How's Your Webcomic? #315

How many pages should I upload online before announcing my webcomic? It's a continuous story. I know it pretty much depends but as a general rule, how much content do you want to usually see on a webcomic page when you open it?

Sorry to bother you with this again, but is the text readable?

I'd say until a good hook has been introduced, give readers a reason to wait and come back

same

>TFW none of my ideas work in an ongoing format
How well does a vignette format work with webcomics? I just want to write about a crow detective.

The text could do with being one or two points larger. It all seems to be in italics as well.
What size is it at the moment? I find 8pt to be optimal, both for web and print.

Upper speechballoon in P1 could be moved a little over to the upper right, so the tail isn't cutting across her head, and it isn't so close to the door frame.
Main speechballoon in P2 should also be moved away from the panel border.

poor Johnny. no The Dreamers for you
vignette formats are fantastic for comics. Honestly I think slightly more people prefer them.
The part that bugs me is when some of their comics update, on their site, and they haven't posted it here. Makes me feel like I missed something important from their blog or something

The font only comes in italic, so I don't have much choice. It's the only one I have that look like s comic font.
I used 8pt in the 300dpi original, then resized to 72dpi. Originally, I resized first then input the text on a bigger size (10 or 11pt) and people told me it's hard to read.
Gotta go back to how I used to do for the time being.
Thanks for your input.

If you don't want to miss anything, you need to actively follow the main sites, instead of waiting for an announcement here. Bookmark them with a note to say when they update, or subscribe via RSS (which is what I do). Subscribe to Twitter/Tumblr/Tapastic/etc if you have to. You have to be tuned in.

What font is it? Do check Blambot.com for more fonts. I used to use Mighty Zeo 2.0 as my main comic font, and I think it's kind of similar to the one you're using.

Yeah I check everyone's pages every day, but the point is... when people update here, they blurb a little. The Sisters does, and I enjoy that. Now I'm missing out on that blurb!

CC Comicrazy, only one of the CC bunch with upper and lower case. Once I get internet at home, I'll be checking that site. Browsing on my phone is a pain.
Thanks again for the help.

Here's how I usually work. Resize first, text later, with 11pt.
Also, which is correct, wasn't or wasn't it?

wasn't it

That's about the right size font there, for that strip.

"Wasn't it obvious..."

Thank you~!
Last one I did for today.

bimp

Just finished this page, thoughts?

I'd say at least introduce your main character and some sort of hook/plot.

love that foliage

...

>phagists
... cannibals? also missing a comma after kidnappers.
saying 'i've no training' is a little unusually formal of him.
At least his eye is looking better. looks like it's clearing up a bit.

Welp, colors came up pretty fast, so I updated the bloody site.
I don't even know why I bother making two versions of these strips if I lost the supporters who wanted them *shrugs*

Establish the story and as soon as you get the hang of it put a, as the two of them already pointed out, a hook.

The page numbers themselves depend on the type of story you're doing and the pacing. Try analyzing some other webcomics, or regular first issues/manga chapters and use it as a reference.

so you're doing colored versions early as a patreon reward?

I have no idea if i'm even skilled enough to post here or if my style is too anime-ish.

this is the second page. it's large and i don't think i can compress it any smaller without the quality going to hell

Naw, Patreon used to have them one day earlier and if there was nudity, from chapter three onwards they had a version without those balloons cock blocking them. But there were like what, two people before the big hiatus. Now there's none and I can't manage the site until I have internet at home, so it's kinda pointless to have the non covered edit IMO.
I think I have enough time to color the next one, or maybe I should dovish those crossovers I did before.

Not sure what you're trying to go for with the grey haired girl, but the other girl looks fine.

Isn't it supposed to be an old lady reminiscing her youth?
I can translate mango.

They're the same person

I guess i should make it more obvious that it's her but younger

I tried to make her look like older woman

>Isn't it supposed to be an old lady reminiscing her youth?
Spot on
>I can translate mango
This is my mistake. it's too anime-ish

The older one looks like a very old little girl, maybe work on the style a little bit.

Nah, man it's cool. Have fun with what makes you happy.
I'm not much of a reliable source for advice, but if you want to improve, it will help you a lot studying basic shapes. God knows I'm struggling with it now, but it gets better, trust me.

That's what i'm aiming for

women get shorter as they age and she's lived to be 100. she's 5'3

I want to use her height as a joke in the future.

thanks

Hmm, that isn't THAT short for a girl. I'd say make her just under 5 foot if that's what you're going for. Also she still kind of looks a bit too "moe". If that's on purpose then sure thing but yeah.

i want to have people say "Who the hell's kid is this" when they see her so making her shorter fine by me

>Also she still kind of looks a bit too "moe". If that's on purpose then sure thing but yeah.

I REALLY don't wanna sound like that guy whose like "I-It's just my artstyle man, i-i drew it bad on purpose". sorry if i do.

i'll just hold back from posting until i improve further.

that is one kawaii grandma.
anyway, we don't have an entry bar, everyone's welcome. and I for one welcome more anime shit. You definitely need some work but it's okay.
If your text wasn't so narrow, you could safely shrink it down more I think. I'm hovering over this with my mouse and it's blowing up to roughly 800px wide and it looks fine.

fuckk i wanna see naked versions but i can't afford
I got the gist of it. If anything it needs to be more anime. anime knows how to draw old women.

monster-lands.com/

My webcomic updated. This chapter has one more page to go. This is basically showing how the evil queen Eren turned into a real not-nice person.

whoa, this is her in a flashback?

>fuckk i wanna see naked versions but i can't afford
I used to throw them in imgur for the guys in here as thanks for all the feedback I always get. Once internet returns, I promise I will do it again.
Still, you're not missing much, kek

Yeah, Exris calls her Eren a couple of times both here and in the present story and he's seen serving her in the present at her castle.

Oh snap. That's awesome. And here this girl was about to be my favorite character. Monster Lands has such unexpected complexity

guys i'm still trying to decide on this outfit. This one doesn't seem good enough.. for a respected martian lawman that was willing to follow a perp to earth. but I also wanna stick to basically just turban and pants and maaybe this vest.. it kinda looks bulletproof-ish. with the wings and the claws he's not wearing much else for sure.

So hey guys, I'm going to be at NYCC's Artist Alley this year and it's my first time. I have maybe 6-8 pages of my webcomic made.

I was thinking of printing the 6-8 comics with a cover and sell them for $1-2 a pop since they are in full color and may be at least $1 to print. (Unless I'm better off just giving them out for free for the exposure...?)

My question is, do I print "issue #0" on the cover or put "sampler" or "preview"???

I should note that only 5 of the 8 comics I've done are online.

sample makes the most sense to me. preview is okay too

Is it ok to put "preview" or "sample" if I sell them though? I feel like when most people hear "preview" or "sample" they expect it for free.

If you create a comic and put it out there, whether on web or in print, is it automatically copyrighted? Or do you actually have to register your copyright?

ummmmm yeah dude i wouldn't try selling them, i'd just ask for donations, with a little sign saying "These cost a buck to print. if you liked it, be a bro"

it's automatically copyrighted. it's not automatically trademarked. nobody can rip you off, but they can make something else with the same name or same character's name and you can't stop them from selling their shit and preventing you from selling yours.

have you made a lot of fanart or whatever for your booth? having an artist alley posting with only 8 pages seems kinda short to me

www.scurrycomic.com

oh hey, welcome back. I remember you posted wayyy far back.. right? I love this comic. Goddamn impressive art.

>F.A.Q.
>"I can comfortably manage about 2 pages a week"

>meanwhile, I could barely manage one a month

I believe he's too naked for a lawman, and the same applies if you're going for a Bedouin look with the turban and such.
Cover those arms with a shirt or something, then add the vest on top.

problem is he can't have a shirt with those wings. The original designs I drew for this species years and years ago, the idea was they'd mostly wear pants and hats and not a fuckton else, giving this image of mars as mostly a desert
Do you think maybe a baldrick would be better than that vest? That says authority. nice Worf kinda shit. plus that way his double nipples remain visible. the doublenips are part of what makes my martians distinct.

>"Well, at least I'm finally happy with my art."
>1 year later
>"Wow, I was shit last year. Glad I finally improved."
>1 year later
>"Wow, I was shit last year. Glad I finally improved."

yeah that's a tough one to handle, you just have to watch the professionals improve too and realize we're all the same deep down

Why the hell are you complaining about something GOOD?

>Share your comic with others

I don't think that means post it and run off.

I'd probably have a lot to show if the artist didn't disappear and totally ignore me for no fucking reason, even though I know that he's still active and I was going to pay him for steady work.

Why not make a reverse shirt where the exposed part is the back? Like those hospital rags, forgot the name.
That doesn't help your fixation with nipples, but eh.

yeah I gave Robin a smock-like shirt once to account for her wings. which come out of her back
see this guy's wings are attached to his arms. it was an odd choice I admit. I DID make the webbing go to the armpit instead of down the ribcage, something I usually don't dig, but that only allows for something sleeveless. his unusual fingers also mean it's difficult drawing him palm-up

It's been a long time since I posted here, but I think some others have posted the link recently.

Took awhile to build up to that ;P

ooh, a mystery

Tomorrow, hopefully one of the wierdest crossovers ever.

I've always wanted to make a story. I wanted to make something different that only few have done before. I've had many different ideas, like time travel and exploration, but one gimmick has always stuck out to me.

Body switching. Living out a different person's life. My fascination with this has led me to think about making a webcomic.

So I've come to Cred Forums with a few questions:

Would anyone be interested in reading something like this?
What setting would best fit this type of story?
and
What sort of character would make for a good lead?

I've already gotten the basic plot and theme I want to convey. I just need specifics.

Any chance you could make the chapters s little long you fucking cheap Jew faggot fuck in a godamn backer so you better suck my fucking cock if you expect me to pay so much for your godamn secret of the fucking nymph rip off

Have any of you guys ever drawn lewds of your comic characters? Do you try to hide them or put them in a semi-accessible place?

Fuck you and your fucking shitty add fucking Kickstarter sucking dick while us hard workers find your godamn motherfuvking career you Polish Jew faggot rot in hell

Fuck I'm too drunk Toni cfh

unfamiliar with the one on the right

Sure why not. I like your art.
I reckon the more down-to-earth the setting the better, since we're going to have enough to juggle without having to keep track of how they differ from normal people.
The important thing is the characters have enough distinctiveness that one inside the other's body is clear even with the limited ability you'll have to express that.. so someone quirky.

I've drawn more porn of my character than appearances that she actually made in my comic.
Most of it is kept under lock and key though

It seems like it's better to have someone else draw them than draw your own. If your comic isn't already that way, then it feels like you're only taking attention away from it, or disappointing anyone. like "If they're willing to draw that, why isn't it in the comic?"

Joel from a series called Bonus Stage, it was insanely popular back in the days of 2006.

The series had 89 episodes.

I love anything that has to do with body switching/possession.

And I'd assume the best lead would be the person whose body was stolen who's trying to figure out a way to switch it back, unless if the plot you have in mind is a Prince and the Pauper kind of intentional swap. Can you give any more plot specifics without spoiling it? Settings are flexible, especially depending on your intended characters.

An underused and underappreciated body-swap plot is that of a monster (could be anything from a lizard man to an alien to a vampire) swapping bodies with a human, so it's not just a matter of possession but also the human having to adjust to how the monster lives and whatever physical/verbal hurdles they might face while the monster either just lives their life in society or schemes to do something malicious with the added bonus of blending into a crowd. Or maybe it was even an unintentional swap and the monster has less than human intelligence and the human's family/friends have to restrain them try to figure out what the hell happened while the human in the monster's body is sweating about not getting dragged in by animal control or scaring off their friends/family.

Probably not what you're going for, but either way, I really love body swapping stuff. Unless you do something exceptionally lame with it, you can count me into your audience automatically.

oh I've heard of that.

I have about 7 different types of prints to sell. I also plan on doing traditional commissions at the con.

