some progress shots of a comic ive been working on for my sequential art class (tired thumbs up) some of u (?eh) may recognize the blue seeker as the oc i posted a while back. this comic is like his...backstory...thing i guess
some color tests and the script for these pages is under the cut...the dialog is a bit different but im too lazy to sort it out at the moment.
1.
1) far out perspective on a warehouse of identical robots. they stretch on in a large horizontal panel, a box full of similar bodies. light leaks into the crowd, illuminating nightlight. he stares upward.
(some kind of narration..?)
2) thin, long panel showing hole in ceiling. the night sky shimmers. a moon glows yellow.
3) nightlight stares up from a crowd of automatons at the sky
4) zoom in on nightlights face. yellow eyes reflect the moon. long thin panel. bg is stars
(hardcoded to kill.) (born to die)
[high priority: eliminate target at cost of self.]
2.
[i never had to learn. i knew everything from the start]
--
[how to assemble my rifle.]
[a fatal crunch under its stock.]
[how to tear the plating from another living machine]
[the squealing snapping of broken bones.]
--
[i was good. good at following orders. i had gone so long without fulfilling my primary assignment that i had, ironically, become useful for my experience.]
3.
[ i was reassigned--a nearly abandoned fuel outpost that no one was really supposed to know about.]
[alongside two others who had outlived their mission, just like myself.]
--
(kid, cmon. everyone has a name.) [redlyne]
(take it easy. they just pulled this one off the lines. give him some time.) [dawnbreaker]
[i didnt have one. i never needed one until now.]
[i tried to think--]
(my name?)
[nightlight.]
--
[i couldnt comprehend it at first. i didnt understand.]
(ext. a run down outpost.)
[
4.
[no one was supposed to know about our outpost.]
--
[we had lulled ourselves into a sort of mundanity. finally, our unremarkable existence had begun to show its advantage.]
--
(chess game pieces are rattled by gunfire, redlyne goes to check door(?))
--
(he is shot down.)
[of course, even the small amount of fuel we were guarding was worth killing over.]
--
[i dont know who killed him who killed ether of them. our side? the other one?]
[deep in my circuts, in the hardcoding of my frame, all i knew was that they were gone.]
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they describe Breakdown as “an opportunist beyond any redemption” like he wasn’t going to let Bulkhead go before Starscream turned up (iirc; i swear he was thinking abt it). Like a redemption is going to be an easy about-face and not something he would have to struggle with and inevitably butt heads with both his allies and his enemies about. Like they didn’t let Knock Out have a bit of a redemption >:(
they should have done it together! Let Breakdown realize that the Decepticons are wasting away and being needlessly violent and cruel and let him join the Autobots! Let Bulkhead struggle with coming to terms with his enemy now being on his team; let Optimus welcome Breakdown with open arms like he never got to welcome any other Cons (i dont think he ever got to acknowledge knock out). Let Knock Out then struggle with the choice to stay or go, let Breakdown try to convince him and let Knock Out be conflicted.
Let ‘Cons be redeemed! Let them learn to be better people! And also I think Breakdown would be friends with Miko and it’d be funny
(idk what the page is from, nabbed it from this forum thread: https://www.tfw2005.com/boards/threads/does-anyone-feel-sorry-for-prime-breakdown-he-deserved-better.1236414/)
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I feel like there's been this weird, obnoxious notion in high media critique, when suddenly conveying strong emotionality and sentiment is seen as "cheap" and "unintelligent" for some reason - emotional music is now considered cheap, fierce and "exaggerated" acting is considered overdone, etc. as if quality media and storytelling is always supposed to be repressed, always subtle and always inferred through subtext. And I honestly find it bafflingly heartless - what's the art of storytelling without emotion, without moving the consumer of the narrative? the emotionless idea of "quality media" nowadays is nothing without evoking emotion and thought.
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