prettiest” balloon-- a pro balloon has a little nicer liner to it and a pro balloon tail is usually, like, longer and got a much more interesting curve to it.  But I don’t think it’s so bad that people will notice, is the thing (or at least I hope not).  And if that’s the case, I’d rather spend my time focusing on the words in the balloons than the balloons.

6 :: Philosophy

But I think there’s also something else to keep in mind, which is this--

Comics are a language.  They’re a language built out of cartoons, panel shapes, panel layouts, color, lettering, et cetera.

In a perfect world, all those elements are working in concert.  In a perfect world, all of the decisions around those elements are being equally driven and decided by the story (or whatever thought/emotion is being communicated).  As an easy example where lettering is concerned, Howard Chaykin’s American Flagg and its lettering by Ken Bruzenak:

But because of the “industrial” assembly-line conditions most North American comic books get made under, you can tell that the writers, artists and letterers are often not working in any kind of harmony.  So a lot of the language just doesn’t get spoken.

You can put the words outside of panels, above panels, panels with nothing but words, words in negative space, words on top of silhouettes, *thought balloons*, etc.  Check out this double-page spread from Jim Steranko’s Outland adaptation:

The lettering is part of the page, and helps to communicate the mood of the page from how it looks, not just what it says.

So I would say that it sometimes adds to the fun to come up with an overall strategy of how you want to handle the lettering, before you get rolling, instead of just trying to squeeze words in there after the fact-- to try to think about the page more as a “designer”, and lettering as one of the key design elements.

If you can!  If you have the time! 

Anyways, that’s how I do things.  Probably incorrectly!  But it’s just how I’ve always done it.  

Hope that helps.  Thanks and good luck.

[svankmajerbaby]

file under things i want to stew over a little more to fully process what im trying to say but like. i think its very interesting how the first childs play movie of course shaped how the rest of the franchise would be even at its core concept and how so much of its base dna was stuff that wasnt (as far as i managed to learn) in don mancinis original script. like the things that i feel are quintessentially eighties about it and that while making it a really good movie with some strong suspense and scares also made it pretty glaringly focused on a rather conservative view of domesticity and childhood during those times (that, also as far as ive read, is not there in the apparently more original-concept-faithful remake with aubrey plaza and mark hamill which im still unsure i even want to watch).

bc at its core the first three movies are about a child being preyed on through an invasion of the domestic space by the outside influence of an evil adult man who hides under the guise of friendship, and uses "dark magic", specifically voodoo, a religion directly linked to african-american communities that is exoticized and vilified in practise through the movie (even though john ambrose is, i think, meant to be a neutral figure, what is meant has little to do with the overall impact of the movie itself).

i feel like apart from the silliness of the general plot by itself the comedy that becomes more commonplace later on also works wonders to soften the blow of the image of this villain whose literal purpose is to corrupt and possess children. and the idea of corruption for corruptions sake/parallels with deals with the devil and how violence begets violence and even heroes become alienated through their struggle to survive is something i find fascinating and that i wish had been better explored in seed tbh, and its something i hope this next season of the series delves deeper into (tho im not holding my breath). but im glad that those recap articles on bloody disgusting of the series' queerness in season 1 also noticed what ive been a bit (possibly intentionally) uncomfortable with. those couple scenes in which sexuality, especially burgeoning sexuality/first romantic feelings are compared (comically, but still) to murder. its a joke but its still part of the basis of the whole franchise, that there is this corrupting force infiltrating families and targeting children. i think thats why i find it so smart for don mancini and the writers team of the series (whether intentionally or not) to both show that theres violence even in the supposedly safe space of the domestic and the family and that queerness is not the product of an outside influence corrupting the kids but something that even if it is the excuse of bullies to torment them its also what allows them to bond with others and find safety and comfort and connection.

[hpkomic]

I recently updated my commissions page with new rates - the first such update in years. I have enough work in the portfolio and a track record of quality that it felt like it was time to do so.

With that said, I am available for work. I have several recurring clients each week, but I am always up for new work.

I’ll copy over some of that information here. If you want to survey some of my existing work, hit up my portfolio page.

Anyway, commission details below the cut in addition to some samples.

Character Illustrations

My most popular commissions tend to be illustrations of characters, ranging from original characters to drawings of existing characters. I also have designed characters and props for commercial projects.