I have other pieces I had been working on, but since the con is October 6th, I doubt I'll have them finished and ready to print before then.

I've drawn a few tasteful nudes. No porn, which is weird as I'm first and foremost a porn artist. I was kind of hoping to get some fan porn before drawing it myself, but that never panned out.

I've gotten a couple from /trash/, I wouldn't want to fap to it but goddamn it I love it so much because the guy that did one of them was so much better than me

All of the fanart I get is better than me by a mile

Jasper Gold?

I find it funny that an artist can charge at least $15 for a standalone print, but if they sell a comic, which has more work put into it, it should be given out for free if it's less than 10 pages.

no

It's not like that, you get a reputation first, then you can sell those prints. once the comic gets going, you can start making money in some form.. but you can't try to make people buy the first 8 pages of something they've never seen before, any more than you could charge 15 bucks for a print that they can't even look at until they've bought it, y'know? like if it was just the thumbnail

Well he was planning on giving them out at-cost or nearly.

I'm working on a pulpy, retro-future space erotica about 3 Catgirls and their sexy space adventures across the post-apocalyptic ruins of the universe.

It's heavily lewd to begin with, and is meant to quarantine all the lewd into one comic and keep it away from all my other, more serious projects.

now is that the universe that's ruined, or just that they're checking out various ruins throughout the universe
because holy shit that's a hell of a 'pocalypse if the universe is universally ruined

Does Clip Studio's trial expire?

Welp, I decided to stop idling around and finish these. I will post them all together once I finish the set.

Same here.

I also feel like the odd one out for being a fetish artist who has no desire to put my fetish into my comic. I'm mildly curious to see if anyone who shares the fetish will draw fanart for my series involving it.

Feel like this applies to both of these posts
A comic is just different. It's a story, y'know? The story part comes first. It's always going to be intrinsically different from art that is made just-to-be-art just presented as a single piece

Oh, I know, I just find it odd how many people seem to be unable to help themselves re: not shoehorning their fetishes into everything.

I have an entire other series for that, mind you. Just not one likely to see the light of day anytime soon.

well there you go, you find an outlet. that's the best way to resist any urge

I never had the urge to put it in this particular series, but I guess if someone else is putting all their eggs in one basket they might be more inclined toward it.

> Does Clip Studio's trial expire?

Can't see anything about an expiry time limit, though many features are disabled, the main one being the ability to save your work.

clipstudio.net/en/purchase/trial

In the meantime, start saving your pennies for the next time they have a sale.

Gid tier coloring

I don't know who I'm talking to though since you jus posted and left to get more kick starter follows

Oh well

Cover for chapter 19!

Your panels are pretty uniform, maybe try pulling back sometimes so we can get a sense of place?

A large number of people realized they were too good for this sorry excuse for a thread.

Let this be the last.

>I guess a few spamming regulars left
No, coldfusion's still here.

You ever do short, one off comics?

You ever through in a promo at the end for your next comic?

>Again.

user.
Stop trying to help them.

New one done, if it continues like this, I may have them all finished in my lifetime.

I'm pretty sure Scurry guy has posted in here before. Or else they were the featured comic back when we had those.
So you keep the word bubbles separate, color, then put them back in? is that how it goes? I suppose it would since you're publishing your comic bilingually (right?)

Nah, this one is only in English. Haven't made a bilingual one in over six years. I remember the black and white versions got some feedback on grammar, but can't find the notes I took, until I find them, or until I'm finished, the text will wait.

Are you the same "waitress" guy from last time?

"Waitress guy?"

You don't have to answer, it was a rhetorical question.

>Yes or no question
>"What?"
>>"It's rhetorical."

...What?

When did David's neck get so long?

When Michaelangelo decided he should be over eight heads tall to give a sense of grandness to his presence.

But to answer
I'm not 'the "waitress" guy', whoever that is supposed to be. I'm just saying the panels look really similar and are way too close for too many panels.

He's got a character monologing over five panels, with changes in subject and perspective, and taking action over the subsequent two panels. It's fine.

the way I heard it, he was sculpted with perspective in mind, so that viewed from the side he almost appears to be from above, because everything's subtly bigger the higher up you go.. but that way, viewed from below, the typical tiny-head huge-feet perspective syndrome is ameliorated
but what a long neck would have to do with that..

No, this is actually a problem.

There's 7 panels. 6 of them are his face. Sometimes with shoulders, sometimes with hands, one time without a chin, but most of the panel is just his face in various sizes.

His face monologues for five panels, one of which switches over to the thing he's talking about so you know his face isn't the only thing that exists. Then his face realizes something and teleports next to what I could only assume is a coat rack as three lines follow it.

Comics are a visual medium. Nothing is happening here visually. His head shows up and is the sole content of nearly 6/7th's of the page, but it is barely emoting. This isn't for emphasis or dramatic effect, but because everything that isn't his dialogue isn't important to the person drawing the comic.

This is a poor way of conveying a story in a comic format.

It's part of stretching his proportions so you can see it all from a lower angle. Think of sidewalk chalk art.

Yeah Eren Lorry is essentially what happens when you raise a child while encouraging her worst impulses and giving her power that she can't responsibly use. She's a genuinely vile person present-day, any good intentions have long been corrupted beyond recognition.

ohh so there was that too. interesting.

And wouldn't you know it, I got one more done. I'm really speeding it up with these. Welp, I promise no more updates until I get the last two done, and add the text on them.
Changing the playlist did help a lot, kek

it's nice when you get into a groove isn't it

Absolutely! Haven't felt like this in ages. Hope it continues for a bit longer.

>because everything that isn't his "dialogue" isn't important to the person drawing the comic

For those first five panels, no, it isn't. It's a character ruminating, in a dark room, by himself. I could have him emoting more, but that wouldn't make it better since there's no reason for him to be chewing the scenery.

>comics are a visual medium

Yes, user. Comics have both words AND pictures. Which is why the last panel is also an important part of the page. There's a lot more going on here than a person by a coat rack, and actual readers of the comic should be able to understand what it is.

>this is a poor way of conveying the story.

By all means, storyboard the same page with the same information in a superior layout. I'll take a good hard look at it.

The feeling of tying the bow on your first chapter is wonderful.

The deed is done, the ritual is complete.

Who left?

Buckle up, lads it's finally done.

...

...

...

...

Aaaaasnd, we're done! Next one, the crossover with Stones of Anarchy

splee

Bumpzinga

Came up with yet another idea for a comic that I'd really love to read but have no time to make. Anyone else here do that a lot?

All the time. It truly is suffering.

Somewhat, yes. What have you thought?

...

Hey! I just discovered your comic and it's AMAZING. Got a serious Secret of Nimh vibe goin on (for many obvious reasons) and I adore it. I didn't think you'd be a Cred Forums goer, haha.

Anyway, keep up the good work! Can't wait to see the next update.

Another day in Zyx City, a mission is about to start.

Ugh, this outfit is rapidly ceasing to do-it-for-me. this is not the right color scheme, right? Help me out please. I probably would have had this comic done a day ago if not for this clothing tripping me up

...

I think this is already better

Ya gonna explain the eyepatch or the torn off ear?

That is one huge fish...

eh fuckit, as much as i enjoy blue, this guy needs a uniform palette or he'll look like a pirate. i'm going with one of these two. whatchu think?
also sorry for shitting this up i just want this decision to be done

That's pretty neat colors, good fit uniform.

What is this, a furry hero comic?

yeah I mean he's from mars, so it makes sense. I just wanted to include some blue because red blue and green go well together, and then blue is a little more police-y.
I think I'm going to go with the version on the right, but with a little more of the pants color on the top left strap

It's a comic about a city that has a variety of characters of different forms.

For example, the two pictured here are different species of aliens who live in Zyx City. Humans, anthros, mutants and aliens all live side-by-side in this city.

He looks like a gardener, man =/ See if you can find a nice combo in here
colorcombos.com/green-color-schemes.html

I don't remember what's the current value, I'll see it at home. Thanks for the heads up!

Saving that for the future! woo!

Do it, it sure helped me a lot figuring schemes for some of my characters.

definitely. In particular I'll use that on the queen now that i've more or less decided on her look

okay here's this page finally. hope the pendulum of badass to weepy isnt swinging too hard with this guy

Sure. Thanks for responding, but the thing is, I have quite a few ideas in my head, so I'll try listing some of them:

-Murder mystery where the only casualty is the hero's body.
-Holier than thou and/or snobbish princess switching with a commoner.
-Princess switching with a knight.
-Commoner switching with the king or leader of an opposing fantasy race.
-Low-key body swapping drama set in modern times.
-Person switching with suicide victims before tragedy happens in order to change their future.

The story with the most potential seems to be the first, but I'm not sure I can pull off something that big. Plus, there's already a manga dealing with the same idea.

The main thing I want to focus on is developing a character without actually meeting that person through hints and details in their life. Because of this, two swapped characters _should_ never interact until the end.

almost sounds like it should be an anthology series tied together by some kind of loc-narr that swaps people's bodies
or just a trollish fairy who has learned that one spell REALLY well and likes to fuck with people

Per my usual, it's a paranormal story involving romance.

A woman has a recurring nightmare of being chased by some sort of indeterminate monster (illustrated VERY loosely) over such a long period of time that it's starting to affect her when she's awake.

One night, out of frustration, she just stops in the middle of the chase. The monster doesn't do anything to harm her. She starts up a conversation with it, finding him oddly personable. Over time she and her nightmare fall in love and go on surreal dates in her dreams, which she always hates to wake up from, in part because because she fears she'll never see him again. He even confesses that he doesn't know where he goes when she's awake.

So now, instead of suffering from a lack of sleep, she sleeps to the point that even the nightmare is worried for her health. She becomes determined to bring him to life. They're both concerned, though, as neither knows quite what the monster actually is or what he'll look like when made physical.

The story could go to a number of places from there. I think it'd actually break from expectations if the nightmare turns out to be wholly innocuous. It could be a human spirit that's haunting her mind, it could be some sort of oddly benevolent dream demon, or it could be that she's a powerful psychic who invented him entirely but he still enjoys some level of reality.

What's the manga that involves that body-swapping and the murder mystery?

Man I've been waiting to upload this strip since I started the arc. The island designs were the first thing I came up with when I had the idea for this little story.

how did she get that much taller and more busty in just one month?

She didn't get any taller, she's still on eye-level with Noah's mouth the whole time.

As for her boobs they're not meant to be bigger, I'm just inconsistent.

Mayonaka no X Giten.

jesus, a month. that's gonna be like.. when they get back.. kinda.. well.. huh.
in any case, yay for beards! everyone looks like how i'd draw them now.
Also nice job having them gradually tan, and bigschlongguy is just turning redder

Thank you! This doesn't seem to have quite the same premise as your intended story, so I'll recommend you go for it.

How influenced are you by EUROBEAT?

youtube.com/watch?v=QMS6OaBQDkg
youtube.com/watch?v=Wd-e1If8kYM
youtube.com/watch?v=OtYoX_16RRc

Sounds rad. I kinda want to read something like this now.

A lot, but I'm a Stage 1 faggot with the music. I like the rest as well, but Stage 1 is my jam.
I named 1 or 2 my strips after some of the songs.

not at all but it's great to listen to while drawing

i want to work on remaking this old shit comic i made, but i feel like it'll just be worse than before

nobody ever gets worse

New West Tree episode!

youtube.com/watch?v=NuPcQ6Vh-yE&feature=youtu.be

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...

gotta watch those five-fingered pointing hands, maaan

also it's cool you were able to work with somebody you like. that's cool shit.

Since when did HYW become a place to shill your video series?

Since dewd.

I mean, I get that the video is a animated adaptation of his comic. It's still not a webcomic though.

>receives criticism
>acts like a pissy bitch

The webcomic disease claims another victim

Forgot how much of a chore inking is by hand.

I also opted out of "Life's Blue and Green" for "Witchway's Witch." Puns make for a better title anyway.

>By all means, storyboard the same page with the same information in a superior layout. I'll take a good hard look at it.

I probably could. I don't know anything about your comic though.

To this day I still don't know the difference between reference/homage and ripping off.

I'm afraid to include anything cause I don't want people thinking I'm stealing stuff.

I'll try to explain the difference.

A homage is usually done very scarcely. It should be something that subtly references something while not having it be something important in your story. You don't copy any themes or characters, that's too big. Just something small like a phrase someone used, or a pose.

Ripping something off, to me, is intentionally copying successful moments or characters from something else. And doing it a lot.

A reference is having a guy talking to a skull on his hand.
A homage is having a guy reciting "to be, or not to be"
A rip off is making the same scene with no change whatsoever with no context within the story that justifies having to be the same

Samefag spotted.

Hmm I think I get it now, thanks.

A reference is short and quick. Can be as simple as a cameo background character, or cribbing a famous catchphrase.

An homage is usually much larger and clearly very loving of the source material. Stranger Things, for example, is an homage to 80s sci fi/horror/kids movies. It's all original content but sticks very closely to the material it's making an homage of.

A rip off is stealing other people's material and trying to pass it off as original. It's disrespectful to the source. You see that a lot in amateur webcomics where the creators can't think of an original idea of their own, but they've got a favorite anime and they figure they can just make a story of that, and nobody will ever know.

And then when they get called out for ripping off anime and/or video games, they try to pretend it was an homage or reference all along.

Ah yes, it's been a while since the last time you shit your pants at the slightest hint of criticism. You're overdue.

When was the first time?

Put your name back on Nunc

What kind of pen did you use to ink it with? I have to make a cover eventually and I'm clueless with this shit.

Many months ago when people told him to change his panel layouts to be less boring and restricting for action.

I'm not the person you're asking, but you can ink with pretty much anything so long as you're putting down black lines. The easiest route is probably just picking up some microns (or whatever brand's equivalent you want) and working with those, unless there's a particular style you're aiming for or you're looking to experiment. I don't work with them exclusively anymore unless I'm sketching, but if you're new to inking they'll probably work for most anything you want to do.

Holy shit, Bonus Stage. What is this feeling? Is it... jealously of The Dewd?

Bonus Stage was my fucking JAM back in the day. What's that guy up to nowadays?

I use the Faber-Castell pen set.

For the lines on my character I use the 0.7 mm pen.
For background and bits of detail, 0.5 mm and lower.
For filling in with solid black ink, 1.5 mm is ideal, since it doesn't leave visible overlapping lines of ink.

is also right. Basically anything will work as long as you put time into it.

I have an idea for the webcomic

It would be like Yugi-Oh about playing trading card games but set in fantasy world, something like playing Arcomage in Might & Magic VII. Main protagonists would be 3 girls elf, dwarf and goblin.

Would you read this?

We didn't read it the last half dozen times you tried it, Bones.

I'm going to put in a Twin Peaks and Metal Gear Solid homage into my comic at some point. And a quick Adventure Time reference.

I'd worry more about ripping off, if I planned on making any money off of my comic whatsoever. Plus, it's not really one of my serious webcomics. It's really more of a fun story.

...

>I can't, I don't read your comic

Yeah, I remember from this same conversation we had a couple days ago. Once again, context is essential.

>responding to criticism is being a pissy bitch.

C'mon, user. You can do better than this. I even asked the guy to be more specific and provide an example. You don't accept uncritically everything you're told, do you? That's as bad as ignoring all criticism.

Ah, I remember that. I posted a splash page action scene with a small single panel insert in the corner. He accused me of being to conforming to a four panel grid system. When I pointed out the contradiction, he got really irate. I guess he's the sort who likes to think his shit don't stink.

>Plan on coming back to this tomorrow.
>Like three other people jump on it.

Whew, jeez.
Well, uh, I guess I can respond to it anyway.

>For those first five panels, no, it isn't. It's a character ruminating, in a dark room, by himself. I could have him emoting more, but that wouldn't make it better since there's no reason for him to be chewing the scenery.

There's a big difference between being hammy and having things like body language. And there's more ways to go about a character thinking about stuff than just zooming in on their head. The way they sit, their surroundings, all of that kind of stuff matters. Pic related, even though it's not really silent contemplation.

And if your dialogue is the only part of most of your page that matters, you've created a bad page.

>Yes, user. Comics have both words AND pictures. Which is why the last panel is also an important part of the page.

I think you're misunderstanding. Comics are about an interplay between what we draw and what we write, even if the writing is implicit or the drawing is minimalist. What's happening here isn't using the visuals effectively.

>actual readers of the comic should be able to understand what it is
If your page has no meaning outside of the context of continuity with other pages, it's not a very good page. A random observer shouldn't be expected to glean everything, but if they glean nothing it means you aren't conveying ANYTHING.

>By all means, storyboard the same page with the same information in a superior layout.
Sure, it'll be a few minutes.

we've always accepted visits from people doing video projects, though few of them stay. Sequential art is sequential art, y'know?
But also, anything related to your comic is valid. we do all kinds of non-comic promotional things. we used to have special activities. Plus a few people do comics that regularly contain animations

The whole, "posting the progress of this page" thing would probably be better if I actually work on the page.

Here's part 2. More defined sketches and panel lines.

I think that being set in a fantasy world would make a card-game-story SIGNIFICANTLY less lame. It would actually make cards something cool and interesting, something soothsayers and magicians use. Something akin to magic talismans and scrolls in jewish or japanese mysticism... instead of just "we're pretending this piece of cardboard that's had something printed on it by a computer and then sold as a toy is somehow special"
That said, why not make it something cooler or better than cards, if you're going that route? People have been using all manner of crazy interesting magic talismans forever. Did you know Japan never managed to invent pockets, even in hakama, so they used to carry pouches attached by strings to their belts, and they often had cute little decorative boxes with little carved monster figurines inside for good luck? It was straight up Pokémon I tell you

hell of a kabedon

He takes things a little too far

>Did you know Japan never managed to invent pockets, even in hakama, so they used to carry pouches attached by strings to their belts, and they often had cute little decorative boxes with little carved monster figurines inside for good luck? It was straight up Pokémon I tell you

Very interesting

While this is way cartoonier than your style, here's an example of how to do better with this than just zooming in on faces.

Not great, but better.

And, not to be down on you, but you were EXTREMELY passive aggressive in
I think it's fair to call that "bitching." It's fine if you don't agree with other people's criticisms, but dismissing people's complaints about your composition if they don't follow your comic, pulling the "let's see you do better defense", and generally talking down to people just isn't cool.

Whoops, meant to also link this to

>There's a big difference between being hammy and having things like body language. And there's more ways to go about a character thinking about stuff than just zooming in on their head. The way they sit, their surroundings, all of that kind of stuff matters.

Right. Like rubbing his temples. Letting his arm fall by his side. Slumping back.

>And if your dialogue is the only part of most of your page that matters, you've created a bad page.

If a comic page had only action and no dialogue, would you think that was a bad page. Would you even think it for a second?

>I think you're misunderstanding. Comics are about an interplay between what we draw and what we write

I never said otherwise.

>A random observer shouldn't be expected to glean everything, but if they glean nothing it means you aren't conveying ANYTHING.

That's one possible explanation. There's another.

>it'll be a few minutes

can't wait.

You've condense three panels of dialogue into one, which makes it much to dense. You've got three panels which are essentially identical, only moved around a small amount and changed in size a small amount with little effect. You've added a bit of background which was in the previous page but isn't needed in this one. And you've dramatically increased the size of the last panel for no reason. You've moved shit around but I don't see how it's any better.

Yo, I'm the guy who called your lizard girl a waitress last thread. I'm not the same person you're responding to there. It's likely that more than a few people don't read your comic here since you don't drop it's name, your website, or even have it in the filename when you upload pages.

I don't get why you think I need to read your comic to think you need to pull out a bit or vary up your panels, but if you feel that way that's your business.

>you don't drop it's name, your website, or even have it in the filename when you upload pages.
The one valid criticism we've had all night
And he did, remember? We had a bunch of action-packed pages in a row, followed by an experimental dream sequence. I think he's allowed to "revert" briefly to the older days of talking heads for a few pages, without getting leapt on.
Then again seeing the kind of things people are saying, and the other things those people say, at least there's little ambiguity about whether or not Nunc can safely brush them off

I made this just for you

What I don't get is this idea that there's something wrong with grid paneling. When you're conveying a lot of information, grid panels are fine. If I've got characters having a dinner conversation, or a guy monologing to himself, that's what I use. If you've got an action scene, then you use dynamic paneling. Or cutting to a new scene you use an establishing shot, and that's how I do it too.

As for linking my comic, that's fine, I can start doing that again. I used to do it every time I post a new page. There's so little traffic coming from here I dropped it, but I can do it again.

uguu
having trouble following that logic. If you're saying few people follow from here to your site when you link it, the thing to do isn't to stop linking, it's to stop posting. Posting without a link is madness

oh, and I don't think you should need to justify doing the basic normal paneling. That's just common sense. That's the genesis of all comics.

>and he did, remember?

I didn't, actually. I've always broken the four-panel grid format as I felt the comic needed it, and used it when I felt it did.

That's why I was taken off guard by complaints of the four panels when I posted a splash page.

I've admittedly loosened up more on my action scenes but that's been a natural growth, not based on feedback.

>the thing to do is to stop posting

Maybe I should clarify. I got a good amount of attention when I started posting. It slowed down as the months went by, and it seemed these threads don't get a lot of new blood. Those who were interested already followed, and there was no need to keep providing the link.

I don't come here for promotion purposes, do you?

man i'm trying to help. of course you didn't do it because you were told, but you could still spin it a little better. I've been down this 'defending yourself' road, and it never works out no matter how right you are.
well why post at all then? Anyone who already follows has the link bookmarked. I totally think you should post a link for promotion. What if there's someone who has been interested for a while but isn't quite sure yet if it's time to go actually read it properly? I've had at least three comics in here go like that.. I sat on them for a while, checking them out in the threads, waiting for that moment to get "sold" on it

>What I don't get is this idea that there's something wrong with grid paneling.

Has...anyone said that? Because I never said that. I said you need to change your focus and perspective every once in a while instead of having monotonous pages.

Watchmen is almost ENTIRELY a series of panel grids. Even when they're just talking, the characters move and do shit and are seen from different perspectives. The visual content matters even in monologues.

>Has...anyone said that?
It's a little ambiguous. I'm pretty sure a few people are trying to criticize the repeated talking-heads shots, but they're phrasing it badly, and it really sounds like they're attacking the grid paneling... because they're literally saying those words.

You uploaded all the pages at once again. Cmon dude, the less time in between updates, the better. spread those updates out!

>It's a little ambiguous.
>They're literally saying those words.
Pick one. If it's the latter, quote it.

>You've condense three panels of dialogue into one, which makes it much to dense.
That's very misleading. I condensed five panels of monologue into three, carried over four bubbles instead of five. But you're right, it might actually be a good idea to cut out all the "justs" and actually make his long-winded thoughts fit comfortably in less than 3/4 of the page. Revision matters.

>You've got three panels which are essentially identical, only moved around a small amount and changed in size a small amount with little effect.
That's actually completely incorrect.

We start with a page-establishing shot from an upward angle looking down on our protagonist, conveying his mood at the moment and giving us a sense of place. We then move into a profile shot of him reclining in resignation, with the naturally downward motion we read the panel with leading us to the file, which would be part of what he's talking about here. Then a shot from the front, face buried in his hands. The NEXT shot is very similar because it is a direct response to the previous. The angle is the same because he is lifting his head up from his hands. Then we have him rushing out the door, pulling out his jacket at a slightly askew angle as the chair tips.

Nothing is "identical" here save a single two-frame exchange, and I have no idea how you're coming from that when you drew the guy from the shoulder-blades up 5 fucking times.

>You've added a bit of background which was in the previous page but isn't needed in this one.
If you were removing it for effect, that's fine.
You aren't. The only rationale for that is ease of rendering.

??nd you've dramatically increased the size of the last panel for no reason.
And this is how I know you don't understand panel composition. It's big because it's the sudden action. He's rushing off so it's a large panel with a more dynamic pose, giving the reader a sense of the urgency with which he moves.

By the way, really wanna address these.

>If a comic page had only action and no dialogue, would you think that was a bad page. Would you even think it for a second?
Should I quote myself since you skimmed over it?

>Comics are about an interplay between what we draw and what we write, even if the writing is implicit or the drawing is minimalist.
A comic that is only using words to convey is not using the medium effectively. Writing that does not necessarily use dialogue can be effective because it's a visual medium.

You can write without the audience necessarily seeing it. You can not draw, render and produce without the audience seeing it. A page without dialogue is not the same as a page that barely even attempts to use its visuals.

>There's another explanation.
Go for it. Tell me.
Tell me what it means when your page says NOTHING to a person unless they have context. Is it a snide insult to that person's intelligence? Is it actually something interesting to discuss? Please, share it.

It's okay to not agree with what people have to say about your art, man. I understand.

It's not okay to be extremely passive aggressive and mindlessly defend your decisions. You think what I gave you is bad? Fine. I can agree. Maybe you think my advice sucks. Sure.

But six panels of a guy's head is not a good way to convey your story. You are missing out on so much when you do that.

Today, the GPD start the mission on the mysterious meteors.

So is the gray guy an alien?

Yeah, Mr. Xancton is an alien. A hard working character who wants justice brought back to the park.

he's also a disease you get from chewing too much

...

This is the best thing to ever come out of this thread.

>Dumb argument
>Thread dies
Errytime

Managed to finish the latest update! Now, off to update the site as well.

i feel like we need a new word for how much of a bitch she is.

link to your comic?

Over the edge begins here!

ennuigo.smackjeeves.com/

Feel free to come up with one, but I believe she's just being bluntly honest.
Not that she's not terrible, considering that whole other business with her.

Shit, I just noticed, it should be haven't, not aren't, right?

>Why post at all then

Originally? For criticism. I've gotten some good stuff. Lower plane of the jaw, eye size and separation, perspective on the ear, hairline. Unfortunately the legit criticism is few and far between, and the know-nothing dramawhoring is a pain to put up with. So I left for awhile, and came back because somebody asked me to post updates again.

I asked you for the same thing with the same amount of information, and if I were to do that with this layout I'd have to decrease font size to something indecipherable. Then you tel me to cut dialogue, which would mean cutting information, which I'm not going to do. It's slimmed down enough as it is.

Establishing a scene and mood in the panel is great, except we already did that in the previous page, like I said, context is a thing, so it's unnecessary hear. You've got his hands over his face, I have him rubbing his temples, I don't see a significant difference. You've got him slumped down in his chair in a wide shot, I've got the same shot with a close up of his hand hanging by his side. Is the wide shot better? I don't see why. You use the same panel and same angle twice, which is fine with me, but I don't see how it's better than an extreme close up and sudden realization, especially considering repetition is the basis of your complaints. And I don't see how increasing the size of the last panel adds to the sense of urgency whatsoever. I could have had a larger panel but I cropped it for size because of the monologue that you're disregarding. And it worked out because there's no extra visual information in the cropped version versus the large, wide angle. Since when to large panels add a sense of urgency? Importance, sure, but that's not the most important panel on the page. I almost kept it for the next page.

>A page without dialogue is not the same as a page that barely even attempts to use its visuals

No, that's right, they're very different. Is one inherently better than other? No.

>Go for it. Tell me.

Purposeful obtuseness?

>Maybe you think my advice sucks. Sure.

Then we're agreed.

>you are missing out on so much more when you do that

Yeah, a lot of text and three panels of the same thing in a slightly wider shot.

zat the pilot? I love that he of all of them has lost it.
Strangely enough, no, you do say aren't in this case. the not goes with the 'are' in 'are you having', not the having. 'have' is a very weird word in english for how its rules work

Hmm, might get more art crit if you post WIPs. I think a lot of people would rather not criticize in something that's already finished, because nobody wants to redo everything at that point.

abnor.com.br/?lang=en

Weekly shill

How about "don't you"?

So great as usual
for your weekly english fix:
'give me back' is not really something you'd say, unless it's meant to be interrupted "give me back the (thing)" and if it is interrupted, you'd want a dash there or whatever.
I think you're looking for give it back, or give it back to me

nope, but if it was in the present/general tense, you could say "You have a blast, don't you" which would be weird to say unless the subject was already on the time, like "When we go to the ___, you have a blast, don't you?"
yeah i know it's weird because 'have' and 'are having' both seem present tense. english is fucked.

I see, thanks a lot, this is really helpful.

If those two got hit head on by a meteor, shouldn't they be dead?

>that 'people die if they are killed' meme again
cmon user

user. Please.

You need to understand this. Some people, when you tell them they've made mistakes? They don't see that as "Oh, how do I make myself better in the future?" They see that as "What you made is bad, fuck you."

It doesn't matter what you say or how you say it, people like this aren't going to take anything away from what you present to them. They are viewing it from the lens of "You think what I made is bad, but you're not better than me." They can't pick the critique apart. They just can't.

Stop trying to help people like this. You're just going to get called names like "know-nothing dramawhore" for your trouble. They'll just be upset, and they'll lash out at you, so in the end you're helping nobody.

The point isn't about the actual panel composition as much as the fact that you just have these really close face shots in every panel.

It's like if this
was more like this pic. It's fucking boring to look at for anyone who isn't you. People don't want a serial story that looks like this, it just looks lazy.

how do you look at yourself in the mirror just lying like that? Writing out entire paragraphs of lies?

How is it a lie?

People like Nunc refuse to change beyond small, inconsequential things that they could call "objectively" superior, like fixing basic anatomy. They are simply incapable of understanding that you can improve even if you aren't doing things "wrong."

Welp, I have to go to work, so I don't have time to finish the second page, and you'll have to wait until tomorrow, Stones, but I promise to deliver.

first statement is supportable, second one is flat-out wrong but not so much a lie as speculation. neither has anything to do with your previous post and its hyperbole, which is accurate to some people but not this one. you clearly just spewed shit you've said before

You wanna actually try explaining your point instead of saying "you're wrong/lying"? Because I'm all ears if you want to explain how anything I've said isn't true.

Unless you seriously think I'm being literal when I say "incapable." You get that's shorthand for saying "in almost all circumstances going to render themselves selectively blind", right? Like, they are feasibly "capable" but they're not going to actually understand these things because they're too busy getting stuck on the antagonistic part of being told something isn't good.

Whatever you want to say Nunc is doing right now, taking-criticism-as-an-attack-and-retaliating is patently obviously not it. The only reason I can think of for you to accuse that is to annoy

Jesus, user, get over yourself.

youtube.com/watch?v=Pa-qgRasdvc

He, quite literally, said most of his critics are "know nothing dramawhores" two hours ago. Dude's antagonistic as fuck.

>Tell other user to let it go and stop replying to Nunc.
>DUDE JUST LET IT GO.

You're right though, I actually let Coldfusion bait me into giving him (You)s. I fucked up.

Noted, we will fix it.

CF wants the thread to remain at a certain level of mediocrity. I think he sees it as a place for people who suck and don't care to post their shit.

Well, I mean, it's not like anything good is posted here regularly.

Brutal.

>proving his point

Shut the fuck up, Coldfusion.

Ohhhhh

>something you're reading has a very similar twist in the plot as what you're currently writing
>fan comments call the twist stupid
I refuse to give any details but fuuuuuuck

errp

Best opportunity to read every comment and takes notes, my man. The early bird gets the worm, but the second mouse gets the cheese.

Is it not a virus, user?

Well you have to put things in perspective in which why do people think that twist sucks, and exactly where your twist and that twist intertwine, and even then that's not really all there is to it, you have to look up good twists in writing and figure out why they were good in the first place

There are 2 examples of a good twist, Citizen Kane and Empire Strikes Back, one being the simple twist and the other being a much more complex twist because not only you have to consider how the story built up to that point, you have to understand how people saw Star Wars up until that point in time where the shocking truth was revealed

I guess it's a moot point because I liked the twist anyway, so if people don't like it in my own story I'll just have to bear that dislike in favor of making a story I'm personally proud of.

Thanks for the advice. They used it as the answer to the main mystery of the story, while mine's going to be introduced in a way that answers questions people might not have asked to begin with, so the lessened expectations might help me here.

Yeah that's what I was going to say. If it's the same twist, just change it so it's not the same buildup. That's probably the reason those fans hated it

Cobbling together some expressions for the page.

Workin on a page. How are the colors looking on the top panel?

It's looking good! Though, if that sandy patch below her is meant to represent the "wham" impact, it should be a bolder/brighter color to stand out as a non-setting element.

I have 3 Ideas for a story. Which one of these sound the most interesting to you guys ? I want to make a webcomic about one of these.

A person genocide the human race, after a couple years humans surface again and the person wants to do the same thing again. The protag is from the new new race of humans and wants to stop him.

A God is bored with the way that humans are current going about their life and tries to have fun by giving everyone super powers and letting them all compete for the power to cure any aliment, this power is limited to 10 uses per year. (Protag cause to go adventuring is still being worked out)

An immortal has archived its vast knowledge into a majority of book hidden across the land. Any one who reads these books gains mastery over a particular field eg. Engineering, Health, cooking. Metal Work, Magic, etc. Protag wants to get all the books that were made.

The background rocks and trees could be a little lighter, so the figures pop out more. Urchin's hair is the same tone as the dark bands on the tree, so they're blending together. Having brighter/more saturated characters wouldn't look out of place in this kind of strip.
Some of the foreground elements are forming tangents with Urchin, notably the two reeds, and the grass stalks below her head. I think it might be better to remove them completely, as they're interfering with the impact and "Wham!".

Re: the muck on the shoe in panel 3. I get that it's supposed to be insignificant, but it's a little too insignificant...
I would place it on the toe of the shoe, about where the largest sparkle is. It'll be the first thing you see as you enter the panel, so you don't have to hunt around for it, and the eyes of the background faces will guide you to it as well.

Is 1654x2338 the size you're working at? Might be an idea to save a copy out at 800x1100 or so, to see how it looks reduced.

I'm looking forward to seeing all these Urchin pages in the right order.

what you guys think of this comic I just whipped up with my new tablet?

What if the mouse trap is reset before the second mouse can go out there?

Why are we all ignoring the fact that we are people and not mice?

The first one has a clear goal (saving the human race) but I'd need to know more about the motivations and personalities of both the protagonist and the antagonist to be able to tell if this is interesting or not.

The second one: same as above. Also what's the conflict?

the third one is simple but has potential for an interesting backstory and could work with the right kind of protagonist but also needs a motivation and an obstacle.

I was also left wondering what genre and tone each would be? So for now I think it's to early to say which one is the best or worst. The ideas are still very raw. I suggest you write some more specific information into them about the main characters and their goals and then see which idea takes you to a journey you want to commit to. If you still feel unsure, you can always come up with more ideas or show us where you got stuck.

havent said it before but I can really hear their voices, y'know. the guy definitely sounds like some.. actor from something.. i can't quite remember. I wanna say a canadian. possibly someone from braceface. or I wanna say someone who voiced bill gates in something.. or maybe someone from the critic? man, it's hard this early.

I hope you never stop making things
I feel like you should be making some kind of insane simple video game

then there won't be a fucking dead mouse still in it
it's faster than saying 'you don't have to be faster than the bear, you only have to be faster than your slowest friend'

There is no bear and I have no friends

in this metaphor, the bear is 'fucking something up in your comic that your audience doesn't like' and your friends are 'other people doing comics'

I do not make comics

Maybe YOU aren't.

well we enjoy having you around anyway.

Fucking saved

I don't like it here

well then I must question the logic of remaining

This thread will be dead soon. A lot of prominent posters like the author of Carrion Girls have left and are never coming back. Let this be the last /hyw/.

Please take your own advice. You contribute nothing here, and we'd be better off without you.

You first, sunshine.