Best Of Blog, Fall '08

What follows is a selection of fragments taken from my rants over the last year on, consolidated for your reading pleasure.

July 10, ’08

I keep saying, “Well now I’m really getting into the real story.” Well now I really am. Of course it’s all one big story arc that I have planned, so I’m just going to keep getting farther and farther in, with the exception of comic relief segments such as approximately the first two sections of chapter three.

I’m encouraged by my newfound ability to find the funny way to present serious events. It really is getting better with practice, as I hoped it would. I never really imagined that humor was something I could get better at, since before about a year and a half ago I was rarely funny on purpose and wouldn’t have known how to start trying.

It helps that I’m more relaxed about my schedule now, and I can spend as much time as I want thinking about how the given events could happen in a funny way. But mostly it’s the way I’ve learned to think. I find events that were stated briefly and matter-of-factly in the book have now-obvious hilarious consequences if executed in the right way.

My sister Mel recently pointed out a drawing I did of Syblai that didn’t look like him. I responded something like, “Which pictures do you think do look like him?” Syblai is my number one troublesome character to draw. I’ve been drawing him as long as I’ve been drawing Gemini, which is…a lot of years now, like maybe eight. She’s stayed relatively the same since the book version, with only a couple of hairstyle changes going into the comic. Syblai…has never looked the same in two pictures. I think I am getting better at drawing him, but it’s a slow process. I’ve never been good at drawing males.

Aiken suffers from some of the same issues as Syb, being male, but the main problem with my drawings of Aiken is that I didn’t really put together a design for him before drawing him into the comic, and what I did draw into those first few pages, I drifted away from, because it didn’t really work that well. The good news on the Aiken front is that I think I have figured out how to draw him, and am able to draw him consistently.

This is more than I can say for Syb, and Syb, being one of the two main characters, is going to get a lot more screen time overall. I hope I can eventually create a design for him that works.

August 4, ’08

A while ago James and I were listening to a Penny Arcade podcast, one of the ones in which they bounce ideas off each other until they have something that they agree is funny. One of them said something like, “How do these writer/artists do this by themselves? Do they just bang their heads against the wall until they think of something?” and I yelled “Exactly!” and James laughed.

On the whole I think I prefer working alone. I’ve tried the “banging two heads together repeatedly” method and I think I may have broken my friend’s head. I don’t have to worry about how the wall is feeling.

August 14, ’08

As you may have noticed I got some painful criticism the other day. It was lovely. I think it absolutely true. I know I’ve talked before about the troubles I’ve had working my way from a draft of a novel to the really, truly visual fusion that is a great comic. Critics may say that this really isn’t the way to go about writing a comic, but from here inside my brain there doesn’t seem to be a better way.

This is the story I want to be writing. I’m quite attached to it. There are two other major works of mine that I’m similarly attached to. One of those would really not work in comic form. The other certainly would, and sometimes I imagine, someday in the future, that I’ll draw it. I haven’t the skill to do it justice. I don’t have quite enough idea yet on the specifics of the plot. It’s a collaborative work with a friend and if I was to draw it I would want more control over it than I have now. Also, I’m writing LleuGarnock now, and I really want to finish what I’ve started, this time.

LleuGarnock, especially in the beginning, depends a lot on the thoughts going through Gemini’s head. When I started, I had some idea that this would be problematic, but I didn’t realize the extent. I couldn’t have, until I had tried to piece it together in comic form. Now that I look at what I’ve got in the first two chapters, I see the problems more clearly, and I begin to see ways to avoid similar problems in the future.

Perhaps someday I’ll go back and redo these chapters right. I’d like to learn even more before I do, and I’d like to forge ahead and make progress telling the story that I very much want to tell.<br /><br />

The plot of LleuGarnock (or at that time simply “The Sun Elves”) was built on a core of a moment or two of strong visual imagery. It was always meant to be illustrated, and so as the book was written, that was developed a little. Still, the way that I built the plot, it didn’t produce many more such moments. For one, I was working under time constraints. I wasn’t focusing on real craftsmanship, but rather on utilitarian writing, as one does in school. For another, I had no real idea how. At that point I was struggling with building any kind of plot.

I’ve never felt the desire to be a cinematographer. When I found that I wanted to be part of a craft which combined my love for writing with my talent for drawing, that is to say comics, I had reason to regret this. While I’m an artist, I have never had an instinct for framing an image or choosing an interesting angle. I don’t think in movie scenes, the way my collaborator does. My thoughts are rooted quite solidly in words.