Character Sketch (per character) $5.00

Character Line Art (per character) $15.00

Character Flats (per character) $20.00

Character Shaded (per character) $30.00

Additional Customization

These are additions to character commissions, as outlined above. This is where you can request background elements or request adult-themed illustrations.

Add simple background for single/set commissions + $10.00

Add complex background for single/set commissions + $25.00

NSFW (per character) + $25.00

Source file (per image) + $15.00

Other Art

I have done various illustration and design work, from comic books to logos to social media icons. I have also colored many comic projects for other artists.

Comic – Line Art Only (per page) $100.00

Comic – Colored and Shaded (per page) $150.00

Logo – Vector Logo Design (complete design) $100.00

Sketch Card – Inked (per card – includes shipping) $25.00

Social Media Icon (per icon) $15.00

Coloring – Flatting/Shading (comics or illustrations) $30.00/$60.00

Writing Services

As a college-level composition instructor, freelance writer and editor, and storyteller, I have many writing-adjacent services on offer. I have heavy SEO experience, working on many websites under non-disclosure agreements.

Writing – 12pt double-spaced (per page) $10.00

Editing –12pt double-spaced (per page) $10.00

SEO Services (per post/project) $15.00 per 1000 Words

Research Services (for projects) $15 per Hour

Consulting Services (scripts, plotting, and more) $25 per Hour

Ready to go?

If you want to commission David A. Davis for illustration or writing projects, please e-mail hpkomic @ gmail.com, or use the Contact page. Responses for commission information are under 24 hours, barring emergencies.

Rights and Attribution

Commissions are offered for commercial and private use only, except for negotiated for-profit use. Commissioners do not have the right to sell any produced content in any way, shape, or form, including merchandise, without prior written consent from the producer, David A. Davis. This includes NFTs.

Illustration Samples

More can be found at my portfolio.

If you’ve read this far and you’re a new customer, mention “tumblr” in your email for a discount on your first commission.

[divinewill]

Capítulo Cuatro: It’s Been A While

I expected nightmares that day, but while I would certainly revisit fire, gore, radiation, and death in my dreaming; pre-empting all of this was a strange experience which would have consequences radiating out to the edges of all creation. I woke up in my dream at a desk in what appeared to be an artist’s studio. On the desk appeared to be a collection of minimalist style scripts, minimalistic outlines with little detail which trusted the creative team to exercise their artistic virtue.

I looked around the studio and found it to be consisting of cubicles for persons of different roles: one for a penciler, one for an inker, one for a colorist, and finally one for a letterer. Among the neatly arranged character sheets, maps, and mechanical diagrams, there were other materials that I couldn't make sense of - they looked like mystical diagrams. Everything had been meticulously organized. Stored in boxes, folders, and drawers. Among these character sheets, I found one file with my full name on it. I opened it and immediately saw a profile of myself, like one outlined by Hirohiko Araki in his book Manga in Theory and Practice: The Craft of Creating Manga. It was even complete with a conceptual rendition in many art styles associated with several of which I recognized and several I did not. While looking through all this material, I noticed it simply listed the author under the pseudonym WORLDBUILDER.

Before I could piece all of this together, I heard the door unlock and become ajar. I made my way over and opened the door, but there was no one on the other side.

Instead, what I found looked like an enormous bedroom repurposed into a personal studio. Whoever this room belonged to decorated the walls with posters, lanyards, and pinboards filled with pins, as well as plastic and wooden phone charms. There was a bed with four dakimakura, two of which were decorated with magical girls and two with furry girls, as well as several plushies.

Beside the bed stood a nightstand holding notebooks filled with storyboards, multiple game consoles, a desk featuring a Cintiq, and a custom-built computer with a TV screen. A professional-quality microphone and headphones completed the setup. It was apparent that the owner was likely involved in animatics creation, although their work deviated from the conventional slice-of-life storytelling commonly associated with this style. Rather, it seemed to be a superhero story with magical girl elements.

At the desk was a rolling chair, while below it were plastic drawers filled with art supplies, letter sets, and stickers. There were figures of anime, comic, manga, tokusatsu (特撮), and video game characters on top of a dresser drawer, which, upon inspection, was filled with costumes. In fact, the boxes underneath the bed, as well as the closet, seemed to be filled with costumes of champions I recognized from various media.

