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lyd-jms-lwrs · 2 years

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Heads and Three Tales - Foundation Art and Design Final Project 2022

Story Telling

For a choose your own adventure story, you have to know some elements of how those are put together. Choose your own adventure stories are games and they can exist in a video format or just written. I am someone who enjoys playing video games and enjoy reading classic literature so why not combined the two.

The games I have chosen all have one thing in common, they all have choose-your-own-adventure aspects. It is actually main feature of the game. For some it is more prominent, for example, in Plague Inc, you make the choices on how your virus or fungus infects the world and what symptoms it gives people. In games such as Red Dead Redemption 2, your choices affect the way the other characters in the world interact with you – if you are nice, people will not be afraid of you, if you are horrible, people will be scared of you AND you are more likely to be hunted down.

For the two books, Romeo and/or Juliet and Of Mice and Men, I was inspired in different ways. In Romeo and/or Juliet, the tone of the narrator is very casual and funny at times. It is something that really stood out to me whenever I decided to read the book. I wanted to be capture this element of playfulness in my work too – it is not completely serious, I am playing with you. However, I say I want to be fun and play a game with you but I am also someone who is very dramatic. I like adding darker elements to my work. A book that I have always loved is Of Mice and Men. People who have read the book will agree with me when I say that something that stands out the most is the ending where George kills Lennie while Lennie is not paying attention. I knew that I wanted to force my reader into making a decision like the one George made to add some drama to this project. I wanted it to be more of a personal experience than just and art work.

Aesthetics, style and colour palettes

I have noticed as my time as an artist that I like a darker aesthetic but I do not want to fully remove colour. I like having pops of colour appearing on designs here and there. I used Arcane as a reference because it has a very unique style and I am, frankly, obsessed with it. I love the texture on the faces of the characters, they are not airbrushed. They also look stylised enough for them to be more interesting than a normal human face – the bright hair colour and the big eyes are an example of this. Moreover, there is one character in the show, Jinx, who has a very distinct style that I wanted to incorporate into my work. Jinx always covered anything that she owns with brightly coloured doodle. This links back to the idea of adding in pops of colour in a mostly dark colour palette. It makes it stand out so much more.

When looking at character design I like the more mature look but not too realistic – I want that element of cartoon. I want my characters to have this look but also not be too scary. This is where the character of Mono from Little Nightmares ll comes into play. Little Nightmares ll is a dark game with little to no colour and a horror element. However, I find Mono to be very cute to look at even if he is faceless (for the majority of the game). Vanny from Five Nights at Freddy’s: Security Breach is the complete opposite to Mono. Her bunny costume with her glowing red eyes is very unsettling and when I first saw her, I’ll be honest, she did frighten me. The way she acts in the game is what interested me. She has a playful element to her – dancing and skipping around the pizza plex before she spots you and comes running after you. I want to mix these two together, the cute and the frightening, to create my own faceless character.

When I picked these references I was not really focused on style but more the portrayal of gender and character. Uzui Tengen from the manga/anime Demon Slayer, is a tall, extremely muscled man who is a strong fighter. He is also obsessed with his appearance and loves to look ‘flamboyant’ and wants to be seen by everyone. On the other side of the spectrum we have Ryūnosuke Akutagawa from Bungou Stray Dogs, a character who is frail and would not like to be seen but is still a strong fighter. I like that these two characters have in common is the fact that they are both incredibly strong but in their own ways. I know that I want to have two characters that look the completely opposite of each other and yet could still hold their ground in their own ways.

As for Kaoru Sakurayashiki (also known as ‘Cherry Blossom’) from SK8: the Infinity, is a character that I instantly loved when I first saw him. Yes, him! The ambiguity of Cherry’s gender is something that I believe is done on purpose. As a non binary person, I am always happy to see some representation even if it is never outspokenly said. I know that I want to also make of of my characters, if not all, gender ambiguous to make sure everyone of all identities can feel included and seen

I chose a very specific style for my sketchbook which I knew I wanted to display as well. I wanted include as much as possible when it came to the journey of this project. I am a manga lover for many reasons, however one of my favourite reasons will have to be the extra comics that these artists make. I love seeing pictures of characters interacting even though they technically never met in the main running storyline. I think it adds so much more character to them. When I read one of my favourite manga/anime Haikyū!!, a story about a boy who wants to become a volleyball player, I noticed how many characters actually never met each other in the main story. However, in all of the mini comics you would find in the cover of the volumes and small doodles the artist and author Haruichi Furudate, you would think the whole cast knew each other! I loved the fact that this artist made characters who would never meet interact with each other and it was the driving force behind my sketchbook – draw character design processes and make them look like best friends.

I want to do a choose-your-own-adventure format because it is a great way to tell people messages. For example, a choose-your-own-adventure story was used to analyse people’s attachment to other people through the means of a dating story. Or analysing how adults with potential autism react. Choose-your-own-adventure stories can be used in many, many ways and that’s why I find them so much fun. They can be an innocent game of trying to get Romeo and Juliet to meet or something more real like conceptualising depression in children – a very real, very serious issue.

I want to have parts of real life in my stories. I want to make the reader actually feel something for these characters. I want them to want to befriend them, or betray them. I know that I want to focus on a more imaginative one – like zombies for example. But also have something more real like a pandemic or a nuclear war. I want to add some realism into this but also keep it fun and not too serious. It is just a game. However, even if it is just a game, I still want to make the reader think and reflect on what they have just experienced.

#headsandthreetales

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x5red · 5 years

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Sixty fun & fascinating facts about the classic Supergirl (4 / 4)

At last, the final fifteen fun facts in a series to mark the sixtieth anniversary of Kara Zor-El’s debut in DC Comics. This is the last batch of Supergirl info-nuggets, bringing the trivia total up to sixty, one for each year since her introduction.

As before, each snippet of data relates to the original Supergirl, the intrepid Argo City teen who leapt from that crumpled Midvale rocket ship. Covering her original Silver and Bronze Age incarnation, in comics and on screen, each factoid is calculated to intrigue and delight – hopefully even seasoned Kara fans will find a few morsels of trivia that had previously escaped their attention.