I’m thinking on the keyboard here. I’m pondering Adam’s words about my scripting skill, and what they mean to me, and where they lead me. He says that I ought to pay more attention to my scripts, make them more brief and to the point. While that is quite correct in the short term, in order for it to work in my story in the long term I have to focus on images. I have to start thinking of my story in terms of a series of beautiful or dramatic images, rather than a series of events shaped by words. <br /><br />

This hasn’t occurred to me before, possibly because it was something I would have found quite difficult. I still don’t know if I can do it well, but I’m going to start trying. Such inspiring images don’t come to me on command, and certainly not in such a way that they will fit perfectly into the project I’m working on. Then again, the same used to be true for humor. It’s still going to be a rocky road for both skills to travel, but all I can do is walk it.

In any case, there is a lot more visual storytelling built into later chapters already, and some images have come to me while I’ve shaped the story in my head in preparation for its translation into comic form. I have confidence that later segments of the comic will be more satisfying to Adam’s comic-reading sensibilities.

This rant has been quite a ride. I thank Adam for the comments that began this train of thought. I’ve certainly gained something from the experience, and I hope it will help my comic to improve. I think that it will. So if anyone else has something they’d like to tell me about how I could make LleuGarnock a better comic, bring it on.

September 18, ’08

The comics going up now are pure brush-pen. I started to ruin my first pen just by testing it out and learning to use it, so the style as I’m first using it is full of little thick choppy lines. I don’t think it looks too bad with these characters, but I am glad I bought new materials and learned to work with them better.

When I bought my second brush pen I also bought a brush and some ink, saying to myself that before I bought a third pen I would at least try it the real way. The ink scared me, and I could never bring myself to open it, even when my second brush pen started showing signs of wear. Then, about two weeks ago, someone on the CG forums mentioned that they inked using a Chinese ink-stone and ink-stick. I remembered I had little tiny versions of those that I got in a brush-painting kit one Christmas. I got rid of the book and the teeny water bowl and ladle and the colored paint tabs, but I kept the ink-stick, stone, and brushes, even though I didn’t really think I’d get back into painting with them.

That was a long time ago, before I really got into Anime or thought about drawing comics. So at that moment, when I had learned to use a brush-pen but was frustrated with its limitations, and had a brush I was comfortable with but was unsure about ink, was the perfect time to recall their existence to my memory. The ink work in the new wallpaper was done with the ink-stone, and it was very fun. I’ve also used it to put detail into one comic so far, and I think that’s how it will stay for a while – I’ll mainly use my second brush pen, but where the detail is too much for its slightly worn tip, I’ll use the brush.

The comic page I’m refining in pencil right now is unique in its arrangement of panels – specifically, all the divisions are curved. I’m not sure how it’s going to turn out or if I’ll ever do it again, but I was really struggling with a vision of how the page was supposed to look, and these great arching curves are what resulted from the struggle. At the moment I’m pretty happy with them, but I’m worried about inking. I usually ink panel borders with a straightedge, and I don’t have any french curves that are appropriate to their shapes. I’m considering putting the borders in digitally – I’ve done it before when I was being lazy.

October 2, ’08

I’m seriously considering getting a Cintiq. I was watching those videos of Hawk working on his, and drooling. Applegeeks isn’t on my links page, but I do read it – the topics aren’t ones I’m really enthusiastic about, but it is consistently quality, and I definitely enjoy the art style. So watching those videos of pretty comics being drawn right on the screen definitely inspires some envy.

I’ve pretty much decided I am going to get one at some point, and the larger size at that – the 21UX. What I’m wondering now is whether it would be better for the development of my drawing style to wait a while longer. I’ve come amazingly far in the last nine months, moving from ballpoint to liner to brush-pen to brush. My brush lines are smooth and confident, which amazes me. It’s something I’ve wanted to be able to do since I first started reading manga. But should I go farther with the brush, or move to the tablet?

If I choose the tablet, the freedom and life that my brush strokes have now will have the chance to expand and flourish. If I make a mistake I’ll be able to undo the line and start over, or just erase part of it immediately, where I now would have to work around it. On the other hand, now that I have this confidence with the brush, I feel that I should use it and develop it. This is what I wanted, and I’d feel a bit guilty if I just gave it up like the other steps in my chain of materials. And I also wonder if continuing to work with the permanence of ink will teach me to be more careful and precise, and whether that’s a better direction to be exploring right now than freedom.