All of it seemed tailored to fit me, but before I could entertain the concept of trying any of them on, the door once again cracked open, and I went to explore it.

I found myself in another studio with a series of large wooden tables. Someone scrupulously arranged a schizophrenic collection of notecards bound by binder clips. There seemed to be an undisclosed system underlying the apparent disorganization, with some written in block script and others cursive. The ordered use of highlights and binder clips of differing colors showed an intentionality. It was at once madness and sane simultaneously. I picked up the third collection on the first table and read the title aloud to myself, “Will meets the author…”

I couldn’t tell what genre this was supposed to be: some sections seemed to describe a superhero story, others a kaijū film, or super robot manga, and yet others a xiānxiá novel. The first 15 sections seemed to be devoted to worldbuilding, setting up the elements required for the future stories. I noticed and entered a walk-in closet filled with boxes on shelves. Boxes filled with notes on a variety of topics on almost every conceivable topic. One paper I noticed was titled “Lorentzian theories vs. Einsteinian special relativity - a logico-empiricist reconstruction” by László E. Szabó, an author and title I had never read before.

Exiting the door I entered, I ended up in a room comprising a series of cubicles, each with a light table installed on the desk and a computer. Some of these cubicles were equipped with a Cintiq Companion 2. On the outer walls of the cubicles were posters for other projects, and figurines of giant robots, superheroes, magical girls, etc. adorned the top shelves of each cubicle. Bookshelves filled with boundless artistic reference materials and relevant studies covered the walls.

As I examined the cubicles, I discovered collections of storyboards comprising penciled doodles bound in sequential order, accompanied by scribbled notes along the sides. I could identify the workstations of storyboarders, inbetweeners, compositors, and lighters.

I also found more advanced material orchestrated into a large flip book, which was the prototypes of the frame-by-frame animation of disconnected scenes. In collections designated “L/O” were blueprint layout rushes which combined the background roughs, directions regarding camera movement, instructions for voice actors, and directions on how to put everything together.

Key frame rushes detailed the skeleton of movement for specific characters in isolation. Timing rushes, combining backgrounds, colored cells, CG data, and camera movement. Finally, the final composites tied all the individual elements together.

Further down, I found what appeared to be the station of a sound designer, their desk bursting with music CDs.

The most morbid of these keyframe rushes I found was the image of a small black girl with an Asiatic facial profile whose head, right arm, and left leg had been severed from her torso, which had been cleaved in half at the waist and whose right eye was missing.

Another door unlocked and barely opened, so I explored what was on the other side. Not much was different in the next few rooms, which seemed to be specialized for 2D Vector-based animation, 3D computer animation, stop motion animation.

I came to another room filled with cubicles and computers, but with adjacent rooms separated with glass walls and doors. These adjacent rooms were more remarkable: most of these adjacent rooms contained a desk with a triple monitor set up, two flat screen TVs fixed to the wall, and a rolling chair. The monitors were active, displaying source code, 3D models, spreadsheets, paused gameplay, etc.

This game seemed to be licensed for Nintendo, PlayStation, X-Box, Windows, Mac, and Linux. I entered one of these rooms and discovered a VR headset. After a moment, I tried it on, grabbed the controllers, and I found myself in what looked to be an editor’s office for a film set.

I looked at the screen within my field of vision and saw a Southeast Asian girl, only 14 years old, dressed like a soldier. She was armed with a Bowie knife and an unholstered semi-automatic pistol. She shot at another person dressed in an otherworldly costume, and the rounds tore through their skull and chest cavity. However, the wounded one, despite having their brain matter spilled on the ground, seemed completely unaware of the damage.

After exhausting the magazine, the girl dropped her magazine and reloaded as her target slowly advanced towards her. She holstered her gun, pulled out her Bowie knife, and took a boxing stance. It was clear that she was a proficient knife-fighter. Despite this apparent proficiency, she backed up, clearly afraid to engage the inhuman thing before her.

They were standing on a set consisting of miniature buildings, vehicles, and landscapes of a tokusatsu set reminiscent of what is used to film Godzilla or Gamera films. However, there was blood everywhere. It covered the set floor, the buildings, the electrical wires, and the military and civilian vehicles. Even the backgrounds had what seemed to be arterial blood splatter.

