Captain’s Log 21·6 | 22·B: The King of Formats?

Yesterday in a big mess of brainstorming I circled around the idea of making a prototype comic. Again. You know, the same prototype comic I made back in April. But for real this time, you guys.

Last night, before work, I did concept drawings for the characters. It happened that I had a printout of my pixel art mockup for my Wren game in my clipboard

An older version of this picture

And so I tried to match styles. Which, in turn, the pixel art is an attempt to match styles with the hand drawn art I’ve been doing, so…

I was very pleased with the result, and so I carried my brainstorm across in my 16x9x3 format:

I think that this comic format and my tendency towards cartooning are so suited one to the other that that’s basically what I should do. Just go back to making comic strips of anything I feel like, and hoping that I can eventually harvest fully grown stories off the comic vine.

The art style works best, I think, if the characters are a little more lean and lanky than the pixel art equivalent, but I think drawing to pixel to drawing design pipelines are worth considering.

But here’s another thing. I can produce 2+ strips a day in this format, even when I’m not making Beans. Meanwhile, the average update schedule at, say, Arktoons is once a week.

So why not be random splody and make comics of everything? When I have enough Hat Trick, I’ll ask Arktoons if they want it, and easily keep up a once-per-week upload schedule. When I have enough Jump the Shark, I’ll ask Arktoons… etc, etc, etc.

And maybe Arktoons will turn me down. But I think this is the way forward. I think it always was, even though most of the comics I produced in April and May were false starts. The nice thing about false starts is I can make ’em, then turn around and make the proper starts. It’s all good.

Bunny Trail Junction AKA Magic Beenz is back on the menu. But I think not beenz. The beenz were an experiment, and the result was “It’s aesthetic, but not what I’m going for.”

Captain’s Log 21.6 | 21.A: Concept Singularity 2

I’ve got a bunch of ideas whirling about right now. They’re not organized, and I’m blogging them because it’s better to have them out than in. This is going to take into account many of my recent adventures.

For general blog readability, I’m tucking this beneath a fold, but the conclusion came to me the next day.

Continue reading “Captain’s Log 21.6 | 21.A: Concept Singularity 2”

Captain’s Log 21.6|16.A: Zoom and Enhance

Yesterday I told a tale of two paintings.

Then I decided to further test the process. See if I can make a book this way by storyboarding it with a rough drawing, but then progressively refining it into final art.

So I started small with a template designed to give me a 16×9 image and then show me where the pages will be in the final document. I drew a couple title pages for a therian bestiary.

This was very roughly done because while I have a little Wacom tablet I can use in my day job’s break room, Krita doesn’t like to acknowledge different pen pressures from it.

Perhaps I will get that sorted tonight.

Anyways, I got home and used my big, fancy tablet to refine it…

When painting, I like to start low resolution, something where my PC isn’t going to think five minutes before rendering a brush stroke. Here, I can abuse the power of computer graphics to its fullest. Guy’s nose is too big? Shrink it down. Hand is too far to once side? Grab a smear brush and push it over. Normally, I do this for sketches, then print them out and ink them, then scan them back in and color them. But in this particular process, I’m doing the whole picture this way.

When I’ve pushed the picture as far as it will go, I just double the dots per inch and go in and tweak it even more. So, the size in pixels quadruples, but the size in inches stays the same.

This is far as the process goes tonight. I have to go to work, which means I will not have access to the fancy tablet, only the one with no pressure sensitivity. But now you see why I call the process “Zoom and enhance.”

As you can see, large chunks of the painting get cut off in the book itself. But that’s fine. I’ve made sure the elements I want to be seen in the book are within the pages. I want there to be a 16×9 slice of every painting for me to throw on Twitter or wherever, or use as desktop wallpapers, and while it would work fine to take a slice out of the middle of the images, and have the excess in the book, it felt more right to work in 16×9 at the start and be conscious of where the page borders are within that.

The rough idea is: storyboard an entire book in the fashion of the first image. If I like the book, run a crowdfund, if the crowdfund funds, zoom and enhance until we’re at least 300 DPI on each image to create the final book.

I want (at the moment) to use this process on Awesome Moments book 1. Minus the crowdfund portion because, as much as I want the money, I don’t want the pressure to try and avoid offending my fellow believers in wildly different traditions than mine. Much as I like my Papist and Baptist friends, if I make a book that’s inoffensive both to Papists and Baptists, I will have failed to pass my faith on to my kid.