October 6, ’08

I just uploaded pages up to page 104. The scripts keep multiplying! All my page numbers for my scripts turned out to be off, because script 100 turned into two scripts, and then I wrote a new page to go between two of the later ones. They’re multiplying like rabbits!

I’m really seeing the benefit of the buffer now. I don’t have time pressure for any one comic page, so I can let all the pages I’m working on swirl around in my head. The nature of plot is that situations change and spawn new situations, and that happens in a pretty extreme way in LleuGarnock. The elves don’t really have a status quo situation, like they would in a comic with multiple short story arcs. Since it’s one large story arc, I have to fit jokes and fun things in wherever they fit. I like to get the essentials of the next stage down on paper, and then as I sort of wander around within that situation I’ve created, I can add little fun things. I’ve been able to do a lot of that in the section that I’m writing, and it’s been incredibly fun.

November 6, ’08

I’m definitely glad I got at least the fundamentals of brush inking down before I got it. It helps, because the best way to ink on a Cintiq is a long, smooth stroke, and the screen has basically no resistance, just like a long-haired brush. Before, I was too used to the way the paper grabs the tip of a pencil or felt-tip pen. I would have tried to work in a sketchier style, and I don’t think the results would have been nearly as good.

It’s also easier than working with a brush, for several reasons. One is that I can press the pen to the screen for a little bit of resistance. I like to be forceful with my tools, so it was difficult for me to learn to work with a brush without ruining it (exactly as I did with my first brush pen).

November 17, ’08

The tablet is certainly fun to have, and I know my comics look better because of it. There are just a couple of sort of negative things. It takes me longer to ink, because I know I can do it perfectly. I’m working on one panel, and the stuff I have inked is beautiful, but every time I go to put in another line I have to do it over three or four times until it’s as nice looking as the rest. If I were inking with a brush I’d be hurrying to get the page done so my ink wouldn’t dry. I don’t have that motivation with the tablet.

The other issue also affects the speed of my work. That thing is heavy. I don’t want to spend hours and hours with it on my lap the way I might with a clipboard. So I put it down pretty often. Then I don’t want to pick it up because it’s hard to get it out of its stand. That doesn’t really affect me if I’m inspired to be drawing; I’ll leave it in the corner of the couch while I’m taking a break. It does stop me from experimenting and doodling as much as I would.

I thought having a new computer to go with the Cintiq would make the laptop kind of redundant. But it’s really great to be able to type and code and move and rename files on a lighter computer. I could use the big computer (which is now the gaming computer, since the new art computer is just as powerful), but then I couldn’t be watching TV right now while I’m writing this! Also I just like the couch. It’s my office.

December 28, ’08

Excuse me while I speak in the abstract about specific things I don’t want to give away.<br /><br />

This is a big snarl I have gotten myself into. It took me this long sorting out the different elements to realize how bad it is. When I started rewriting the book for comic form, I did a lot more defining about how magic works. I knew it would affect a lot of the plot elements. Since then I’ve done a lot more refining in order to make an interesting, consistent system for the use and transfer of magical energy.

Some of my favorite elements in the original book, I had no idea how they worked. In a way, I guess that was part of their charm. Each elf’s magic was mysterious, unique, and prone to change unpredictably. All of that is still true, and the laws of thaumadynamics that I’ve put into place make it possible to tell a complex story about that magic.

All these things are good. The laws are loose enough that I can leave most elements of the story the way they were originally, without explicitly breaking those laws. The conflict is primarily in the feel of the story and the style of storytelling, at least in some ways.

The laws have changed so that a certain element of the story no longer feels right. In the original book, it was a very large element; in fact I would say it was one of the two most important concepts in the book. It still is, but I’ve been ignoring the implications of some of its more whimsical and charming aspects as I’ve been working to expand the rest of the story. Those aspects now seem out of place. In a way, because the story has grown, this large element now seems too small and simplistic for the rest of the story.

It’s a powerful image, but I can’t seem to make the transition to the image without a huge hiccup in style. It’s too cute, and too specific, especially since the audience has much more background on the nature of the magic than a reader at this point in the book. It’s harder to say the same thing without making it sound contrived.

There’s also the problem of the twist in the story that the element leads up to. When I introduced the element into the book, I had no idea the twist would happen. Since I based a lot of the ideas I’ve been using to structure the story around on that twist, when I read through that introduction now, the twist seems obvious.

