A long time ago, I tried to ink a drawing with a brush like a real cartoonist. A Windsor and Newton #7, the favored tool of greats like Bill Watterson. It did not go so well.
Well, my challenge for ynk-topia, my terrible corruption of Inktober, was to ink with a brush from start to finish. And I have. I just now finished my 31st picture, which means once I get them all scanned and processed, the October Monthly should be ready to publish.
I’m not going to show you the ultimate picture, mostly because it isn’t scanned yet, but partly because I want to save it for the 31st, but here’s a picture from near the end:
Inked with a brush.
And this picture I made for my wife for her birthday:
Inked with a brush.
I’m at the point where I almost love the brush as much as my tombows. Almost. I can produce far more expressive linework with it, going from finer than the tombows can produce to thicker than they can produce. But it’s a fight. I need to focus. I need to pay careful attention to what I’m doing. Meanwhile, the tombows produce close to what I want with very little effort on my part.
Anyhow, starting tomorrow, I’m going to do one comic a day, to tread water, and focus all the rest of my creative energies on my game.
However, I am starting to get the feeling that the time is right to Kickstart Awesome Moments. I think I’ll run a campaign in October and work my way, bit by bit, towards having it ready, again, starting tomorrow. I’m not 100% committed to this yet, but it feels like it’s time, so I’m pretty sure I will be.
Yesterday, after doing my Inktober stuff, I put together an interface mockup and (therefore) the interface graphics for the game I’m making over the next couple of months. I’m pretty proud of this, though it doesn’t run in-engine yet:
Couple of worldbuilding notes: I’ve decided in my game engine/game world that magic/stamina/special attacks use Star Points and life uses Heart Points (nothing too extreme here). Heart Points can be split into quarters and Star Points into 5ths for finer-grained HP/SP applications while keeping the interface readable at a glance.
Money is measured in chips. Which, in universe, each contain one dram aether, with a direct conversion of 12 chips/gil if I want to measure things in a game via gil. It’s a nice way to unify my various fantasy settings. A chip is just a 1 dram coin in the game world.
There are some pleasing coincidences. In my comic, I’ve been bopping back and forth between 320×180 and 160×90 for screen resolutions. The first is the obvious 16×9 retro resolution, the second I did half-size (and with the initial Rainboy palette) and called it the handheld version because I felt production was taking too long.
Anyways, I felt 320p was too big and 160p was too small, so I threw a dart at a resolution splitting the difference. I was aiming for 240p, but I hit 256p by accident.
You’ll notice in this gallery (at least on desktop) that the middle picture is shorter than the other two. That’s because the mockups were done in my tile editor, and assuming 16×16 tiles (which is most convenient for this style), 320×180 and 160×90 are vertically 11.25 and 5.625 tiles respectively.
But 256×144 is 16×9 tiles. Nice. In fact, I’m kicking myself for never thinking, “I wonder what would happen if I multiplied my tile size by the aspect ratio” before today.
Another nice coincidence is I made the interface panel the size that “felt right”. I was originally aiming to make the playable area a square, but that meant the interface would take up almost half the screen, and that was unacceptable.
I landed on doing 4 tiles wide of interface, which reduced the play field to 12×9.
12×9 is one off in each direction from 11×8, which are Fibonacci numbers. Which means the playing field vaguely in the ballpark of a golden rectangle.
Okay, to be honest, I’d want 14×9 to get as close to a golden rectangle as possible. But you know what? I like this rectangle. I find it aesthetically pleasing. I’m going to pretend that’s because it’s in a golden rectangle ballpark.
So here’s some sword animations before I get to the economic bit for which this post is named:
Right now I’m pushing ahead on getting Inktober drawings done. I’ve got 7 of the 31. I hope to finish the day at 8 or 9, and get 2 or 3 done tomorrow as well, then average 2 a day through September. To pull it off, though, I may need to scale them back. Do smaller pictures.
My other option is to do one or two a day, and do a comic a day in addition to that, to build up my backlog even further. And while Hat Trick and John Michael Jones are both calling out for work, I have another option as well. After all, I’ve been talking lately of which game I should make, if I were to try and make a go of making a business of making games…
Considered using one of my Unity builds..
And now I’m planning to switch to Godot. I want to reduce my reliance on Unity, and I want to reduce my reliance on Windows. I don’t trust either of those companies, least of all Microsoft.