But I don’t care about peer pressure on any of my own stories. If Bob Snob thinks page 32 of Hat Trick can use more fireballs, I’ll consider his input and maybe even take it if it’s good. There’s no moral hazard really, there.

The thing that’s holding me back from diving in and finishing Awesome Moments in this fashion is I’ve done one and a half pictures with this quasi-impressionistic loose-brush Zoom and Enhance paint cartooning:

I need a larger sample of the style before I decide if it’s the right one for Awesome Moments. So, unless I get another idea, I’m putting that book on hiatus until I complete another (hopefully short) book in the new style.

The only think that my mind wants to move forward on right now, sadly, is the Therian bestiary, which is not short. But in the absence of inspiration to work on, say, Jump the Shark or Hat Trick, it’ll do. The point is to get the test done.

A tale of two paintings

I was under the weather this weekend, and it had been forever since I made any progress on any of my projects. So I painted.

Painting strengthens my artistic skills by forcing me to exercise observation and translation of form and light in ways that my normal, casual, caricature does not. I prefer cartooning to painting. I am more pleased in general with my results when cartooning than when painting. But painting makes me a better cartoonist. And besides: despite my lack of satisfaction with the results, I get absorbed into the process.

And when I have a big project, and progress is slow, it helps to stop and do a picture that takes all day, so you have a finished picture you can point to and say, “hah! I was on this day productive!”

First I did this one:

Interestingly to me, this more realistic version of Wren grows less and less disappointing every time I look at it. The first instant I declared it finished, I hated it. But now, I kinda sorta think it’s okay.

It’s a little stiff. A little plastic. But not terrible for all that. Anyway, whenever I try one of these paintings, I proceed from an energetic, lively, cartoony sketch to a kind of plastic, stiff final painting. Observe:

The picture got more detailed. The picture got more polished. But it also lost something of the personality. By finishing it, I killed it. And not in a good way.

This is not a problem outside my painting These pictures are finished, but retain all the life I poured into the sketches:

So, in a fit of dissatisfaction with my study in yellow and orange, I thought I’d try an experiment on Sunday. Instead of trying to create a fully polished painting, I’d try to paint a cartoon. I’d use a rough brush, and force myself to keep things loose, and abandon the project the moment I had successfully expressed whatever it was I was going for.

This picture runs into the constant problem of Wren’s cartoon proportions looking too young/old. I tell myself that it’s a function of the style I’m trying to build/imitate..

But I know it can be done. Betty Boop has a bigger head than cartoon Wren, and yet nobody thinks she’s supposed to be six.

But other than the problems I willingly gave myself by creating a female half-goblin lead, I really like the style of working from vague to precise, keeping it loose and scratchy all the while. Wren’s face is clear, her hands and feet are almost gestures rather than paintings. The monster in the cave look comes across clearly, but I only put half a day’s work into the painting. It has the life and an energy that the study in yellow lacks.

This semi-impressionistic work is a matter where I have mixed feelings. I like impressionism. I like attempts to go in art where the camera cannot go. As I’ve said before, I like caricature and pixel art. On the other hand, I have a well-honed distaste for abstract for the sake of abstract, for deconstructive or worse, masturbatory art that has typified the notion of art in the West my entire life.

But one of the things I like about text rather than art is that the audience participates in building the world. You write, “short ginger,” but each audience member fills in the details of the picture himself. And making the art messier, more suggestive, more abstract, pulls some of this superpower of writing into artwork.

I think I’ve concluded I want to do at least one book like this. But I need to do more paintings like this to try and explore this visual space and decide what I like or dislike about it. I’ve discovered not a solution to my problems, but a passage that may lead to a cave filled with gold, but may lead to a dead end.

At the very least, this form of picture generation is honest. I’m not trying to hide what parts of the painting I cared about and which I didn’t. It’s right there in front of you.

But I can’t explore today. I’m sorry, Mario, but our drawing tablet is in another office.

Redesigning Wren

So, here’s kind of the oldest “official” art of Wren. I say kind of, because older drawings exist, but they don’t survive.