This is partly an illusion based on the fact that I have been thinking so much about those rules and later events. The reader doesn’t know nearly enough to make it obvious. But this brings up another set of problems I’ve been pondering.

I know a lot of people don’t like it when there’s a key piece of information that ties everything together, and the reader doesn’t know it, especially if the main character does know it. The way the story has been shaping up, it seems likely that I’ll be guilty of something similar. Not in the worst way possible, but to an extent that makes me uncomfortable.

I’m constantly thinking about when information should be introduced, and how. I have to balance it so that people have enough information to make sense of the events in the comic, but not enough to give away some of the twists that take place. At the same time, I like to include confusing events that give hints and imply a mystery.

One of the twists is not so bad, since only a secondary character has the relevant information. I don’t feel so bad about that one, I’m just having trouble balancing the information properly. The other twist is more interesting. Gemini has a piece of information that Syblai doesn’t, and it becomes relevant later. I did feel bad about that, but I don’t so much anymore. There are a couple of reasons.<br /><br />

One is that I’ve got a beautiful pattern for the introduction of all the relevant pieces of information. It makes sense. The other is that Gemini is no longer so dominant in the story. Syblai was important in the original book, but it wasn’t his story. This part of the comic is his story, so it makes sense to come at it from his point of view.

I’m really having to reevaluate the story as a whole to balance all these elements, and until I can do it better I can’t move forward in the comic. I guess what I’m saying is, I’m really stuck. Really really stuck. I don’t know when I’m going to get unstuck, but when I do I have a bunch of scripts ready to go that aren’t influenced by these problems. So I hope I’ll be able to recover my buffer pretty fast.

January 10, ’09

Mostly it comes down to the issues I’ve been grappling with the whole time. I want to make every page interesting, and I try, but often I just need to give up and convey the next step in the story however I can. I’m realizing that that becomes more crucial as I get farther into the story. I’ve noticed comics hook people with their first comics if they’re interesting, but once people are hooked they just want to know what happens next. If you give them some interesting side note at the wrong time they will only be annoyed. So I’m working on changing my attitude about the content of each individual page.

I thought I was having trouble working on the flashback thing because the scripts weren’t interesting enough. I didn’t realize how much of my problem was that my pacing had started to change, but my expectations for each page had not. The section neeeds to be slower than I would have let myself be in the beginning. Or maybe it isn’t even slower, but I have higher expectations for myself now that I have some idea what I’m doing.

The next section also had both types of problems: real ones, and ones I set up in my head. My favorite thing about writing is coming up with awesome new material. Section four of chapter three has a problem in that it’s ancient material. It’s one of the few scenes that had actual dialogue in the actual original book. For all I know it’s riveting, but I’m kind of bored of it. Or it might be more accurate to say that I’ve taken it for granted as a cornerstone of the plot, and now that I’ve taken it out and looked at it with all this new context it just doesn’t live up to my new expectations.

Anyway, I fixed it. I came up with some new dialogue that fits better with the new feel of the story, and I’ve come to a mental place where I can see the scene having a subtler part in the overall plot, but still retaining most of its impact in the long term.

I’m quite happy with the amount of material I’ve come up with for the later chapters. I thought I would be able to expand the story a lot as I went on, but in the beginning I had very little idea how to do that with the later parts. Now that my store of scripts for chapter four has expanded again, I’m quite confident that I’ll be able to do the same for the rest of the story. Maybe I can even make the climax make sense.

Minor spoilers follow.

I was especially worried about Chapter Four in terms of expansion. It’s a common problem I’ve discussed with other writer friends – when characters are traveling, how do you give the impression that time is passing, while keeping it interesting? I already had a few ideas, but just a couple of days ago I came up with a whole new incident that in retrospect proves obvious as an addition to this story. I’ve only written a couple of lines of notes, but now the story would seem lacking without it. I’m glad I thought of it.

The whole pacing thing is strange. I’m not writing for my web followers in terms of pacing. Even so, I think I gave the first few chapters too much room. For the web audience it’s ridiculous. I started posting in February ’08 and my characters don’t leave on their quest until an estimated April ’09. The problem is, I really can’t see the structure of the story properly until I’ve already written it. Looking back on the first two and a half chapters, they’re pretty bloated. But if I hadn’t done so many comics, I wouldn’t know nearly as much now that I’m getting to the important stuff.

