What kind of work is it? Like do you get comic books as reading assignments or something?
I mean, not as much in humanities classes, but yeah. We have actual books on stuff like color theory or composition or art history, but we also get reading assignments that are just straight up comic books or strips, and in class we pick them apart by discussing style, layout, lettering, ect... like how English majors get assigned classic literature to analyze.
Some of our textbooks are formatted as graphic novels. Like Scott McCloud's Understanding Comics book series, for example.
I would highly recommend this for anyone with even a passing interest in comics by the way. Like no joke, there are so many more decisions to drawing even a simple 4 panel strip than I'd ever thought about. Plus it's a really fun read.
As for, like, non educational comics, I was once assigned The Adventure Zone graphic novel and Laura Dean Keeps Breaking Up With Me in my sophomore year, and some of Junji Ito's Uzumaki series in my junior year.
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something happening on a mission, something personal that has soap spiralling; panic and rage making him reckless, thoughtless, and ghost has to draw the line
“you’re compromised johnny; you know what that means?”
“you’re not pulling me out,” soap immediately snarls. he turns on him and ghost barely recognises him; venomous fear turning his eyes to unyielding ice. "you're not sidelining me; i need to be in this-!"
but ghost has never been afraid of venom; spat or dripped straight from bared fangs.
he snakes out a hand grip the back of his neck, jerking him in a rough shake. "if you can't think, you can't be a soldier," he growls and he flinches like he's been struck.
his lips quiver as they twist in a sneer and he wrenches, trying to free himself of his hold.
ghost doesn't let him.
"it means you give your body to me because your head ain't fucking attached to it anymore."
soap stills, body trembling beneath his hand as he sucks in shaking breaths.
he tightens his grip, pulling him closer and digs his forehead hard into his. “it means you give yourself to me so i can have the weapon that you are and use you the way you're meant to be used."
the ice in soap's eyes fractures.
ghost’s voice drops to a whisper, spoken only to johnny, not this facade of vengeance and pain, and wills it to reach him through the glaciers.
“so i can keep you safe ‘til it’s done and i can bring you back.”
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i’ve been trying to teach myself how to draw and your art has been a huge inspiration for me, do you have any tips on how to do line art like you do?
to be quite honest i try to avoid doing proper lineart whenever possible! it used to be a prominent feature of my art but I realized i just kinda felt miserable doing it. any lines you see are either painted on top, the sketch, or im doing something heavily stylized so I'll just show my process & share some general tips!
I try to stay as loose as possible and let myself leave in some mistakes as if I were inking with a real pen and paper. Another thing I recommend is playing around with whatever brushes and seeing what sticks! I prefer a much more textured gritty line over something super smooth but that isnt for everyone so playing around with different options is ideal
Also will leave some external resources under the cut!
FRAMED INK: book about comic/storyboarding composition but still has some bits in there about how different inking techniques can change the mood of a scene.
GUIDE TO SPOTTING TANGENTS: Self explanatory. Tangents can be a real pain when it comes to lineart so its best to learn What they are and How to spot them
SPOTTING BLACK AREAS: going more in depth with laying down your black areas
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I have a few thoughts on Mael Stronghart's overall character design, particularly his clothing
His overcoat looks to be a combination of a clergyman's cossock and a trench coat (shown below)
His waistcoat is also low-cut, which, while fashionable now, was unheard of in Victorian times unless it was specifically for a dinner suit and wearing a starch front shirt or shirt with a "bib" (also shown below)
You see, here's the thing: men of the time did not show the white of their shirt when going outside because that shirt was essentially considered their underwear, so the waistcoats would go almost to the neck with the remainder of the shirt being covered by a kravat. It was widely considered indecent to have shirts so openly exposed
Basically, what I'm saying is for Victorian standards Stronghart dresses like a slutty priest.
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lyanna gets written off as a more “feminine” version of arya when lyanna is genuinely MORE associated with “masculine” pursuits than arya lol lyanna seems to have had some skill with a sword and she was trained in jousting too. arya has neither. lyanna dressed in armor and rode in a tourney as a knight for all the realm to see to make a point. arya was forced to pretend to be a boy for survival.
everything we know suggests lyanna was quite an aggressive and defiant character. in some examples, explicitly more so than even arya (ie: bran’s weirwood vision where she beat benjen’s ass). not a damn thing implies she was secretly ladylike and everyones just ignoring it
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one big thing about polyshipping for me is, like. you know how some people will have their eyes opened to homoerotic relationships in media bc they'll realize, "wait, if these people were two different genders, i'd 100% assume they're into each other. i have a double standard that i never noticed"?