And I’m thinking, let’s do it. Let’s build games that bring us inchwise closer and closer to Breath of the Gameboy.
So I’ve mocked up some Gameboy style graphics,
and I’m thinking make a short game where Arthur fights goblins in a graveyard over September and October, and then release it in November, just as Arthur starts fighting goblins in a graveyard on Bunny Trail Junction.
Then, next year, I can build up to and crowdfund 8 Lives Left.
Of course, my need is to make a living, and I still haven’t worked out a short term connection between my working on this and my paying my bills. I have a long term connection. January I’m planning to ring in the new year by going on a publicity blitz for Bunny Trail Junction. At that point I’ll have five months of comics, two to five months of backlog and, assuming I follow this plan, a video game. When I reach out to the internet at this point, I’ll have a lot of stuff to point them to, and a reason for them to tune in every day. Then if in, say, February or March, I run a crowdfund for 8 Lives Left, I’ll be able to build on that foundation.
I guess we’ll see how it goes.
Anyway, a seven comic arc going over the Hat Trick → 8 Lives Left → Breath of the Gameboy pipeline could ring in November, followed by the Hat Trick arc as it now sits, followed by some bestiary entries or something would make a decent November.
Part of this challenge is to master the brush. So, I’m not using my Tombows at all, just a #2 Round Princeton Mini Detailer. In both of these pictures. I’m not even using the Pentel pocket brush.
I expected my art to start out like that first picture and gradually move towards that second. Not to jump in a single day. Did I change anything?
Yes, actually. For my first two pictures I used Strathmore 100 lb Bristol Board. Since it’s too thick to feed through my printer, I’ve been doing my underdrawings on the computer, and using a light table to ink. But for the third picture, today’s picture, on a whim I decided to try my “printer Bristol Board”. It’s 67 lb, and not as smooth, but it comes in 11×17, so I can work much larger.
Now, working larger does make a piece look better because errors, smudges, and quivering hands are smoothed out by the greater distance. But! On an inch-for-inch basis, the second drawing is still better than the first. The lines have just as much energy, but are much better controlled.
The other change is I haven’t had caffeine today. For some reason, my craving for soda has been matched with an aversion for soda in the last two days, and the nice thing about having two warring impulses is it takes very little willpower to pick the one I’d like to win. May God let this continue.
The last observation is that I’ve been able to produce about one drawing a day since I got the prompts. But I need to do more than that if I’m going to have them ready in time. Moreover, I have reason to believe I’ll be sharply curtailed this weekend, maybe not able to draw a single picture.
I don’t know how to address that yet. I also don’t know how I’m going to store my finished pieces. I’ve been chucking my comics in dated envelopes, but 11×17 isn’t going to fit. Well, time to chew on those problems.
The prompt list for Inktober 2021 dropped yesterday. The email says “don’t tell anyone ’til September 1st what’s on it,” but I am confident that my first essay doesn’t spoil anything. This picture is based on the first prompt, but it’s non-obvious.
But something else in the email caught my attention:
Please don’t share until September 1.
Now that you’ve got the list, use the month of September to sketch out and explore ideas!
The email assumes you will be drawing the Inktober prompts… in October!
With Bunny Trail Junction, I am (with the exception of Inktober) two months ahead, and my goal is to be six months ahead. You see, the spirit of Bunny Trail Junction is freedom. The freedom to jump around, work on whatever I feel like, confident that I can discard it or rearrange it before it comes out. The purpose of Bunny Trail Junction is to get all of my stories into the world without putting sufficient pressure on my flaws to make it fail.
The Spirit of Bunny Trail Junction is freedom, and this spirit is served by having a backlog.
The Spirit of Inktober is to encourage artists to produce a finished piece every day. The Spirit of Inktober is served by making setting aside specific days to produce and display finished pieces. The early release of the prompts is not so you can draw them in advance, it’s so you have time to think them over, do any research sketches you want.
These two spirits are intrinsically opposed. You don’t make a Bunny Trail Junction on the day it releases, you make it at least two months before that. You don’t make an Inktober drawing in advance, you make it on the day it is released.
There are four methods I can think of off the top of my head to resolve this conflict:
The Worst of Both Worlds: Get the prompts ASAP (A week before September) and crank out 2+ pictures a day so you can have the monthly assembled by the ides. Does severe violence to the spirits both of Bunny Trail Junction and Inktober.