January 22, ’09

Comics production is definitely up and running again. It’s been going slowly, but I think it’s going to pick up. Since the flashback/history segment has pages with the equivalent of three or four scripts each to work out, the work crawled while I figured each of them out to my satisfaction. I could have split the pages into three updates each, but I like to be able to post a full page. It’s nice when you’re reading a comic and the page doesn’t change shape.

It’s also been interesting because I’ve been doing more of a cartoony style. Not exaggeration exactly, but more simplification than I usually use. It’s been very educational. As part of that I’ve been relying on body language to convey emotion, since my cartoons have no facial features (with two small exceptions). It’s very new for me. I suppose that’s another thing that’s been slowing down the process: I’m absorbing new information, not just expressing it.

February 2, ’09

I’m definitely an oddity in the world of comics. Even in the context of webcomics, where the transition from hobbyist to professional is so gradual and subtle, it’s hard to tell where I fall – or where I’m trying to fall. The strangest thing is when I talk to people who assume that I want to be employed in the mainstream comic business as soon as possible. That’s definitely not how I see myself. In fact, the idea of mixing creativity and regular employment makes me cringe.

If I needed to support myself, I wouldn’t be trying to do that with comics. I’d probably be working retail, or proofreading if I could get it, and maybe comicing, maybe selling single pieces of art on the side. But because I can do anything I want, I’m teaching myself how to draw comic books.

I often think of myself as still being in school, or in a sort of apprenticeship to the internet as a whole. Being educated definitely doesn’t mean you can’t be productive at the same time. I talk about LleuGarnock a lot as a practice piece, but I really do think it’s worthwhile. People on the internet are enjoying it. It’s definitely what I want to be doing. It’s the peripheral activities of comicing that come into question.

How should I be selling my work? What should I be doing to promote it? People ask me about these things, and sometimes give me advice. It’s not something that I’m willing to put a lot of effort into right now, because, after drawing the comic as best I can, my second priority is to learn to do it better. That is why I call this comic practice.

That doesn’t mean I’m opposed to being paid or published. As I’ve said, if it happens, I’d see it as a confirmation that my work is having an effect on people. I do pay attention to the advice that comes my way, and I do what seems fun and doesn’t take away from my other priorities. Currently my focus is networking with other artists, getting my comic’s name and logo out there and getting attention. I plan on doing some more with self-publishing and maybe conventions. The limiting factors on these activities are my own mental weaknesses.

I can’t do everything that I want to do all at once, so it makes sense to me to start at the beginning and play to my strengths. It’s definitely conceivable to me that a year from now, I could be actively seeking publication. I may not. It all depends on whether that seems like the next logical step, something I should focus on.

I’m practicing now because there are skills that I just don’t have that I really want to learn. There are so many things that are missing from my pages, so many things that could be better. Right now I don’t want anything to get in the way of that.

I’m learning so much! My interval of pure cartooning has made me much more aware of stylism. I’ve been drawing lines so that they look good, rather than so that they are accurate. I have been trying to learn this from the beginning. It’s funny to say this as an artist, but I believe I lack a sense of aesthetics. Not that I couldn’t tell when something was attractive and when it wasn’t, but I couldn’t tell you why. I suppose the best comparison would be to the development of my sense of humor. I definitely thought things were funny before, but now I can build a joke myself and have a sense of why it works. The same thing is happening with my drawings. It’s just beginning to work for me. A week ago I was lamenting my complete lack of such a skill, and today I can see it in my lines. I want to keep learning, more than anything else.

I’m going to be great. I suppose that’s what it comes down to: I can’t help thinking in the long term. I don’t just want to be good enough to make a living, on the same level as the average professional comic artist. I would rather learn all I can, do something wonderful, and maybe be remembered for a long time for that work.

I suppose some people would say that the best thing for me would be being in the business, surrounded by other artists. Well, that may be true for some people, but I have some definite objections to that. First, that it would drive me crazy, but as I think about it there are several reasons that it would.

I run on my own odd, cyclical inspiration. When I’m forced to work without inspiration, I break and shut down. I need to be responsible for my own schedule, and my own material. Also, interactions with real people freak me out. And in my own way, I’m already surrounded by my peers. Webcomic artists have their own visions, and in a lot of ways I’m much more inspired by the work that they do.Mainstream comic artists have beautifully polished skills, and I’m working towards that, but a lot of the people that I learn from and the stories I’m inspired by are online.

So I’m very ambitious in my own way; what people don’t seem to understand is that I don’t care if I’m famous tomorrow. I care if I have more of the skills that I want five years from now.