there's a polyamorous equivalent in certain media that's basically just. "if you didn't assume this character is monogamous, you would 100% believe they have crushes on & are dating all of their friends." OR, "if this character wasn't dating somebody else already, you would 100% interpret this new friendship of theirs as a crush/budding romance."
usually the creators of the media aren't thinking about polyamory when they make it! usually the creators of the media are thinking "i want this character's friends to be as important to them as their romantic partners, we don't get enough of that in media," which is great and true and also EXACTLY WHY IT WORKS AS A POLY NARRATIVE. people will be like you don't Have to polyship why can't you just let platonic relationships be important ugh 🙄 & i'm like i did my years in the "why can't two men just be friends why does everything have to be gay 🙄" trenches. you're not doing this to me. we're not doing it about polyshipping. we're skipping over that whole discourse cutscene because i am Too Tired For It. don't even start
sometimes characters are so full of love and affection and joy for so many people that i start gnawing off my hands about how polyamory isn't normalized. because i'll watch/read certain media and i'll be like. listen. this is a polycule. i know you don't know this because your creators don't know this and that is totally okay but you are a Wildly polyamorous person who's ambiguously trapped in the 2000s/2010s with Big Monogamy psyops eating your brain. please let me free you. please i can give you Everything .
PLEASE KISS YOUR FRIENDS
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Unspoken tension ahead of Charlie Work, a wound left open in Family Fight
The Production Order (the order in which the episodes are written) always seems of some value to me in Sunny, but 10 I find especially substantial. With half of the scripts of the season written by RCG, 4 are back-to-back (with their 5th one, Psycho Pete, being 2nd in order).
The run begins after The Gang Spies like U.S. Going off that into Charlie Work, as opposed to into that off Charlie Work, paints a very different narrative for the timeline.
We leave the reveal that Mac and Dennis are jerking off together into an episode that starts with high tension between Mac and Dennis. Dennis is frustrated that Mac isn't being direct, won't look him in the eyes, he's avoidant, timid. That's interesting, because Mac isn't usually any of those things, he's direct and abrupt and loud. Off 9, fully establishing Mac is gay, juxtaposing his closeted behaviour to Country Mac's openness, 10 focuses hard on the fact that Mac's confidence is continually battered as he refuses to step out of the closet. The Gang is tired of it, but Dennis is frustrated. His words maybe cut even deeper than the scratch, "Come to me like a man. Talk about being tough all the time, can't even look me in the eyes."
We leave CW and go into Family Fight, written right after, also by RCG. This episode has big focus on Dennis' obsession with public perception of himself, and the Gang. Though he can initially handle masking his demeanor, his tone of voice, what he can't mask are his words. He's smiling, he's 'joking', but there's deep truth in what he’s saying. He's frustrated, though his frustration in the moment is intended for Frank, Mac feels it directed at him. There's a fresh wound between them, because Mac fully understands what his feelings for Dennis are now, and that’s irreparably shifted their dynamic.
Misses the Boat is the last RCG-written episode of the season. From Charlie Work, where we’re kinda first faced with the fact that Mac is now overly-concerned with how Dennis perceives him, to Family Fight, where Dennis' masks slip completely and he has a public breakdown, they both veer hard to straighten themselves. Mac, very quite literally, goes straight, and Dennis resolves that he needs to cut ties to get back to being ‘cool’, he’s going to be a cool guy who has a cool car and hangs out with a babe and is cool.
But what we learn in Misses the Boat is that how they think the world views them, or should view them based on how they believe they present, isn’t who they are. They can’t actually function well in these situations. Dennis, untethered, somehow can’t control his rage as well as he can when he *is tethered* to the Gang. Mac, well, he isn’t straight, and he realises pretending to be into women is miserable.
Dennis gives him the offer: Do you want to go back? (To not addressing it, to a standstill.) And Mac quickly, excitedly takes it. Looping back to where they are in Charlie Work, back to where they settle for too long: Mac, absorbed in himself, clawing for approval from Dennis, and Dennis lashing out, tired of telling Mac what to do.
And I think this is why I love 10 more than anything, it finally addresses the issue the audience knows. With Charlie, Dee, and Frank, too. They’re going nowhere, spiraling in circles because they refuse to address the roots of their issues, and Misses the Boat makes them, themselves, fully aware of that fact. They’re miserable together, but they’re worse off alone. And they go into 11 and beyond knowing this, and all kind of resenting each other for it, until 14. Where they acknowledge it again, and decide they’re going to keep playing the game even though it’s set.
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