So, one last time: enjoy…

46. At one point she was blacklisted from being mentioned in DC publications.

In 1985 to mark its 50th comicbook publishing anniversary DC Comics launched a mini-series, Crisis on Infinite Earths, that sought to rejig its entire fictional universe to better address the new, more mature, direct sales audience. Childish elements were removed and iconic characters rebooted. Superman was to be recast as the only survivor of Krypton, meaning Supergirl not only had to die but be erased from all past events too. DC, however, decided that erasing Kara from fictional history was simple not cruel enough -- in a move straight out of a George Orwell novel DC airbrushed her from in-real-life history too.

Supergirl became she who shall not be named, seemingly banned from being mentioned, even in the editorial pages. When DC couldn’t avoid using her name, as happened in Secret Origins #42 (July 1989) when discussing Phantom Girl’s first appearance, they masked it with asterisks like an expletive -- ”S*P*RG*RL”. DC even went as far as to exclude Kara from a bio of writer Paul Kupperberg in the pages of Power Girl #2 (July 1988), despite Kupperberg‘s long tenure as Supergirl’s chief writer, and Power Girl being a parallel-universe re-imagining of Kara. Yet the Maid of Might remained popular with at least some DC staffers, as Alan Brennert proved when Kara made a highly unauthorised crafty cameo in his Deadman story inside Christmas with the Super-Heroes #2 (1989) -- Brennert only avoided censorship thanks to DC editor-in-chief Dick Giordano volunteering himself to do the story’s artwork.

47. Prior to her role as Supergirl, Helen Slater had struggled with eating disorders.

In an obscure 1988 interview for UK tv with psychologist Oliver James, Helen Slater talked frankly about how winning the role of Supergirl helped in her ongoing battle with Anorexia and Bulimia. Asked about the cause of the conditions, “Control was one part of it”, Slater admitted, adding, “I think Bulimia especially, which I did suffer from from 13 [...] is a lot to do with not having a safe space to express anger.” She went on to credit her Supergirl fitness trainer, Alf Joint (“the most beautiful man in the world”) with overcoming some of her fears around food by using Chocolate Brazils (chocolate dipped nuts) as positive reinforcement after a hard training session.

48. She celebrated her 75th birthday in 2018.

It is generally accepted that Kara Zor-El’s birthday, when using the Gregorian calendar on Earth, is 22nd September. That date comes from a reply to a reader’s letter published in Adventure Comics #389 (Feb 1970), but said reply didn’t give the year of Kara’s birth, meaning readers couldn’t work out Kara’s age. (“One should never trust a woman who tells one her real age”, wrote Oscar Wilde, ”A woman who would do that would tell anything.”) Fortunately a little bit of detective work means that fans can work it out. A story in Action Comics #305 (Oct 1963) gives the date of Kara’s arrival on Earth as 18th May 1959, and both the Daring New Adventures of Supergirl #1 (Nov 1982) and Action Comics #270 (Nov 1960) suggest that Kara was 15 years old when she landed. This means that she was born in 1943. So, as of her most recent birthday at the time of writing (22nd September 2018), she would require 75 candles on her birthday cake. Good thing she has Kryptonian super-lungs..!

49. Her nickname was Hot Dog.

Every fan knows that Kara Zor-El is Supergirl, and that Supergirl is Linda Lee Danvers, but how many fans know that Linda Lee Danvers was also... “Hot Dog”..?!?!!

Yup, that was her name when she was dating Philip Decker, music conductor and part-time lecturer at Lake Shore University, Chicago. The pair’s romance had blossomed in the pages of Supergirl Vol. 2 thanks to a shared love of Jazz music, and they spent an increasing amount of time together in each other’s apartments. It was during one such session of intense snuggling that Philip let slip his nickname for Linda: “Hot Dog”, a name what was met with uncontrollable giggles from Linda.

50. Her makeup bag hid a couple of super secrets.

Of course, if you’re one of the world’s greatest superheroes it is important to look your best when saving the world, but Kara’s beauty kit not only helped keep her looking immaculate while fighting injustice, but also concealed a couple of tricks to keep her dual identity a secret too. In Action Comics #270 (Nov 1960) Kara celebrated her sixteenth birthday. Her gift from the Man of Steel was an innocent looking lipstick which, in reality, hid a secret compartment to stash her super-compressed costume. “If you ever have to conceal your costume quickly, or remove it to go swimming...”, explains Superman (perhaps anticipating other activities that a young woman might get up to that could require stripping off clothing.)

Years later, in Supergirl Vol. 2 #17 (Mar 1984), Kara added more secrets to her makeup bag when she finally decided to ditch her brunette Linda Danvers wig. She still needed a way to switch from Supergirl’s flowing blonde locks to Linda’s brunette bob, of course, and the alternative she devised was a special energized comb that reacted with colour-sensitive molecules to instantly transform her hair’s style and colour. Clever stuff..!

51. She and Brainiac 5 weren’t really an item.

Despite now being firmly romantically linked in the eyes of many comic fans, Brainiac 5 and Supergirl’s relationship only really became serious during the 1990s Earth Angel era. Back in the Silver Age, when the pair first met in Action Comics #276 (Apr 1961), Kara was initially weary of Brainy, recognising his family resemblance to Superman’s arch foe. Her attitude softened, however, as the story unfolded, even calling him “sweet” by its close. As the years rolled by Brainy is clearly smitten by Kara, but she rarely reciprocated his affections. Finally, in Legion of Super-Heroes Vol. 2 #294 (Dec 1982), Brainy brings matters to a close: “You remember that crush I had on you? [...] I think I’ve finally worked it out of my system.”. In response Kara teases, “Really? What a shame. Here I was, starting to think how cute you were.” (Needless to say, Brainy is left dumbfounded as Kara promptly flies off.)