Wren was created because I needed a lone wolf wanderer to explore a setting I had just devised by extrapolating from earlier stories I had told my siblings. The last set of stories I’d worked on with a lone-wolf wanderer had starred a reformed supervillain dude, so I wanted to change things up, make it a girl with zero tragedy in her backstory.

Wren canonically is a privateer. She got a scholarship to mystic knight school because she was competent and tiny (mystic knight armor is more powerful on small people because it has to devote less energy to covering them. Kinda like tiny people being sought out as jockeys in the real world). But she dropped out of mystic knight school. Her outfit was designed in the story to be pragmatic and something you might see on a wizard/pirate. In the stories, I didn’t get too specific. Boots. Belt pouches for holding her Aether Arts (which are stored as crystals). A couple of knives forged by her crippled brother. A bucklet, which is a glove designed for wizardry.

When I got around to drawing it, I of course went the exposed navel route because I was single and lonely. I am no longer single and lonely, but there it is.

The first time I converted Wren to pixel art sprite form, this happened:

All the details make it into the sprite. But it’s too much. It’s confusing and disjointed. Her jacket looks like it could be pauldrons or, you know, Cap’n Cruch cereal boxes glued to her upper arm. It’s not clear. So the character was simplified dramatically.

This outfit was significantly better to animate. Arms and legs are separated out and easy to see. It works for the same reason Mario wearing overalls works.

In my head, this was a streamlining needed for animation and because the sprite was so small. She still canonically wears the jacket. In fact, she probably wears a full on tank top rather than just a scarf around her bosom. As you can see in the first cover I made for a potential Wren book:

She’s a privateer who operates out of an airship. Well, an airboat anyway. Very steampunky. Look, I gave her goggles! The goggles aren’t in the sprite. Too much detail, make it hard to read.

Around this time, I also got it in my head that instead of making her a pair of daggers, her brother made her bucklet, and in fact, a pair of bucklets that have a built in ability to generate crystal swords. They serve the same purpose

Anyway, in the one story I wrote, Wren acquires a shevlar harness. It’s a suit capable of generating armor. Feeling less and less justified in drawing Wren as half naked, I started drawing her with the harness on instead.

In the stories, she’s not described as half naked. She’s not trying to show off her physique or attract a mate. (In the stories, she’s not even particularly attractive. She’s a 5 or maybe a 6. Mind you, she’s a 5 or maybe a 6 in a culture that isn’t morbidly obese like ours…)

She’s just out there with a houseboat hunting monsters and pirates for bounty. Presumably, since she runs her boat alone, she spends a lot of time in warmer climes wearing nothing from the waist up but a sports bra to keep her bosom from bouncing painfully as she battens hatches and trims sails, but also presumably she puts a shirt on when it get cold out or she flies to town for supplies.

When I realized I wanted to make a Wren RPG, I defaulted to the sprite-based design, though. For two reasons: I enjoy drawing half naked women, (who doesn’t?) and again, it’s well optimized for animation.

But, slowly building up was something of a crisis of conscience. I’m not trying to appeal to the coomers. Frankly, I don’t need to: if a Wren-based RPG takes off, they’ll generate their own art without my help. Also, I wanted the design to be fundamentally true to the character.

Wren is not discount Shantae. She doesn’t exist to be shameless. She exists to be a wandering do-gooder loner. I’ve focused on her because I like drawing her and my wife wants more stories about her and she is well suited to the micro RPGs I want to make. It’s kind of a perfect storm.

Sexiness in character design is also a bit of a tricky subject for me. I grew up Baptist (don’t drink, don’t smoke, don’t chew, don’t go with girls who do), but I’m not Baptist anymore. My current theology regards the old, ’80s Baptist prudery (Whoa! She’s showing navel!) as legalism worse than Rome’s, because in Rome you can actually get absolution. Indeed, we should not lust nor inflame lust, per the Sixth Commandment. But if putting sexy characters in stories is only and always violating the Sixth, then putting badass characters in stories is only and always violating the Fifth.

Add on top of this the fact that the Social Justice religion has turned to prudery that would make a Puritan blink, and I don’t want to de-sexyify Wren. I want to spit in the eye of my ideological enemies, as long as I can do so at no expense to the story.

And then, making a JRPG with navel in it is a good way to get retweeted by Mark Kern. I probably should ignore that, but can I?

