The Kazoo Dude

Part 1 of Nimona as quotes from my friend group’s “no-context-quotes” discord server channel & other assorted nonsensical conversations i’ve had (both featuring @duolingocaticon <33)

bounced this around in my brain for a few days as a coping mechanism for how the hell every inkfish in the games glows, despite photophores absolutely NOT being a structure that even near every squid has, and a structure that other cephalopods that are not squids do NOT HAVE AT ALL

I've been meaning to make a thing on the logistics of ink glowing, I think a type of bioluminescent bacteria (potentially a terrestrial evolution of Aliivibrio fischeri) evolved to have a symbiotic relationship with inkfish and they have colonies in the ink sac. compatible with every type of inkfish. So, controlling the amount of bacteria that gets deposited into the ink lets Inklings control the luminescence of their ink at will and also indirectly gives every cephalopod the ability to glow if the glowy ink is on the skin

Lumberjacks, like most megafauna species generally require more space than the average hardware store, even a big box store could provide. The misconception is that Lumberjacks are a social species because of how they often work and live together.

This is a matter of necessity, not preference, and a survival technique for thriving under the LogBoss.

A “pack” of Lumberjacks, if not under the environmental pressure of a LogBoss will naturally disperse until they each have a wide territory.

Lumberjacks rarely fight for territory.

One on one, a Lumberjack could drive out a Dad or Lesbian, however the latter tend to travel in social packs.

Lumberjacks will passively retreat on the presence of large numbers of people. Kind of like Sasquatch.

Getting a “pack” of Lumberjacks assembled would be hard enough unless they were forced into a Hardware Store by a LogBoss. In that case, they would already be in a heightened and potentially agitated state far above their natural behavior. This artificial scenario can be likened to a circus animal running amok. If it had been in the wild, the incident would not have occurred.

Free-roaming Lumberjacks are the cryptids of the Hardware ecosystem. They are surprisingly quiet and unobtrusive.

SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE

I’m NOT an expert but I have some working experience I can share. You need experience to become great. Here is my set of instructions, tips, and notes towards making a 12-page comic.

My method is to work backwards. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen.

I even plan/draw the end page first. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&.

If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. (treat the first page and the 2-page splash as you would the last).

Roughly… the steps to making your comic is

WRITE

PLAN THUMBNAILS

DRAW

…BEGIN THE WRITING (DO NOT SKIP NO MATTER WHAT) like this, in this order:

How does it end?

Does the protag succeed or fail?

What is the turning point of their story?

What the protag do that led them there?

Where does it start?

Who is this protag?

EXAMPLE:

Guy gets mauled by a bear.

This is a fail on the guy’s half.

The bear must eat something or he’ll starve to death.

It’s the guy’s fault the bear can’t find other food. He caused the avalanche that buried all the cabins.

The guy is yodeling in an avalanche zone.

The guy is some guy.

CREATING “THE BEAT SHEET” Take the above stuff and reorder it to make sense.

This guy yodels.

Echoes roll.

Snow slides down.

Avalanche buries the mountain.

Cabins are engulfed.

This bear has no access to cabin food and garbage.

Bear eats this guy.

Expand. Blow up important beats for emphasis. Keep less important beats brief.

This guy is hiking in the snowy mountains.

He comes across an avalanche warning sign.

There is nobody around but him.

A dumb expression forms over his face and he yodels.

Echoes roll but nothing nearby is moved.

At the top of the mountain the snow drifts twitch.

Guy, satisfied, hikes away from there still yodeling.

Frozen snow cracks.

Snow puffs billow and great slabs of ice crash down the mountain side.

Guy sees this and hightails it to safer ground.

Animals, people, are all panicking and getting pushed over by the rushing snow.

Cabins are destroyed.

The guy takes cover by an outcropping of rocks, fastens himself securely to the rock face, and waits for the avalanche to die down.

Avalanche dies down.

A lone bear shambles over from the other side of the mountain.

The bear goes to where a cabin used to be (only roof tiles are left). Bear sniffs a dish satellite.

Bear forlornly eats a food wrapper.

Bear tries to dig.

Guy comes down from the rocks he as climbing and sees bear.

Bear stops digging and sees him.

Guy runs.

Bear chases him down.

Bear eats the guy.

BEAT SHEET COMPLETED!!!

After the beat sheet, write up all the sound effects and speech bubbles and conversation/dialogue you want to be in your comic.