Kara dated numerous men during the Silver and Bronze Age, including long-term relationships with Dick Malverne and Philip Decker, but these were generally in her Linda Danvers identity. Brainy is the closest thing “Supergirl” came to a boyfriend -- perhaps that’s why some fans like to focus more on him rather than Linda’s beaus.

52. She was a fan of The Bionic Woman.

One of the problems of being a superhero is that your evenings are often taken up saving the world, leaving little time to catch up with popular tv shows. But on her odd evenings off-duty, what was likely to be on the Maid of Might’s tv screen? Unsurprisingly, Kara seems to have been a fan of superheroine shows, as demonstrated by comments in Superman Family #184 (July 1977) while she was battling an unnaturally fierce electrical storm in the skies over Santa Augusta. “Great way to spend an evening out”, complains a frustrated Girl of Steel, “If this storm doesn’t let up, I’ll miss ‘The Bionic Woman--!’”

53. She was a big fan of seat belts and personal computers, apparently.

Being a superhero doesn’t pay very much, if anything at all. That’s why DC Comics always liked to line up product endorsements for its big stars, and the Girl of Steel was no exception. Supergirl’s first apparent appearance in adverts (outside of selling DC’s own magazines) was in a late 70s commercial for kid’s underwear, but pretty soon DC had secured more prestigious work for Kara when in 1981 they had her extol the virtues of Tandy’s new line of 8 bit micro computers. More important work came in the mid-80s, when Kara teamed up with Honda and the US Department of Transportation to promote the adoption of car seat belts. The Maid of Might appeared in two full-length give-away comics (and on-screen Helen Slater even appeared as Supergirl in a tv advert.) Kara was so committed to the cause of road safety that she even did the second give-away comic after her death in Crisis on Infinite Earths -- now that’s dedication for you..!

54. Only one woman worked on her comic-strip during the entire Silver and Bronze age.

It is a sad reflection of the industry in the 60s and 70s that if one totals up all the writers, artists, and editors, who worked on the Supergirl strip during the Silver and Bronze Age, there’s only one female name on the list: Dorothy Woolfolk. Editor for Supergirl Vol. 1 #1 (Nov 1972) only -- yup, a single issue -- Dorothy launched the Girl of Steel into her first self-titled comicbook before giving way to industry veteran Robert Kanigher for issue #2. Allegedly a larger-than-life figure, Dorothy was a rare example of DC allowing a woman to work outside of the romance genre during the Golden and Silver Age; she is even credited by some with suggesting the idea of Kryptonite to Superman writer Jerry Siegel.

(Away from Supergirl’s own strip, two other women briefly worked as editors on comics featuring the Girl of Steel in a guest capacity. Karen Berger and Laurie Sutton both edited 1980s Legion of Super-Heroes issues containing Kara cameos.)

55. Her most iconic costume contained a pair of clocks.

The problem with slinky skin-tight superhero costumes is that they don’t leave much room for the practical necessities of life... like pockets... or watches. But that never stopped the Girl of Steel from sneaking a few hidden practical elements into her outfits. Most fans know that the inner lining of her cape hides a secret pocket (where she stashes her everyday clothes when out superhero-ing), but how many fans realised that the three discs aligned over each hip on her iconic 70s hot pants outfit actually acted as a pair of clocks? According to Krypton Chronicles #2 (Oct 1981), by placing three fingers on the discs over her right hip Kara is telepathically informed of the time in New York (her then home), while the same action on her left hip reports the time in Kandor (Krypton’s capital, famously miniaturised in a bottle by Brainiac.)

56. The USA was actually one of the last countries to see the Supergirl movie.

The Girl of Steel may have been able to zip around the world in an instant, but apparently her movie couldn’t. After opening on Thursday 19th July 1984 in the United Kingdom, then days later in Ireland and Japan, the movie slowly made its way around the world, opening in the Philippines, Australia, and Spain during August, and then France and Canada during October. By mid-November, however, American audiences were yet to see the Maid of Might grace cinema screens.

The delay was caused by Warner Bros. withdrawing from its US distribution deal near the end of production, causing producers to scramble for a replacement. Eventually, on Wednesday 21st November -- over four months after the UK debut -- the Supergirl movie hit US cinema theatres thanks to fledgling distributor TriStar Pictures, but with almost 20 minutes of material chopped out. It wasn’t until 1998 that the full international cut was legitimately available in the US thanks to an Anchor Bay VHS video release.

57. She was Wonder Woman’s sister.

Incredible as it may seem, for a brief period Supergirl was Wonder Woman’s sister. The incident happened in Supergirl Vol. 1 #9 (Dec 1973) after Kara finally had enough of being two-timed by boyfriends as Linda Danvers, and hit upon by men as Supergirl. When Kara bravely rescues an Amazon warrior ship under attack by fierce sea creatures, Queen Hippolyta offers to adopt her as a daughter, making Kara the sister of Princess Diana (aka Wonder Woman.) Realising that the Amazon’s island home is free of men, Kara accepts, but a medical emergency forces her back out into the Man’s World to seek the ingredients for a serum. With the emergency over, Kara considers that maybe she was too hasty in turning her back on all men, and leaves her new Amazon home to give them a second chance.

58. She valued her privacy.

When you have as many extraordinary abilities as the Girl of Steel, the usual fears and phobias just don’t apply. Why be afraid of heights when you can fly? Why be afraid of snakes when your skin is not only fang proof, but bullet proof? But Daring New Adventures of Supergirl #4 (Feb 1983) revealed that there’s one thing guaranteed to make Kara Zor-El flee in terror -- fear of having her everyday identity exposed. The issue sees Kara hypnotised into seeing her greatest fear by the villain Ms. Mesmer: as a result Supergirl continually sees her Linda Danvers identity reflected back at her in windows and mirrors. Convinced that everyone can see through her disguise, Kara seeks solace with her adopted parents. It is only thanks to the calming influence of her mother, Edna Danvers, that Kara has the courage to go back out onto the streets as Supergirl to defeat Ms. Mesmer.