Yesterday, I had to go sell jam at market, and my crisis of conscience reached a head. By the time I got home I was resolved to redesign Wren. I decided my chief guiding light would be character itself. I needed to find an outfit that was true to the character, but still optimized for animation.

I tried just making her wrap a tank top.

Image

It didn’t feel right. I considered that Wren must spend 90% of her time on an airship, working and living by herself. I considered that Wren, often as she faces human foes, faces therians, with power levels that make the differences between humans largely irrelevant.

And I kept coming back to this sprite:

She’s got a pugilist look. Lady boxer kind of thing going.

The design works. It’s consistent. It makes sense. But does it make sense for Wren?

Let me consider the mechanics of her world. The setting is early firearms. Swords and guns and light armor are the norm. Pistols are single shot, but devastating weapons, but not much use against aether shields. However, inside towns, chaos fields are erected that repel therians and prevent the efficient use of aether arts. The average adventurer is going to favor one or two pistols, a smallsword as a sidearm, maybe a spear for genuine combat, and everything is going to be as enchanted as possible, to give him a fighting chance against wild therians.

Wren is not the average adventurer. She is a wizard in her own right, able to manipulate aether directly and to craft her own Arts. But pistols and a smallsword still kind of make sense. Pugilism kind of works anyway for her. Not as a serious tool against man and beast, but as a backbone for an energy based fighting style. Using aether to DBZ foes.

Maybe she just likes boxing.

Maybe her wizardry is optimized for use with fisticuffs because there was a boxing class in college and she took to it like a fish to water.

So, in summary:

I had a moral dilemma weighing on my mind because my character dresses too much like Shantae. I thought about it long and hard, talked it over with my wife, considered some relevant theology and…

…Decided to make her shirt two inches longer.

This may not be where the journey ends, but at the moment, this feels right. I don’t know why. It’s such a tiny change. But here we are.

Aseprite 1.3; Mixing Pixels and HD

Yesterday, the beta version of Aseprite 1.3 dropped for Steam users. I use Aseprite to make pixelart animations…

…and Pyxel edit to make the tiles. Pyxel Edit lets you edit a tilemap with your tiles in it that gets live-updated as you work on the tiles, allowing you to very quickly make a very functional tileset.

Now you’ll note that not everything on the screen is my tileset. I like to dedicate layers to characters and objects so I can preview how the whole thing will look together.

Well, Aseprite 1.3 added tile features. And…

… they don’t hold a candle to Pyxel Edit’s. They’re a very good start. And I like these tiles better mostly because I made them with the lessons learned from making a tileset in Pyxel. But you can’t easily flip tiles. Rearranging your tile palette changes the tile map because the tile map stores the tile indices and doesn’t change them when you monkey with your palette. Oh, and you can’t export your tileset.

I’ll repeat that. You can’t export your tileset.

You have to build the image you want to be your tileset and export that.

That’s not 100% a deal breaker. Some people would rather export an image because it is more convenient to them to have the tileset arranged a specific way.

On the other hand, Aseprite’s general pixel art tools are, for the most part, way better, and the two programs do not gracefully copy and past art to one another. There’s a huge amount of convenience in saying, “You know what, I’m tired of working on the tiles right now, I’m going to tweak that tree.

I also added a third character to the mix and discovered that Wren was too short. When compared to “normal” people in the game, she will look like a child in a bikini. Wren is not entirely human, and canonically characters do assume she’s younger than she his because of her unusual height, but it was too far. So, I fixed that.

At the end of the day I don’t know whether I’m going to stick with my current, split workflow, or switch to an all-Aseprite workflow. The pros and cons of each workflow are dancing on a razor’s edge.

High Definition

So, let’s do a quick mockup on how the game might look if we use pixel art for the world, but a high definition interface:

If I’m going to put conversation on the bottom of the screen, I might want to consider pushing the world design so that the action happens higher up. The top of the screen certainly is more spacious, and a more reasonable place to put interface. If I move dialogue up there, I’ll have to change the visual metaphor for the character graphics, maybe stick the face in a box. But overall, I don’t hate the look.

I was planning on making combat menus radial, bursting out of the player when the time comes to menu, but in my mockup test, it felt right to have buttons materialize under a character’s stat bar. But I’m not decided.