Offset By A Year: Do Inktober properly. Publish it on Bunny Trail Junction a year later.
Christmas Vacation: Publish normal comics in October, but do the Inktober challenge as well. Use the Inktober drawings to fill the December Monthly.
Prompt in a Different Way: Similar to Offset By a Year, but instead of using the Inktober prompt list, I come up with my own prompt list to disguise the fact that I’m not doing the art at the same time as everyone else. This fits with coming up with my own branding for Inktober, and further, would allow me to pick a different 31 day month to execute in if I wish.
I am already committed to the Worst of Both Worlds solution for October 2021. However, I am considering the other solutions for 2022 and beyond.
I’m going to post three panels from Bunny Trail Junction, but they are ripped from three different episodes:
Except they’re not just three different episodes. They’re three different workflows.
In Panel 1, I printed out two comic templates on a sheet of 8.5×11 paper. Since BTJ monthlies are printed 5×8, and this is scaled to use almost all of the page up, whereas the monthlies have generous margins, this means the artwork is, say, 20% bigger than its final form.
I letter in the text with a Pigma Micron 05, except for bold text which gets my Tombow しっかりbrush pen. (And know, I don’t know what the heck “shikkari” means, I just know enough Japanese to sound it out and produce the correct letters with my keyboard). Large pools of black are filled in with the Pentel Pocket Brush. Hatching is done with a Pigma Micron 01, and corrections/stars/white outlines on black are done with white Sakura Gelly Roll 10.
This is how the hand-drawn episodes have largely been done.
However this month, I decided to try something new.
For Panel 2, I printed my template so that one template fills an entire 8.5×11 sheet. This means I’m working at well over twice the final size, as the Good Lord intended. The lettering was done with the Tombow しっかりbrush pen, with bold provided by the Tombow な(?)やか brush pen. In this case, I’m not actually sure I read the kana right. It’s something-ya-ka anyway. Maybe that first symbol is a kanji I have yet to learn (that would be most of them). The scene is then drawn with a blue pencil (like the first), but inked with the pentel pocket brush. I have a lot less control over the pocket brush than I do over the Tombows, so the result is less consistent, but it has a certain life to it that the Tombow art lacks. Again, I use my Gelly Roller for white bits and my Pigma Micron 01 for hatching. Which looks about the same, despite the fact that it should look noticeably thinner.
Panel 3 was a process I “Prototyped” yesterday. I noticed that some of my art looked from ink leeching into the paper around my brushstrokes and decided to try drawing the comic on Bristol Board, as if I were some sort of professional.
Other than that, the process is identical to 2. Well, not exactly. Since I can’t print my template onto the bristol board, I have to use a light table to project the template through. And if I’m going to project the template through, I can “pencil” on my computer and print the pencils out, which allows me to use all sorts of hacks like selecting, rotating, scaling, and smudging to more quickly assemble my scene.
The lines are, indeed, crisper on bristol board. There’s a reason it’s the industry standard. However, I still don’t have good control over the pocket brush. Moreover, because the ink doesn’t leech into the surrounding paper particles as much, it also dries much slower, and it is easy for someone sloppy — someone like me — to smear it with his hand.
At this moment, I have half a mind to go back to the Tombows for illustrating. Maybe use the bold/mystery meat tombow for outlining at this double scale, see how well it handles on Bristol Board. But I really want to keep that life that the pocket brush is giving me.
Here’s a test panel of John Michael Jones, illustrated in like manner to the above, but then colored with the Rainboy palette:
My plan, at this moment, is to take it up a level. Use an actual paintbrush and actual ink for Inktober. Then back off and try a few comics with the Tombows after I’ve finished that gauntlet.
Prompts drop tomorrow. Here’s hoping I hit the ground running.
So here’s basically all the characters I had as tests of the new pixel art style, plus Octoboy and Piranha. I decided to meet in the middle on the linework: Jump and me have thinner lines than our previous outing. Octoboy and Piranha haven’t been updated to have thicker lines yet, but I’ll let it be for now. It stands out like a sore thumb to me, but it’s decent art for all that, and you wouldn’t notice it didn’t match without me telling you.