The monster itself was drenched in blood. It was on its hands, oozing from its mouth, covering their knees and elbows, and coating its feet. There was even blood on its forehead, as if it had broken someone’s nose or teeth with a well-placed headbutt. The level of gore surpassed what one would find if it had violently gutted several people, similar to scenes in an Akira Kurosawa film.

I didn’t notice until now that the building had caught fire. Smoke billowed from the doors and the monstrous thing stopped only feet in front of the girl and levitated off the ground. Its monstrous mask slid off its face, revealing a bloodstained human face. Placing my hand onto the desk, I accidentally changed the screen to a different camera, to which I’d panic, “No!” Wanting to see what would happen.

The news feed focused on a woman in a terrifying mask, clad in armor like a medieval knight, armed with a spiked pavis and a kpinga. Her helmet sported two oni-like horns, and the raised mask possessed vampiric fangs. However, her face was bright red, and her mouth indeed had vampiric fangs on her maxilla and mandible. She was eating the raw flesh from something chimeral, mixing human and inhuman traits together in an incomprehensible mass of flesh.

I flipped the switch I brushed against to get back to the original story. However, this action loaded a video of a beautiful Indian girl with mixed Dravidian/Sinitic features and bright blue eyes. She appeared cold and alone, a stranger in a strange land. There was something familiar about her face, despite having never met her before.

“Hello, sweetheart.” I heard from behind me.

The voice was not one I recognized, but I felt an immediate and overwhelming sense of nostalgia wash over me when I heard it. I turned around and removed my headset. While the VR immersed me, the world around me transmuted into a white negative space. I saw the speaker, a featureless silhouette of an androgynous human form, blacker than pitch, with an aura brighter than the sun. It outstretched its otherworldly hand and caressed my cheek, but I wasn’t afraid.

There was something heartbreakingly familiar about this otherworldly figure as it told me, “It’s been a while, princess.”

The being pulled me into a hug and told me, “I missed you so much…” Tears streamed down my face, my chest tightened for reasons I could not identify, and I hugged it back.

I asked it in a cracking voice, “Do I… know you from somewhere?”

It told me, placing a hand on my head, “Spoilers, but I’m an author and a worldbuilder.”

We released each other from the hug, and I asked, “The worldbuilder that is credited on all this material?”

It answered, “Yes. Though, onto more pressing matters. I’ve broken the seal and come to give you this…” it grabbed my right hand and placed something in it.

The being gave me a perfectly spherical black body pendant.

I asked it, “What is this?”

It told me, “This is the All-Slayer.”

It pulsated and jittered for a moment before the being continued, “It has the power to penetrate all barriers, without exception, and it can only be wielded by its master or those whom the master has authorized to wield it.”

I told it, “I am unfit to wield such a weapon, and even if I were fit to do so, I couldn’t imagine using it.”

It told me, “That hesitancy is exactly why you are the one I am giving it to, sweetheart. Despite what its name might suggest, it doesn’t have to kill. The All-Slayer has the power to penetrate any barrier. It can cleave electrons off atoms and split atomic nuclei, allowing it to cleave adamantine. Though, that is not all. It can also pierce through non-physical barriers.”

It continued, “The All-Slayer can tear down the psychical barriers, compelling a target to reveal the truth, like a certain demigod’s lasso, but it can also compel the target to confront the truths that they have subconsciously suppressed, or even break down the barriers between individuated souls, allowing for telepathic dialogue where lies are impossible. And that’s only the beginning…”

There was something about this eldritch pulsating thing in my hand that deeply unsettled me, like it wasn’t just alive, but I couldn’t put my finger on it. All I knew was that it felt like I’d seen this thing before, but I couldn’t remember where, when, or even how I could have.

The Worldbuilder explained, “You do not have to wield this power alone.”

I looked the Worldbuilder in its non-extant eyes as it revealed, “You and you alone have the power to use it now. As already stated, if you choose to, you may authorize anyone you deem worthy to use it. It can even replicate itself and bind its copy to anyone you choose...”

They finished, “I will bind it to your Lolita Princess form.”

Suddenly, I felt a presence behind me, and when I turned, I saw my superpowered alter ego suspended in the air Vitruvian man style. The All-Slayer leaped out of my hand and into the Lolita Princess’ hand and transformed into a featureless spear.

Worldbuilder asked me, “Is your favorite superhero still Superman?”

I looked at Worldbuilder and when I looked back at where my alter ego was, it was gone, so I returned to the conversation with, “Of course.”

Worldbuilder asked me, “Why?”

I thought for a moment, and then I told it, “Because he is the archetypal superhero. I love Spider-Man, He-Man, Spawn, Sailor Moon, Goku, and Link… But the ideal of Superman is immune to honest deconstruction. Every attempt I have ever read has required the removal of something essential to him, and thus cannot dismantle him in any meaningful way.”

A doorway leading into a void materialized and opened behind the being who told me, “For you, I will write stories like those you love, with virtuous heroes worthy of emulation… but this comes at a cost.”

I asked it, “What would that be?”

The Worldbuilder answered, “Heartbreak and horror… but remember what lies at the bottom of Pandora’s box.”

I responded, “Hope.”

The being kissed my forehead, “Until the end of time… I’ll always love you… My sleeping beauty…”

The being stepped backwards through that large doorway suspended in the air with another space interior to it and as the doors closed, I felt a desperation well up in me, compelling me to act. I transformed into the Lolita Princess said, “By the grace of God, no matter how long it takes, I’ll save you…”

I did not know what came over me and the being moved its head in an almost imperceptible nod of disappointment.

The Worldbuilder responded, “No, you won’t… Even if it takes an infinite number of rewrites… I will save you…” it said with its head positioned as if to look me in the eye.

“My heart is within you, sweetheart.” It said as a sendoff as the door finally closed with a massive thud that woke me up drenched in sweat.

I attributed the weird dream to having read postmodern fiction before bed, though I couldn't remember reading anything. Tears streamed from my eyes, and I didn’t understand why. As I wiped the tears from my face, I realized I was holding something in my hand, and when I investigated the palm of my hand, I saw a vantablack marble in my hand. I jumped out of bed, dropped it, and it vanished before hitting the ground. Despite being spooked, I convinced myself that I wasn’t fully awake when I saw the All-Slayer in my hand.

I got ready for the day, wearing a shirt with the crest of Hyrule, and headed downstairs. Dad had cooked eggs, bacon, and toast while watching the news. His primary interest was the humanitarian soldiers who helped in the relief effort that I encountered yesterday.

The man at the center of attention in the live feed was a stoic, 198 cm tall, 120 kg, bald African American man dressed in similar but distinct gear from the other unidentified soldiers. The insignia on his chest looked almost like an inverted King sign used in chess notation. Beside him was a man who looked more like a dwarf from a fantasy novel than any ethnic group I’d ever seen, except he was dressed in similar military garb.

The dwarven man lifted what appeared to be a wand and cast a spell in a language I could not identify. Then, despite the crowd of reporters not calming down, there was sudden silence in their clamor.

The man designated with the insignia of a king revealed to the world, “I am the Supreme Commander of the Global Strategic Self-Defense Operations, John Rage.”

I was stunned to realize that I had seen his face among the concept sketches within my dream.

He continued, “There is much to reveal, much to do, and little time; so I will make this brief—”

[zooterchet]

The Bat Signal (COIN DC Comics)

You have to take a concept, matching you, and flip it upside down to be a cop, in Batman.  Your own comic, should be a Bat-Mite, a fan, to guide you; Word of God, is Canon, the tiny poops, the politician in power, the Pilate’s exposition on pork eating, to know who is evil, so you can have sex, watching them; bacon.  Judaism (bacon every morning), Christianity (bacon for literate), or Islam (bacon as mother’s secret, for literacy of child approved by mother and mother’s family).

Dick Grayson: Considered a slur in Charlebois logic, a comic book fan attempting to use the comics for crime, a narcotics signal under audit of Judaism.

Jason Todd: A fan directly emulating.

Tim Drake: A computer hacker we lure into pedophilia, the mirror of Batman.

Stephanie Brown: A comic book writer female, a new script used to insult blondes.

Damian Wayne: A sperm steal, a stolen property, upon scandal induced by us.

John-Paul Valley: A Nihilist bloodline, given their own writing chance, a new form of carpet installation, induced suicides.

Barbara Gordon: A cop piece, the female is a cop, the father was a gangster, a screen piece for community as supernatural.

David Xavimbe: A video game, the Batman member is gay, he’s ethnic pride.

Luke Fox: A writing game alternative, to make a cartoon episode, to introduce a new median.

David Cain: It’s a male or female live assassin, they produce thespian work, for Ottomans, they’re rigidly religious, “Amish”.

Cassandra Cain: A pedophile hunt, for a Bet lead, to place them as a supervillain, for a specialty of print to teach skill.

Bette Kane: A new sports cheat, through gambling, a better price for an eightball of cociane off "vig" (the pricer's fee, the cost for risk, an athlete's fee).

Kate Kane: The price of a deal removed, the calculation of a cost to the federal government out of Canada.

Helena Bertinelli: A love affair for the Bat, as a psychiatric indice file, for all those slain; the party, before the final reprieve, the international Jewry.

Houses of England (Match the Last Character of the Five, to the End of the Four):

Wait: Right.

Jaim: Witch.

Puck: Write.

Kruz: Craft.

Saem: Words.

Khan: Money.

Neal: Nihil.

King: Jucte.

Juwe: Panth.

York: Magic.

Cash: Merce.

Mack: Medik.

[jetjust]

Photoflow gimp

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Pixeluvo offers a wide range of advanced features such as non-destructive editing via adjustment layers and powerful color correction tools.

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To use it, you need a commercial license and a license for Pixeluvo full version costs $34 and includes all future updates for that major version number. Pixeluvo is a beautifully designed image and photo editor for Linux and Windows that features support for Hi-DPI screens, new camera RAW formats, and more. Unlike in other photo editors that use layers, LightZone enables you to build up a stack of tools that can be rearranged, readjusted, turned off and on, and removed from the stack at any time.

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LightZone is an open-source, professional-grade digital darkroom software for Linux, Windows, Mac OS X, that supports RAW processing and editing. Additionally, Inkscape is designed to be extensible with add-ons. It features a simple interface, import, and export various file formats, including SVG, AI, EPS, PDF, PS and PNG, and multi-lingual support. It is similar to Adobe illustrator and it is widely used for both artistic and technical illustrations such as cartoons, clip art, logos, typography, diagramming and flowcharting. Inkscape is a free and open-source, cross-platform, feature-rich vector graphics editor that works on GNU/Linux, Windows, and macOS X. access to work with meta-data and many more.artistic photo transformation such as animations.ability to retouch photos in enormous amounts of ways.It offers photo collection management and an easy way to navigate through the collection directories and subdirectories using a thumbnail browser. It is intended for dedicated photographers who need a simple, fast, and easy tool for photo editing. the option of using a secondary displayįotoxx is also a free and open-source photo editing and collection management tool.It has many features as listed in the project homepage including: RAW files can be modified and then saved in compressed formats as well. It is feature-rich and powerful when you need quality digital images from RAW image files. RawTherapee is a free and open-source photo editor for optimizing digital images. It is lightweight and not feature-rich though it is a good image editing software that doesn’t require other software to run. It is free and comes with all the standard photo editing functionalists such as transformation, adding effects, filtering, metadata editing, and many more. ShowFOTO is a standalone image editor under the digiKam project.

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easy photo importing and exporting to different formatsĭigiKam – Professional Photo Management 5.

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directory for tutorials on how to use it.

It offers a toolset for importing, managing, editing, and sharing photos and raw files. DigiKamĭigiKam is an advanced and professional, free open-source digital photo management application that runs on Linux, Windows, and macOS. It is simple and easy to use allowing users to do quick photo editing. Just think of it as a Linux version of Windows Paint. Pinta is also a great photo editing application that works similarly to Windows Paint.NET. It can be used for concept art, texture and matte painters, and illustrations, and comics. Built by artists that want to see affordable art tools for everyone, it comes with tools you need for your work, usable via a clean, flexible, and intuitive user interface. Krita, a professional, creative, free, open-source, and cross-platform painting software that works on Linux, Windows, and OSX. For programmers, GIMP is a high-quality framework for scripted image manipulation, it supports many languages including C, C++, Perl, Python, and Scheme. It features tools for high-quality image manipulation, image transformation, and creation of graphic design elements. It is also extensible and customizable via third-party plugins. It provides sophisticated tools to get your job done, and it is built for graphic designers, photographers, illustrators, or scientists. GIMPįirst, on the list, we have GIMP, a free, open-source, cross-platform, extensible, and flexible image editor that works on GNU/Linux, Windows, OSX, and many other operating systems. Related Article: 8 Best Video Editing Software I Discovered for Linux 1.