I need to try it out, see what works. At this point, the next step is to give Wren a walking animation and get gameplay up and running.

I’m sad that you can arrange a palette in uneven rows in Pyxel, but not in Aseprite. Ah well.

Captain’s Log 21·5 | 24·A: The Random Adventures of Wren Valen the Wanderer

So, for context, I’m going to tell you roughly how I’m beginning to organize my life.

I keep a deck of blank, poker sized playing cards, on which I take notes. Both to-do lists, but also anything I need to remember for whatever reason.

The numbering format is WW·X | YY·Z where WW is the two digit year, X is the one digit month (A=10, B=11, C=12), YY is the two-digit day, and Z is the note. When notes follow up on each other, a series of numbers goes underneath the note ID.

At times of my choosing, I go through these notes, and rewrite them to put in my Zettelkasten. This is my permanent external memory. Cards that get copied from my journal to my Zettelkasten get cross-referenced so I can go to my monthly archive and see the context of the thought.

Well enough, but what if I need more illustration and room to write? Well, I take the comic format I developed for Bunny Trail Junction…

… and decided was too intense, and bean-ified it..

And I simply index it the same way.

So here’s a gif of the game as it sits so far:

And here are the Wren Beans I’ve collected, making this post the official stop for the Wren Valen RPG

Today’s big projects are contemplative, though I may do physical work as well. By integrating bullet journaling but on playing cards with the Zettelkasten, I have brought together a collection of lessons that have changed how I approach the question of what I should create and how, and I’m going to navel gaze about it below the fold.

Continue reading “Captain’s Log 21·5 | 24·A: The Random Adventures of Wren Valen the Wanderer”

Digging into my Slip Box

So, I’ve been sort-of-kind-of bullet journaling, except on blank playing cards. The same ones I use in my Zettelkasten. And then indexing the cards in a manner like unto the zettelkasten.

Hilariously, even though when I took to Bullet-Journaling™ and realized I could combine techniques from Smart-Noting™, the idea to dip back into my deck and see how my current thought meshes with lessons from my past didn’t occur to me.

But last night, I started reading Not All Fairy Tales Have Happy Endings, and today I decided since I was going to consolidate my notes from that and decide how I would proceed with my Candy Raid sequel from there, I figured I might as well break out the Zettelkasten itself and see how it all worked out.

And well I did. I have learned several lessons in the past that I was ignoring. As well as several lessons I learned recently As well as several lessons I learned recently AND in the past.

Here are a handful of lessons I decided I need to be daily reminded of. Some are good advice in general, others are tailored to my specific personality and style, and are probably bad advice for people who are not very similar to me.

  • SAY WHY. Even to children. Even to yourself. Nobody is motivated without a WHY.
  • COMMIT strongly but rarely, and CUT your losses swiftly when your gut says to do so.
  • PROVOKE yourself to action with challenges. Race the clock. Make bets with yourself.
  • The correct challenge is seldom the easy one. CHOOSE the challenge with the right amount of meaning and awesomeness.

So, heck with it. I’mma make a JRPG. Not an adventure game, we’re gonna get the combat right in. And instead of tinkering with a property I’m apathetic about, I’m breaking out the Naval Navel herself, the Girl Goblin, my wife’s favorite of my past creations, Wren Valen, the Flying Privateer!

“Wait, did she magically become a redhead halfway through?”

Yes. Hollywood has decided to blackwash all the gingers, and I have decided in return to gingerwash every one of my own characters whose hair and skin color is inessential to the character. This is why John Michael Jones, who is supposed to be a bog-average boy, is a redhead instead of having brown hair.

Obviously Jump the Shark is a shark, and Sera Mermaid was already published as a blonde. Most of my characters cannot be ginger for one reason or another. But those what can, are. And Wren can.

Allons-y!

Concept singularity

26 projects currently listed in Yet Another List of Projects.

John Michael Jones is on the verge of being added to the Alpha Test/Demake not as a skit playing out within the demake…

Which has been under consideration

..but as a focal point of the conceit.

So, we are taking Alpha Test, and merging it with AV@TAR, Crossover Arcade, Jump the Shark, Piqha, Stardogs, Star Knights, AND Theria… and we’re almost at a functioning gestalt.

I just need to cook this stone soup a few minutes longer.