Question with 22 notes
beeblebubbz asked: What song was playing during the afterparty when Billy was like,"they're playing our song"? My little sister is dying to know
Alas, a question I won’t give a definitive answer. It was debated intensely internally by everyone on the issue.
It’s something dumb and floor-filler and fun rather than something OTTP romantic though. This is them living and loving.
Question with 11 notes
letthedarknesswin asked: Mr. Gillen, what is a beamslinger? This word has been tormenting me for so much time. please, if you answer this question, could it be private? Thank you very much.
Like a gunslinger, except with beams.
It’s a nod to British Music Journalism legend. To quote wikipedia…
It was felt that younger writing was needed to credibly cover the emerging punk movement, and the paper advertised for a pair of "hip young gunslingers" to join their editorial staff. This resulted in the recruitment of Tony Parsons and Julie Burchill. The pair rapidly became champions of the Punk scene and created a new tone for the paper.
Dropping it in an advert struck me as funny, at least for half a dozen reasons, and useful for half a dozen more.
Question with 5 notes
zaradante asked: Hi, Great job with iron man, but ive two question, 1 - arno is the iron man 2020?, 2- when we have a new armor for iron man?
1) Wait and see.
2) The modular armour lets us mix stuff up a lot… but there’s at least one neat thing in the next arc I think people will like.
Question with 47 notes
howtobesplendid asked: So, I'm writing the second issue of my comic book series, and I get to final stretch of the rough draft, when I suddenly realize that I could make the issue so much better if i re-wrote the last eight pages completely. Is there anything I can do it in the plotting process to prevent such backtracking?
I mean, sometimes if you planned it better certain aspects or problems or better ways of doing things will come more to the fore meaning there will be less rewriting… but that’s a maybe, and pretty much unprovable in practice. No matter how I’ve planned it, things in execution surprise me.
You can google up a million and one quotes which basically say “writing is rewriting.” That’s basically because it is. At least it is for a lot of writer’s experiences.
(For a contrary take, I think of Vonnegut’s Swooper vs Basher dichotomy, where he thinks there’s basically two kinds of writers. Swoopers just write-write-write and get the whole thing down, before reworking intensely. Bashers write a sentence at a time, and when each line is done, it’s done. Obv, an over-generalisation, but a neat one which seems applicable. I’m clearly a swooper, but I’ve known a few bashers in my time. I sort of view them like a Klingon views a Vulcan. They just don’t make any sense to me, which is kinda the point.)
To be honest, while the response to realising you have to do more work is always a “NO, MUM! I DON’T WANT TO TIDY MY BEDROOM!” you should be grateful of it. A little work now is one thing, but realising you could have done it better after it’s been drawn is a nagging thing that lasts forever.
Ok fine this is a Loki song at the end of YA
This was almost on the playlist, if I remember correctly.
Mostly works for Noh too, though he’s not quite as self-pityingly passive-aggressive with it.
Post with 62 notes
Where I talk to Becky Cloonan and wrestle with iffy recording.
Question with 32 notes
alexanderxazzad asked: Are Seth Bingo and Silent Girl going to be in the next Phonogram?
Yup. About the same amount as Kid-with-knife, really. Slightly more Seth than Silent Girl, as you get to see him in his earlier days when Emily and him were still talking.
Lots of fun.
This is another Noh-Varr song
Quote with 258 notes
Matthew: It is most certainly an intentional device on my part. It’s color theory, and studying it makes doing my job so much easier. Knowing how to choose colors that will do what you want them to do, to direct a reader’s eye, to frame a scene, or elicit a certain response is crucial to good coloring. Good color theory can even make up for other shortcomings, like being inexperienced at rendering (adding textures, highlights and shadows to define form).
The biggest mistake I often see in aspiring colorists’ portfolios is their focus on rendering before they have a good grasp of color theory. I went to art school and majored in “Sequential Art”, which is a fancy name for a degree in comics. (I think it’s to get parents of perspective students in the door. If you called it majoring in comic books they’d probably never let the kids anywhere near the school.) Of course, I took a color theory class as part of my foundation classes, and then as required by my major, I took a “computer coloring for comics” class.
I don’t remember the exact number of assignments, but we weren’t allowed to do anything but color completely flat for the majority of the class. The professor wanted us to be able to tell a story using only flat colors. So, without the aid of lighting or texture or gradients, you had to choose your single flat color for each background, or each face, very wisely to get the most out of your choice. I remember I practiced on a lot of Mignola Hellboy pages and studied a lot of Dave Stewart’s flat colors on that book.
Anyway, the point is that the importance of color choice was made very clear to me when I first started coloring comics on the computer. Looking back, it was important to limit myself in a program that had limitless colors and tools to distract a novice colorist.
Question with 23 notes
nightwing45 asked: Is it just me, or did you place subtle pot shots at Frank Miller and his 300 story in 3?
Joking aside, I generally go the other way, and cut as much stuff which just seems to be about Thermopylae. I’m writing about Sparta and the Spartan mirage generally rather than 300 specifically. That said, as many people’s sole understanding of the Spartan Mirage is 300, I get why people take it as such.
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