59. Her first kiss was with a very hirsute Jimmy Olsen.

The opening season of the Supergirl tv show teased a possible romance between Kara and James Olsen, and in some ways this echos very early Supergirl stories where the pair were occasionally seen as a potential love-match. Indeed Jimmy Olsen was actually Kara’s first kiss, although the event came about in a highly unorthodox way. The pages of Superman's Pal Jimmy Olsen #44 (Apr 1960) saw Jimmy transformed into a werewolf, and Superman reasons that the curse can only be lifted by the kiss of a young girl. In steps a fifteen year old Kara Zor-El, who gives the cub reporter a delicate peck on the lips, reversing the spell. A year later Jimmy managed to turn himself into a werewolf for a second time(!) in Superman's Pal Jimmy Olsen #52 (Apr 1961), but Kara’s kiss proved ineffective that time.

60. She didn’t entirely die in Crisis on Infinite Earths.

Obviously it is a matter of record that the original Kara Zor-El gave up her life in Crisis on Infinite Earths #7 (Oct 1985) – at least until DC later saw fit to retcon that particular story line – but in their attempts to erase the Maid of Might from existence, DC had forgotten about a rather inconvenient story published just a year before, in Supergirl Vol. 2 #19 (May 1984).

The tale dealt with a Supergirl clone who had assumed the identity of Linda Danvers. The clone had no super powers, but she did have all of Kara’s memories and personality. The story ends with a twist: rather than take the easy way out by having clone-Kara conveniently fall under the wheels of a speeding bus, writer Paul Kupperberg has the two Kara’s work out a deal. ”It’s a big world out there… with plenty of room for two people with this face!“, explains Supergirl, “We can find a place for you… a name of your own…” And with that the two Karas go their separate ways, meaning that although superpowered-Kara may have surrendered her life in Crisis, powerless-Kara (her clone) presumably continued to live out a regular life anonymously somewhere in America.

And that’s it -- all sixty..! Thanks for reading, Hope you enjoyed the series and learned at least a few snippets of trivia along the way that you found amusing or thought-provoking.

Don’t forget to come back in 2048, when it will be time to celebrate the 60th anniversary of the Matrix Supergirl... Or maybe not..!

#supergirl #superhero #superman #dc #comics #superheroine #dccomics #silver age #bronze age #comicbooks #lex luthor

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resbang-bookclub · 6 years

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AMA Transcript: Simple Melody

For our final AMA of Resbang 2017, @alliope, @bbbutterfingers & @daciafu stopped in to answer questions about their Resbang, Simple Melody! Here’s some of what went down:

Q: My first question for Allie is what inspired you to do this AU?

Allie: Well I've generally had the idea for an Over the Garden Wall AU for a while, not necessarily for SE, but as the first check-ins deadline was approaching I ended up rewatching bits of Over the Garden Wall and it just kinda clicked? Mainly I think it came from Crona's betrayal and Beatrice's betrayal and everything fell into place from there. I thought the eerie atmospheres would work well together! So I ended up scrapping my previous idea and wrote 3k plus a summary like three days before the first check-ins, rip.

Q: For butter/dacia, what went into how you decided which scene(s) to art?

butterfingers: HM well there was some chitchat when we started about what kind of work we wanted to do and I said that I loved the Boom comics covers, and then I shouted WHAT IF I MADE COMIC BOOK COVERS! and I think Dacia went WHAT IF I DID BACKGROUNDS and I guess we just approached it as if we were doing something comic-y haha!

Allie: You two were the power duo.

daciafu: I've always been in love with the style of the backgrounds of OTGW since that's where all those cozy and spooky feelings of fall and the Unknown really shine and I'm honestly HORRIBLE at designing backgrounds so I wanted to take the challenge and push myself to get better! Mimicking other people's styles really helps me break down how they make their choices and teaches me how to make things look Decent so I was super hyped to pick up the OTGW style! And then when Butters and I were trying to figure out What Do and she said she wanted to tackle covers, I decided to do background-heavy scenes. 😊

Q: What is generally your guys’ process (writing for Allie and arting for butters and dacia)?

Allie: Well, I wrote in little scenes, like I would get an idea for a scene and just go for it, the fic wasn't at all coherent until maybe a few days before posting. This actually posed a problem since linking scenes took longer than I thought it would. Because I had most of my scenes written, I thought I had more finished than I really did. By the end of Resbang, I had 56k written but only 20k remotely post-able. I'm a super obsessive planner though, so my whole fic was outlined in detail early on, which was nice cause I knew what I was doing lol

butterfingers: I loved going through Allie's notes, I was always excited to see how they'd connect the dots! My art process is as follows: scribble something, put it aside, look at it a lot throughout the day with the thought that maybe I can surprise myself into seeing something new, find something I hate, fix it, rinse and repeat. For this project I actually... have a friend who works with Boom Comics and she was able to hook me up with a nice little gallery of illustrations for the OTGW comic so I got to go through and put together my mood board for it 😊

daciafu: I read over the gloriousness that was Allie's draft and immediately picked out some neat scenes or wanted to reimagine the classic OTWG ones. I spent a lot of time studying first! Looking at the art books, and poring over the show’s scenes and kind of getting a feel for the color palettes, textures and compositions. Then I watched a tutorial on Youtube where someone just deadass uploaded their painting process on a piece of official art that made it into the show. So that was EXTREMELY helpful to watch the way they painted back-to-front and kind of blended the planes without like, losing depth?? The internet is so, so wonderful. And then I got to work! Started with a soft brush for lineart so it wouldn't be too prevalent, moved onto base colors, then shading, and then really trying to establish textures and make the atmosphere Just Right(tm).

butterfingers: Genius!! Oh damn that sounds like such great advice vis à vis backgrounds. /takes notes

Q: You sound like the dream art partner Allie, I weep for my artists and my last minute HERE IS 10K I JUST TYPED UP BC IM A MESS.

Allie: Ahh geez, these two were the dream partners honestly, like I'm so glad they could gather stuff from my notes, cause I've always got everything together in my head, but then it gets out there and it's a mess, these two deserve all the love.

butterfingers: There was one thing I regret that I didn't have the chance to draw and it was like a throwaway line somewhere in your notes about Maka presenting Soul with a praying mantis and him freaking out. I resonated with that so hard hahaha.

Q: What was the hardest scene for you to write?

Allie: The hardest scene to write that's actually posted was anything with Justin really, I don't get his character and it was tough to write him. There were a few scenes that were hard to write because I rushed them, but I wouldn't say they were genuinely difficult scenes, I just gotta rewrite 'em! But overall the ending scene I'm still struggling to write and there's a dream scene that occurs which has been difficult to write just for making it dream-like enough?

Q: And what was the hardest to art? :o

butterfingers: I had a hard time with Maka's expressions. I had many scribbles designing a Ragnarok lantern, too, but it was very fun!!

Allie: Your design for the Ragnarok lantern was so good, I still cry over it.

butterfingers: Ahaha thank you! He was very Calcifer inspired ;)

daciafu: I struggled quite a bit with the first one I painted, just because it was all so new to me. I had to base color 3 different times because the soft lineart bothered me if something extended too far, or there was white background peeking through. And then reimagining the texture in the leaves and the ground to try to separate the planes there but also wanting them to be cohesive was a bit of a headache. If I had to go back and do that one over again I think I'd be more prepared to deal with the foliage lmao.

butterfingers: Your textures were very excellent, that was a quality I struggled with as well!

daciafu: The first one I painted was the Golden Light scene where Maka and Soul are leaving the woods and entering the fields.

butterfingers: Trees r hard.

Allie: They all came out so incredible though, I'm in awe of how you were able to create those leaves.

daciafu: Omg ;;;;; At the same time trees are so organic and flowy and the chances of getting them wrong are pretty slim considering they can get janked as hell lol they're super fun to just zone out to. "I’ll just put a happy little leaf here, ooh and how’s about another one right next to it. They can be happy friends. Oh look, the squad showed up!!" Channeling my inner Bob Ross... but yeah you can just do whatever with them and they somehow come together.

Q: Daciafu how do u.....background, like you did so well and all I hear from art friends is various levels of pterodactyl screeching when the word background is mentioned.

daciafu: I heavily based the Leafing the Forest scene and the church scene after stills from the show so I don't get composition points there, but I built the pumpkin fields just based off of the environment’s design elements. I really wanted to push the depth of that scene but also give it that same never-ending quality to it, and I'm super happy with the results. Another note is that I omitted the characters entirely while building the backgrounds. Since I'm usually a pretty character-heavy artist, I wanted to tackle it like I was preparing the scene for an animator later. And then once they were done, I added in our sweet kids. Doing it that way first really helped to cement the characters in the space rather than my usual "character is done, how can I put them in an interesting physical space?" struggle lmao.

Q: Did you guys feel like your writing/arting changed at all or that you learned anything/picked up new skills/honed old ones etc. etc. during Resbang?

Allie: Gosh yeah, it changed a lot. In hindsight a bad idea, but this was the first fic I'd ever written with intention of posting and the longest piece I'd ever written. Before this I had written very little and my longest piece was maybe 10k. Throughout Resbang I've learned most of everything from the ground up, it's taught me a lot about my limits, how I work and writing in general. I've definitely improved a lot from the experience!

butterfingers: Let me tell you all about the airbrush tool that I discovered during Resbang. Amazing. Incredible.

daciafu: I learned how to paint backgrounds!!! Which is something I've always wanted to get better at. And I got super comfortable in Clip Studio (I'd just gotten it) as well as using texture brushes, so overall it was a very helpful and wonderful experience as a Resbang participant and as an arteest.

Q: Oh that reminds me butters, what program do you use?

butterfingers: Paint Tool SAI for the most part, and then Photoshop for color correction, borders, and, like, finesse things! :)

Q: Did you guys listen to any music that inspired you or helped you create?

Allie: Ah, yeah! I had a playlist actually! https://www.youtube.com/playlist?list=PLjTCaFkFU6rkD1edJwCZmHvJiUwlSUeGZ

If you want I can explain some bits of it? I use music a lot when writing aha. I like to associate certain songs with characters and character relationships, so most of the songs are connected to a particular part of the story. The Monroe Transfer, Wayfaring Stranger, and Mountains were all more general atmosphere stuff. Blame was very much related to Maka, which may not be apparent now, but yeah. Ragnarok I actually connected a lot with Willow Tree March. Soul was probably closest with A Lady. Crona had a lot of songs, but Neptune was most specific to them, as was probably Ghost Towns. Some character relationships I associated with certain songs, Crona-Ragnarok and Soul-Maka were both pretty connected to Always Gold, especially that dang last line "there were holes in you, the kind that I could not mend" oh man. Crona-Maka was definitely We Could Be Friends, Bloom, and Spell. Meet Me in The Woods I thought was a pretty good group song! Those are just some general bits of my thinking with the music aha.

daciafu: Definitely checked out Allie's dope playlist. For most of my working time, tho, I was either listening to TAZ: Commitment or MBMBaM oddly enough lol. I will forever think of Justin's uproarious laughter whenever I look at them lmao.

Q: Were any of the relationships difficult to characterize?

Allie: Mmm this may sound weird but early Maka-Crona was weird for me, cause they were kinda at that point where they want to (or at least Maka wants to) like each other, but they don’t like or trust each other at all and it's a weird spot for them. I'm used to writing them as at least interested by one another, if not enemies or already fond of one another, so this felt like a very odd place to start with them.

Q: Do you guys have future plans for writing/drawing? Aside from polishing and posting the rest of the fic!

Allie: I have,,, too many plans,, I need less plans,, someone please take them away from me, I can't be trusted with them,,,, I do want to do a sequel for this when I get it finished, playing on the detail about crows memory lasting five years so. Beyond that I have a SoMa fic to finish for the prompt challenge!! I'm working on a gift for Crescentcrona, which is a fantasy Kirona fic called Eat The Rich. I have polyam week fics that I'm cleaning up, I think my favorite so far is a Azusa/Naigus/Sid/Mifune one for Through The Seasons. And God I have so many CroMa fics I want to write, I gotta fill the AO3 tag. I think the biggest one right now is a wings-related soulmates au that I've been working on on the side since October I think?

daciafu: Yo there's one scene that I'm like sUPER hyped to do if Allie does the sequel because I already know exactly how I wanna draw it but I wasn't able to fit that in near the end, and it didn't end up in the first part. But there are a couple of other scenes Allie and I workshopped that would be super fun to do and I would love to draw them. Other than that, my drawing plans are pretty much working on commissions as they come in. Surprisingly my queue has been maxed out and I just got a full time job so of course now I'm like.... hm.... I'll get 'em done eventually!!

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That’s the end of the AMAs for the 2017 season! Thanks again for reading along with us, and see you next year! :)

#AMA transcripts #resbang book club #rbbc #simple melody

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davidmann95 · 7 years

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I don't want to sound too, ah, plebian, but can you explain the meta-plot of Multiversity? The Just, SoS, etc, were all very fun, but the Ultraa Comics stuff went over my head.

Not at all! Multiversity was weird as hell,and in terms of getting what the point of it all was, it doesn’t help that mostof the one-shots only tie in thematically (aside from the basic idea that TheGentry are corrupting these worlds) rather than how in Seven Soldiers everythingcomes back plotwise for the finale. There’s breadcrumbs - a piece of Monitormythology here, a suggestion that comics reflect other events in the multiversethere - but by and large, the one-shots serve to lend context and emotionalweight rather than directly inform the larger plot with Uotan, Superman and therest of the heroes.

Iwrote about Multiversity before, always with the intent ofdoing a follow-up piece going more into the individual issues, so here’s mefinally getting around to that now that it’s been, oh my god, two years sincethe series wrapped; you’ll probably want to read that article first, since mywhole “Multiversity is about time” thesis from that is the centerof pretty much everything I’m going to talk about here, especially at the end.I’d also recommend David Uzumeri’sannotations for Comics Alliance of all the chapters up through Mastermen,and @charlotteofoz‘s excellent piece on UltraComics, as well as the piles upon piles of other great writing aboutthis book out there.

Continued below; this is a long one, obviously with plentyof spoilers.

Since Multiversity #1 is one half of alarger story that’s bookended later (it’s not even the first chronologically,since a couple characters from The Just are already at theHouse of Heroes), let’s start with SOS. More than each issue as anartifact unto itself - this thing would be even longer if I went into that, andthe annotations I linked to I think already do a more than satisfactory job inthat regard - I want to talk about these in terms of how they inform the whole,and Society of Super-Heroes sets down the template in twomajor ways in that regard:

1. Each of these stories correspond to a given decade of thehistory of the superhero - in this case, in spite of the 1920′s trappings, thatthey’re going through the parallel universe equivalent of World War II and thepresence of a number of Golden Age figures suggests this is meant to be read asrepresenting the pulpy heroes of the 1940s.

2. Each of the chapters of Multiversity correspondto a classic story published by DC Comics, but grotesquely inverted (similarly to how each arc of his Batman and Robin mirrored a classic Batman story, ending with Batman and Robin Must Die! inverting his own Batman R.I.P.); here, thefirst standalone installment of this latest multiversal threat is naturallymodeled after the original “Crisis on Earth-One!/Crisis on Earth-Two!”JLA/JSA crossover, except this time when the two parallel Earths make firstcontact (through the same crystal ball as in that original story no less), itleads to war.

And much more than a simple categorization like theabove, SOS introduces the major shared conceit of theone-shots: the degeneration of the superhero as a concept through theintroduction of time to the proceedings. In this case through wartime, as thepromise of the birth of the superhero at the beginning of the story is undoneby 5 years of hell, grinding our leads’ ethics down to the level ofkill-or-be-killed, with Doc Fate remorselessly torturing a man for information(in what I have to read as a reference to Doc Savage’s “Crime College”),Immortal Man reverting to his most primal roots, and Atom literally beating anopponent to death. It’s the most straightforward “well, in the real worldsuperheroes couldn’t be that moral” deconstruction possible, but framed as theconsequence of conditions the superhero wasn’t built to deal with rather thanan inherent failing. In that regard, while I don’t think Multiversity wastypically much influenced by the then-present goings-on at DC in the comics orelsewhere - Morrison’s said more than once that most of the issues werescripted years before the art was done, minus some tweaks here and there - it’shard not to read this issue as at least something of a reaction to the New 52and particularly Man of Steel, especially with lines like “Doc.I just killed a man. I–I brought you some time, but myprinciples–I–I killed a man.” And that fall is the direct, literalvictory of the villains of the story.

For The Just, while it owes a debt to All-StarSuperman since itwas originally planned as a spinoff of that book - an acknowledgeddebt given the appearance of Klyzyzk Klzntplkz’s Hyperpoon, even though thecircumstances of Superman’s death in here preclude this being set in that world- in spirit it’s a broken mirror to Kingdom Come and theglitzy, too-cool, airbrushed ‘90s milieu it inhabited, hence the legacy heroesand Ben Oliver’s photoreal style being notably similar to Alex Ross’s here.It’s Kingdom Come’s party scene, except for 40 pages, andSuperman never comes in to whip them all into shape. They just keep drinkingand dancing as the world burns.

In truth though, this isn’t really a comic about legacycharacters; they’re a shorthand for time having passed and the superheroicidentities having degraded over time, but it’s no coincidence that this is theonly issue to actually have characters going by Superman and Batman as theunambiguous leads (or that Superman’s a useless dope, while Batman’s the onlycompetent one but also infinitely more ridiculous and transparent than hethinks), because it’s about the DCU specifically as a decades-long construct atthis moment in history. If most of the other issues are about time damaging thesuperhero through inevitable contact with real-world morality, this shows thepainful endgame of spinning their wheels without end: they become heartlesscopies of copies of themselves, all their battles knowing pantomime, muggingfor the cameras even as there’s nothing left for them to do that anyone caresabout, least of all themselves as they question why anyone even buys comicsanymore. The Just is the CW’s DC Universe twenty years fromnow, where most of the audience has left and the budget has been slashed tonothing but just enough viewers are sticking around that they have to continueit somehow, so it devolves into old-fashioned CW soap opera bullshit, becausehow that’d apply to these characters is all they have left in their arsenal:Superman’s angry that Batman’s fucking Lex Luthor, but will they ever admitthey just want to fuck each other instead, readers? Tune innext month to find how out we’ll delay giving the answer!

Then we hop over to 1980s political horror and theinevitable shadow of Watchmen, in…maybe the best, or at leastmost remarkably-constructed single issue of a superhero comic of thedecade? Pax Americana certainly felt like it when it came out.In any case, our main concern here is another consequence of time as applied tosuperheroes: the desire, as embodied by President Harley, to force them to makesense in the real world in tune with an ‘adult’ perspective. In an attempt torectify his guilt for accidentally killing his father, the first superhero andthe only morally pure one - his entry to the murky world of adulthood, assignified by the second-to-last line “Remember? That was when it allmade sense, right?” - he wants to reconfigure superheroes into virtuous,regimented tools of the government, with himself as the greatest hero of all asa resurrected American Christ to lead the world into a new golden age.

It fails horrifically of course, because his worldview - theworldview shared by Captain Adam, and Doctor Manhattan, and Watchmen itself- is by Morrison’s perspective inherently flawed, incapable as it is ofperceiving the repercussions and chaos of truly ‘real’ humans. Take notewhen Harley’s consciousness expands that at first it fragments into personal,evocative, visceral imagery, but when that expanding holistic view of theuniverse is inevitably too much to hold all at once, it simplifies back downinto simpler symbols, shapes and geometric solids, much in line with howMorrison spoke of Watchmen’s structure in Supergods asconfining and inflexible. Where Ozymandias’s plan to save the world went offwithout a hitch - at least until it lead to him putting on a robe andkidnapping Tim Drake, as continued this November at a comic book store near youin Doomsday Clock* - Harley’s fails catastrophically, because inthe ‘real’ world superheroes wouldn’t obey genre and narrative conventionsto the extent the likes of Nite Owl and Rorschach still do, living as they doin a world that still has flying Owl-cars and villainous master plans; anyonewho put on a mask to fight crime would be violent, callous assholes of thedistinctly uncharismatic variety whose grand schemes fall apart, whoseinvestigations never reach resolution, and who end up inevitably co-opted andrendered obsolete. In the end, as we saw with Peacemaker defending Bush toHarley’s barely-restrained glee, and the V.P. lecturing about selling childhooddreams back to adults, underneath all his mature aspirations Harley just wantedto find a way to force the world to let him love something the way he did whenhe was a boy…but as Adam reminds us, when you take it all apart to thatextent, there’s not really much left, and even if you put it all back togetherit can never be the same.

* I maintain it’s a very real possibility that PaxAmericana, meant to close the book on Watchmen once andfor all, was a part of what led to its revival; that someone in DC caught windof it during production and figured “oh man, Watchmen’s aboutto get some play again, now’s the time to do something with it.”

That brings us to Thunderworld Adventures’ 1950scolor TV world of retro adventure, the logical retort to the rest of Multiversity andthe one it needed to be complete: if time destroys superheroes, why not justturn back the clock and make it like it was when you were a kid? But unlike itscounterpart comic All-Star Superman (Morrison mentionedrepeatedly in interviews that this was him giving Captain Marvel the All-Star approach,and the structure - of Marvel facing off against counterparts of himself in theface of his inevitable doom, with his scientist arch-enemy finding a way togive himself his powers - is more than a little familiar), this isn’t anattempt to recapture the best of those elements in a modern context, but a purenostalgia exercise.

Yes, that means a happy ending, and clever fun, and a nicemoral about the self-destructive nature of evil. But from a modern perspective, thatalso means the mad scientist experimenting on his own children, pointing outthat Billy Batson is an exploited youth not subject to child labor laws,Captain Marvel Jr. winning a fight by preying on a bullied girls’ insecuritiesabout her appearance with a smile on his face, and a monstrous Sivana coming ahair’s breadth away from graphically murdering Billy. Morrison mentioned ininterviews that deep down Thunderworld had signs of the sameugliness as the other issues, and it’s true; even if we go back to the good olddays, we’ve still been informed by our adult experiences, and it’s just notgoing to look quite the same. No matter how much we might want to go retreatinto a neverending Binder/Beck fairyland, we’ve seen the leering, muzzled faceof the serial-killing, likely pedophilic Hannibal Sivana. Not that it’ssecretly as cynical of its subject matter in the same way as the others - thewizard Shazam reminds us that there is something beautiful at the heart of themagic, and that we lose it the more we try and replace it with something coolerand colder - but it’s pretty on-the-nose that Sivana’s ultimate plan is to getpeople to buy years on the clock to waste, essentially selling their old livesback to them piecemeal. In the end, when Captain Marvel’s faced with theprophecy of a darker, more morally challenging threat, he doesn’t confront it,but tosses it in the trash to fly away with a picture-perfect smile. But weknow the truth: he has to. There is no such thing as timelessness, andattempting to capture it will ultimately show cracks in the foundation nomatter what.

Moving into the Guidebook’s extended homageto “The Flash of Two Worlds!” - one with a distinctly 60s feel, between all theKirby getting thrown around and the build-up of DC mythology - we get to seewhat comic book time actually looks like from the outside (via the perspectiveKamandi, from a world where time has truly passed to the tune of anapocalypse), with Fox and Infantino’s simple tale of a costumed crimefightermeeting his own childhood storybook hero metastasizing into a time-shatteringhistory of reboots and retcons and parallel worlds, and two wildly differentproducts of that process coming face-to-face. After Thunderworld andthe finale it’s the most openly optimistic of the bunch, with the irrepressiblejoy Morrison clearly takes in all the nerd arcana and Lightray’s assertion thatlight will conquer darkness in the end, but it also ends with a Justice League,reduced conceptually to animatronic cartoons of themselves, dying andresurrecting in one manufactured Crisis after another for all eternity.