Since comics are a visual medium, highest priority is given to the beats. If a story can’t be told with the art without the dialogue– you messed up and it’s time to rethink your life choices.

Try to keep all your text chunks as short as a tweet. Professionally you don’t want more than 25 words per speech bubble and no more than 250 words per page.

Next is translating the beats to pages…

STRUCTURE OVERVIEW:

[1] point of entry, in media res, hero intro

[2][3] conflict. establish conflict, setting, and mood by the third page. [4][5] rising action/false resolution to conflict/investigation

[6][7] turning point/plot twist/epiphany (this one epic image, to page spread is pivotal, spend a lot of effort into creating this)

[8][9] aftermath/“darkness before dawn”/struggle [10][11] recovery/“rise and conquer”/“fall”

[12] resolution/final end/cliffhanger

[front cover][interior] [interior][back cover]

——————–

My maximum per page is nine panels but I’ve seen pages that have way more. I like to have about 3 to 4 panels per row or less but I’ve seen the “rules” broken before. Advanced comic book artists manipulate time with the number of panels and the size of each panel.

remember, DIAGONALS!!! open up an issue of batman, superman, spider man, deadpool or whatever youre reading theyre everywhere.

———-

…DRAW IN THIS ORDER:

Page 12,

Page 6 and 7 (this is typically one large image that takes up the space of two pages),

Page 1,

and then the rest.

ONLY “DEVIATION” ALLOWED:

Page 12 and 1*

Page 6 and 7,

and then the rest.

*Draw the first and last page as a spread in situations where the beginning of the story mirrors the end of the story.

Cover is dead last.

———-

(If at the very end you find out you need more pages and it’s absolutely unavoidable and totally necessary you have to add them in fours. Try to stick to 12 pages for this crash course.)

——————–

FURTHER NOTES:

Plan and draw the pages in spreads (the twos) since this is how it will appear in print and when you submit them to an editor for review guess what, the pages with an exception to the first and last will be reviewed as spreads.

You at most only need one establishing panel of the setting and environment (scene) per page.

Forget “true to life” perspective outside of the establishing panel). Practice diagonal composition of objects and subjects within panels. For dynamism.

You don’t have to present the text all in one go (one paragraph or bubble). You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel.

Less important moments have smaller panels and or lesser detail. More details (or more word bubbles) slow down time. More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass)

Know your light sources. Control the blacks. Control the values.

TIPS | COFFEE? :3 | dA | IG |  ♡ |  ❤ |  ⋆

Notes / guide to faces / whatever

What it is - basically line tracing of sprites so it would be easier for you to understand shapes of faces. Muriel and Portia can be not so accurate cause we have only ¾ view of them, so i drew side and front view by myself haha … Also Asra’s page outdated  cause we only recently got front view of him.

I hope this can be helpful to you!

I don’t really think about how I draw characters with different body types at this point because I’ve practiced it so much but these are some rough notes on what I do.

The core of it is to just draw using thicker shapes. Don’t worry too much about exaggeration as it’ll help get you out of the mould of drawing smaller characters by default. The neck, the arms, the torso, the legs, just draw them thicker. 

Study references of fat or muscular to see how the definition changes but in principle, it isn’t that much different to drawing any body type.  

A guide on my process for colouring like in the Arcana which I developed through studying the style.

Now, this is just for sprites or for neutral lighting. In the case of most memories/CGs, you have more interesting colours to use, but the process is identical. There are just extra steps.

Using my favourite memories for each character as examples (hopefully, you can tell which ones) you can see this process. All of this happens on layers above the base drawing.

Usually, you set a colour-filled layer to the setting “multiply” over the entire drawing, then using a “screen”, “add”, or “hard light” layer, you add the lighting. Depending on the intensity of the lighting, the outline will be coloured to be lighter.

The shading colour rarely changes, aside from slight hue changes.

Misc advice/tips/tricks below. I may update it depending on if I get further questions.

Hello @juicebox-idiot ! I’m your @tagss2k18 Secret Santa for 2018! I thought it’d be nice to have Nadia pampering your lovely fan apprentice Scotch for a night~ So here’s some warm cocoa, a warm fire and a rare fall of snow~ All by the Countess’s side <3

Hope you’ve had a merry holiday!!! 

I HAD NO IDEA I NEEDED SCOTCH AND NADIA

CROPS WATERED WIG SNATCHED THANK YOU SO MUCH! HAVE A LOVELY NEW YEAR YOU AMAZING HUMAN BEING