Previously, I have dived into the intersection of three theories of learning. The intersection is the Grammar Stage of the Trivium: the part where you put data into your head so that you will later learn to connect it (Logic) and deploy it (Rhetoric).
There’s a couple of reasons I’m interested in this. Partly because there are a lot of things I wish to learn, and not much time. Partly because I’m teaching my own offspring, and benefit from doing so efficiently.
Today is Sunday. Sunday I goof around. The other post I did today is work, but I didn’t do the work today, I did it yesterday.
My work on Alpha Test/ Retro Reboot still calls to me in other ways. Why not make a comic strip, even if it’s not pixel art? Why not just draw it? Why not prototype stuff in this manner? So today I tested a process for hand drawing a strip in this fashion and… I don’t really like what came out.
But I didn’t put a lot of effort into it either. I wonder what it would look like if I tried to make a book or two worth of stuff in this way.
Pixar’s rules of storytelling? I like Pixar. They are good at what they do. And they do is a heartwarming repetition of the Hollywood 3-Act that is fun on the surface, but turns into existential horror if you think about it too long.
All razzing on craftsman who have actually built something aside, I think there’s some actual value here.
Scott Adams posits six dimensions of humor. People find something humorous if it is:
Clever (e.g. a pun or wordplay)
Not everyone finds all six dimensions funny. In fact, most people are only amused by one or two of the dimensions, and some people have no sense of humor at all, relying instead on social cues to know when to laugh (which is why laugh tracks on sitcoms are a thing).
A professional joke tries to hit at least two dimensions. To be cute and bizarre, or naughty and clever, or familiar and cruel. The more the better. A superb example:
Clever (a pun), Bizarre, and Naughty. Arguably, it is also Cruel.
A professional humorist tries to hit all six over the course of several jokes, and accepts that most of his jokes won’t hit with most of his audience, but everyone in the audience will remember one or two that cater to his tastes.
Naturally, a comic strip is well advised to bake in as many of these factors as possible.
I’m going to show you how the pros do it, and then you’ll be set to understand the concept of Re-Tail.
Each day, after seeding my deck, I intend to complete or retopo a sculpt to build up a library of pieces to use in future books. And I think I’ve worked out a guiding principle. I decided to post a challenge to teh twitterz (sic):
I put in my 2 pages today (3, actually), and then, for the heck of it, I entered a contest on the internet.
(Yesterday, alas, my progress on Hat Trick was a couple of cards written for the card box seed. I had to stay out of the house while it was fumigated).
The contest is to replicate the following image in one’s own style:
And here is my entry:
This marks the first time since I moved to Minnesota that I did an illustration start to finish. All the drawing I’ve done ’til now has been concept work or draft work. And, as I won’t have a book draft ready to produce for a good while, the pattern seems liable to hold.