Hitting Mastermen, this is probably the mostdiscounted of the bunch, especially given it reads the most like it’sunfinished. However, I’d say it’s a pretty complete tragedy (especially thanksto @globegander‘s essayon it as a spiritual adaptation of Der Ring des Nibelungen),and much like with The Just - the other least-loved of theseries - the trappings on display are largely a way of facilitating what it’s talkingabout. It’s the story of a nation in power of men with pipes looking overnuclear families with dogs, where rich white boys complain that they shouldn’tbe held responsible for the actions of their ancestors, newscasters refer togenocides perpetrated by their nation within the last century as “theethnic and ideological purges of the Hitler era”, and theretaliation against them by terrorist insurgents is from a nation they broughttheir war to. It’s very much a story of America (2000s America specifically, inline with the decade parallels in play), and while Overman still wants to makeeverything right because he’s Superman, unlike its counterpart in Superman:Red Son which shows him managing to redeem himself from similarcircumstances to some extent, Mastermen makes no bones aboutthe fact that he is damned, utterly and irrevocably, just as aconsequence of being born into this society. Time here has destroyed thesuperhero by way of conformity, with well-meaning champions of truth, justice,and the Nazi way as barely-witting defenders of a corrupted status quo,unquestionably incapable of transcending what they’ve become. Hence whySuperman already exists as a comic when Hitler learns of Kal-L, the symbolismof two Jewish kids in the depression co-opted by the powers-that-be as thefascistic representative of amoral nationalistic interests, corrupting whatSuperman is supposed to stand for until even his attempts at rectifying thingscan only compound the problem. In essence, it’s the darkest possiblecontinuation of The Curse of Superman from Morrison and GeneHa’s Action Comics #9 - and it comes to the same conclusion ofwhat it takes to fight back in the finale later on.

Ultra Comics - both the comic and the character,insomuch as there’s any meaningful division between the two - is the anti-FlexMentallo, down to the point of mimicking its four-act structure of thehistory of the superhero via montage, only replacing a ‘Renaissance’ asMorrison put it following comics ‘Dark Age’ with further brutality andadolescent defensiveness. It’s the horrors of every other chapter rolled intoone: Ultra’s an innocent superhero from circumstances that become moreunsettling the more you think about them, pre-packaged with his own ridiculousbackstory and history, who goes on an adventure forcing him to realize themorality his world is built on is impossible and defined by society rather thanan objective moral code, and he’s trapped forever in the violent structure ofhis story, consigned to repeat his life forever until it loses all meaning. Itis, as Charlotte Finn put it in her analysis, a killer bullet to the idea ofthe superheroes, hence why it’s a horrific cursed contaminant across themultiverse: in our world it’s just a depressing comic, but to a superhero it’sirrefutable evidence that their entire existence is meaningless, time almostliterally corroding him throughout the issue as he moves from optimisticsuperhero to cynical super-agent to old and realizing it was all for nothing todead. Even our own world is threatened after all, with the suggestion that allthe uplifting Flex Mentallo meta-stories and 70s Starlin-stylecosmic headtrip consciousness expansion comics that Morrison’s made so much ofhis own bread and butter on are as compromised as the rest of the genre.Incapable of saving us in the face of a larger culture preaching the embrace ofnihilism and a doomed tomorrow when the only thing a terrifying number ofreaders have gained from the message is a desire to complain about writers “rapingmy wallet” - and that without that ability to inspire, all comics, all fictionitself can do, is steal our time and rush us all the faster into thegrave courtesy of the Oblivion Machine.

With the bookends, there’s fairly little to say I didn’t inthe original article I linked to above - i.e. that it flips the premise of timeinto a positive, showing that rather than using it to spin the wheels of thesuperhero genre in perpetuity until it devours itself through exhaustion orcontact with elements it can’t bear, or framing it as something to bedisregarded in spite of the consequences, it can be used to push things forwardinto more diverse and fruitful territory (hence not only the premise of theseries, but Multiversity sounding similar to Diversity), coming up with new andbetter stories. Much as Morrison is historically onboard with pulp heroes andlegacy heroes indicative of expansive superhero universes and structurallycomplex comics and retro comics and American superheroes and meta superheroes,there’s a difference between coming up with new stories in those contexts, andrerunning the old ones over and over again, which is probably why each of thosecomics, like I said matches up with a previous decade and comic, including someof his own, finally spinning here into the 2010s and DC’s own Crisis cycle.

While the first half of the bookend is in Morrison’s ownwords him doing himself to the point of parody - the self-insert character, theMonitor mythology, the weird villains yelling about conformity, thecomics-talking-about-comics, running into alternate company equivalents as apossible commentary on the state of the industry, etc. - the second isexplicitly the analogue to Morrison using his ‘corruption’ of contact with thedarkness and perpetuation of the neverending story for a paycheck to introducethe forces of the absurd, impossible and unexpected, i.e. the New, to defeat ahomogenizing, corruptive force designed to make everything the same and bleakto the point of literally forcing the Multiverse to relive the same Crisis overand over again, i.e. More Of The Same. It’s a slight twist on his typical Youngvs. Old/Children vs. Parents concerns (as best exemplified in his DC work in Seven Soldiers of Victory), but in theend, all of this is Morrison talking about something very, very simple: thatsuperheroes can absolutely be broken, but there’s a chance to save them andmake them something good and true again that might be able to reach us,literally by the end of the book, and it’s not by rerunning the same oldstories into the ground and unthinking conformity, but through doing new anddiverse and exciting things with them to inspire us in new ways. It’s Action Comics #9 as a 400-page epic.

I’m pretty sure that’s what Multiversity is about.

#Multiversity #Grant Morrison #DC Comics #Analysis #Opinion

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