A year ago I wanted to be a novelist, and LleuGarnock was just a side project to keep me occupied. I didn’t think it would become so central to my life and identity. I wasn’t even all that interested in comics. Now I’m considering the transition to professional. Most of the people in the business have been reading and drawing comics since they were children. In this as in other aspects of my life, I still feel like a child. I’m just discovering this world.

February 12, ’09

NYCC was pretty awesome. I learned a few things, but I was also encouraged by the fact that I already knew a lot of the things the experts had to say, and some of my beliefs were confirmed. Successful webcomic artists agree that the best thing you can do to promote your comic is make your comic better and longer.

Opinions are mixed on how much effort one should put into networking with other webcomic artists. My stance is it seems to be working for me, but I’m only doing it because it’s also fun. It’s recreation time rather than business time, so it doesn’t hurt the actual comic work. At the con I met a guy who draws comics and works in advertising, and he was emphatic about publicity and selling yourself. It was interesting talking to him, since he’s familiar with the mainstream comics business, but I think I had a better idea of where to put your effort to get the most effect when you’re working on the web.

One of the cool things people do with their comics online is let people watch them drawing on I think that’s pretty great. I wish I could do that. But in my situation it is impossible. I have a webcam, and a microphone, and pretty good DSL, the problem is the content. Watching someone draw their comic in realtime is fine, if it’s going up in a few hours. But three months? It just doesn’t make sense.

So back to Comic Con. Jim Shooter’s talk was my favorite, just beating out Scott Kurtz and Robert Khoo’s talk about the business of webcomics. It’s great to hear successful comic artists talk about their work, but for someone as scattered as I can be, charisma makes all the difference. These were the panels I found the most useful because the speakers had something to say and they knew how to say it so I’d listen.

Jim Shooter was also the only person that had concrete advice about drawing, writing and organizing comics. He didn’t have to insist on any restrictive rules to do this, either. For example, I really liked what he said about panels shot from tricky angles, and other artsy or gimmicky techniques. He said you can do anything you want to, just make sure that it’s absolutely clear what’s happening. Before you put in the trick shot, put that second panel on the page so everyone knows where everything is. Set it up properly and its effect will be that much stronger.

So William came by recently. We decided that we’re going to continue writing our novel, but in comic form. This is big news, and it might have some impact on LleuGarnock. The novel is the project that I have actually wanted to be working on since we started it in college, so of course I leapt at the opportunity to be involved in it again.

This is the status of my role and commitment: I will be the artist and co-author. We will create and distribute the comic on a regular basis, probably one page a week, possibly on an issue-type schedule.

These are my thoughts on coordinating both comics: I’ll need a couple of months before we start, to build up my LleuGarnock buffer again, refamiliarize myself with the story , and to create some character models and 3-D room models. I’ve been wanting to use Sketch-Up for LleuGarnock, but it hasn’t worked out. I’m excited to build some of the sets from the novel where a lot of action takes place. I’ve had these rooms in my head for years and building them is going to be much easier than building a forest, and much more useful than building a cabin interior used in two scenes.

This project is going to be artistically intensive. I’m going to be working in a more realistic, contrast-rich Noirish style, and because of how much I care about the quality, I’m going to be spending a lot of time on each page to make sure I’m doing the best I can. The good news is, it’s going to be so different from LleuGarnock that I’ll be able to take a break from one by working on the other. The bad news – I can’t work on comics 24-7 and remain sane. So here’s what I’m thinking:

I’ll try three pages a week, one with dragons and two with elves. Depending on how I feel about that, I might reduce the LleuGarnock schedule back to once a week. I really don’t want to do that, and also there is the possibility that I’ll want more than a week to mull over each dragony page, so I’m also open to reducing that schedule instead. I guess I’ll just figure it out when I get to that point. But whatever happens, LleuGarnock will still update at least once a week.

OK, the latest news is that this new comic will almost definitely be called Dragon’s Fall. A name for the project has been a problem for so long that I’m almost afraid to formalize it in any way, but Dragon’s Fall seems to be working well for both of us. We’re falling back into a lot of our old problems otherwise, like calling each other’s work and ideas dumb and getting offended. We’re still hopeful that the comic form will allow us to get around some of our other problems, specifically the reason I haven’t been allowed to work on it recently, which is that I work in spirals, which disrupts William’s linear working style. LleuGarnock is my proof that I can do linear, so we’re trying this thing out.


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