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I’m at the point where I’m ready to start prioritizing actually telling the story over rigid self-imposed rules
I guess I’ve finally convinced myself that I know how to draw, so I don’t need to constantly prove it with the artistic equivalent of long division. I got what I needed from it and it's not a meaningful use of my time anymore
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Refusing to show any of the actual comix work I’ve been doing publicly but here’s some misc sketches for funsies + a very rough house
I’ve also been working on designing the family house for ic, and I’m being pretty thorough about it. I just want something solid and consistent that I can then reference and churn out again and again as needed from any damn angle. It’s an important house!!!Â
It’s intimidating though. You have to think about a lot of things. Shockingly, the interior and exterior of a house.... are related
The level of perspective sketching (or if not sketching at least calculation and thought) required for a consistent, realistic comic that doesn’t just elide environments is wild. And anybody who isn’t experienced w/ that kind of art won’t even know you ever did all that work because there’s no evidence in the final product!!!!
uhhhhhhhhhhh
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Really funny to me in retrospect how Ravi's original iteration was mostly just unpleasant and mean, then later was entirely rewritten to be more of a sad anxious mess, and now they’re both simultaneously
Right before peak psychosis I was fucking obsessed with the tower of babel. In first year of college I made a really shitty sculpture based on the story. It broke before critique and I had to badly explain the concept to everyone else while having an anxiety meltdown lmao
The original draft of ic was actually given the working title ‘babel’... a lot of the language-related elements in the story are no longer notable, because they were superseded by other things (due to later experiences and increased knowledge of both the hebrew bible and general jewish tradition)
Idk. When you write your ‘bad’ characters to be likeable on some level because real bad people have likeable traits, but also you know people forgive people they like more easily, it’s hard not to feel a little [vague hand gestures]. Where is the line between my obligation as a writer to clarify my point, and the obligation of the reader to have their own moral compass
This is the reason there are certain characters who I just straight up cannot make central or important because if somebody actually liked them I would have to track then down and fight them to the death. I refuse to even allow the possibility
I’m still infodumping my thoughts about trauma and writing instead of going back to sleep what’s up wvwrybody