I’m utterly uninspired to work on any game at the moment, and have just been fine-tuning the process of producing stickers, which is what I’m calling the HD sprites. I do intend to start jamming on a game, though at this point I think I might start on the dot in September instead of starting now. That rules out Halloween, which averts certain temptations for me.
Well, some elements of Bunny Trail Junction have not functioned gracefully. So I’m off to go fix those bits. I’ll probably use my stickers to make some basic merch as well.
Today, I got the finishing touches on the September Monthly done and sent away to Amazon. Because part of it was trying to make a preview image for the Inktober Monthly, I ended up “finishing” the cover for October as well.
I’m not content with it. Piranha, in the foreground, has a funny looking head, and not funny looking in a way that I prefer. Perhaps I will do a new version tomorrow, and fix or replace the cover. Nevertheless, it is work well done for all its faults, and I may just move on with my life. For such is the mantra of Bunny Trail Junction.
Made this bit of art for the interior, though, of which I feel justly proud:
I’d like to take a moment to go on about how much of a machine Bunny Trail Junction is.
Every weekend, I upload a week or two of comics to the site. August is set. September is halfway done. It’ll be completely done tomorrow or Monday.
The September monthly is done. I’m just waiting for KDP to decide if they want to pick nits. There is already merchandise available on Teespring based on the September art.
October is going to be Inktober, which means I’m going to be busting my butt trying to get it ready in time when the Inktober prompt list drops. But I have enough strips already to run November.
I don’t want to run November based on just the strips I have. I want to have a wider selection, so it can be higher quality. But if I had to, I could. And by the time September is done, I should be good for November and December, which means I should be good to create the first Annual.
I have created a monster. It’s amazing.
I mean, yeah, it doesn’t make money. Not yet, maybe not ever. And it is not for me to say my work will stand the test of time.
But in 12 months, I will have 12 monthlies. My stories can blossom and grow on this comic, some into good fruit, some into bad.
I do need to figure out how to make a living.
I’m not worrying about it too hard right now. I’ve worried about it hard for darn near 20 years, and that hasn’t solved it for me.
I’ll feed this machine I’ve created until next month, when I see a doctor about my chronic underachievement, and depending on how that goes, I guess we’ll see.
But you know, there is something about this machine.
It’s a machine that should work despite my flaws. And it’s bigger and better than I thought my flaws could ever allow. And that’s why I’m so self-impressed.
Pride goeth before the fall. So ask again in a year, I suppose.
Every now and again, I get it into my head to study Japanese. Probably going to start up again in the next couple of days.
I was digging through my backups for my handy dandy Japanese vocab flash cards, when I ran into some pictures I decided to show off. These are on the older side, but I’m still kinda sorta proud of ’em.
Here are enemies for an HD Jump the Shark game, animated using Spriter:
Here’s an early version of Lyzzor, intentionally trying to ape the style of Mike Mignola because Therians are super serious.
Here are some other Therian prototypes:
Here’s the cast of Hi Polly!
How could I not include this, the moment when I finally started to grasp animation:
Once upon a time, I was planning to be a youtuber, but instead of showing my face, I’d have a 3D modeled animated transforming wasp. It’s a play on the fact that I’m Anglo-Saxon and Protestant.
Once upon a different time, I was making a game in XNA about a dragon fighting aliens. Spaz was the initial design for Crossover Arcade’s animal mascot, though that role was eventually usurped by Jump the Shark because Jump is funnier..
I like to rate things on a scale of -1 to 2. -1 means actively bad, 0 means meh, 1 means I like it, 2 means I really like it. Use this rating in five or so categories, and you’ve got a -5 to 10 total rating scale. Of course, on that scale 5 is solid, so it doesn’t scale to what people expect.
I’ve begun producing Hat Trick 1 as Bunny Trail Junction episodes.
And I’m about 70% decided that I should just produce Bunny Trail Junction proper, including all the random comics I’ve made already (more than a months worth) most of which I’m ditching as a false start, and start pimping my Subscribestar. I want to produce a title card for Hat Trick. But there you go.
One of the fascinating side-effects is that I patterned the Hat Trick sequel on a 2×3 grid, and Bunny Trail Junction is patterned on a 1×3 grid that becomes a 2×2 grid on Twitter with a title card. The upshot is, the first few pages have translated directly. Here’s the test 2-page spread that I finished last year, followed by the Bunny Trail Junction version: