Reasons it could be delayed include copyright disputes, and I quoted a single Bible Verse at the beginning of the book without giving the appropriate copyright notice, so I think that’s what’s going on. Unfortunately, I can’t do anything about it until Amazon takes it out of Limbo. After more than half a month, I begin to worry that it will never leave Limbo, and September will be the lost episode.
Of course, September is scheduled. And I have a new picture of my merch to put on the “Support Bunny Trail Junction” page:
It’s incomplete without the September Monthly, but I decided to add in all my kids books. Including Awesome Moments, even though it isn’t done and available for sale yet.
Which leads me to the question of what to do tomorrow.
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.
Using the Rainboy palette in an HD game would be unusual. But it would have the advantage of being a unique look. Doubtless, folk would accuse me of making a Hollow Knight rip off if I made, e.g., an HD platformer using Rainboy colors. But the charge wouldn’t easily stick. Between the ink look and the 8-color palette, the game would have too much of a clear identity.
If the comic’s conceit is it happens inside a video game, ala Wreck it Ralph, HD sprites over pixelart backgrounds work well, but that kind of mixing and matching in an HD game would be odd. On the other hand, I could mix it up in the comic and keep the art consistent in the game.
Drawing with real ink would certainly be a thing, but it would be a ton of work to have the animation be consistent. If I draw it on the tablet, I can modify one frame to create a similar frame. Drawing as a vector file would be the slowest, but not only do I get infinite scaling out of the deal, I can color everything in the Rainbow Rose palette, and then convert easily to the Rainboy palette if I so desire. Of course, I can reasonably turn a Rainboy Palette game into a more colorful game with shaders — that’s what I do in the Candy Raid platformer prototype. But it’s easy to make well behaved palette shaders for pixel art. Less easy for HD.
I am leaning towards Bunny Trail Junction living in a Dragon Egg / Rainboy world. HD art with a distinctive look wrinkles my JRPG Vs Platformer internal debate because the chief issue with a pixel art game is it harshly limits the marketability. The JRPG overcomes that by finding an underserved audience, but HD art overcomes that another way.
Well. I need to ponder for a while, then pick a direction. I certainly need to stop making these self-indulgent, “brainstorming and testing ideas counts toward my quota” serieses. At the same time, the September Hat Trick bit has pages and pages of “these two characters have a conversation” exposition. Such things are needed in stories, even in comics, though one ought to avoid or mitigate them as much as possible. Premade art with lush backgrounds would ease the pain of making such a segment.
I’m not going to use it for Hat Trick. The art shift would be too jarring. It doesn’t feel right. But at the same time, it doesn’t feel wrong to use it as a device for telling other stories.
I certainly won’t be ashamed of using Vidya-style graphics to make comics, even if it’s not pixel art. Not so long as you can buy Dog Man comics at Walmart.
Couple of things. Here’s how the print test went. Turns out, Amazon prints lighter than I do. Which makes sense. But the palette works either way.
Second, I tried making and then converting sprites for Octoboy and Piranha.
But there’s a wrinkle. I scaled all the sprites up to the same size in inches… but different DPI. I initially tried to draw Jump and myself at 600 DPI, as that’s what I print at. One inch per 16 Pixel Art sprite pixels. But the lines were too fine. I wanted them to be meatier. So I went with 300 DPI.
(Presumably, I can get the same effect by going to 600 and doubling the brush side, but never mind that, this was just a test).
I was fairly content with that. But then, due to sleep deprivation, when drawing the supers, I went ahead and scaled them to 600 DPI per my original plan, and didn’t notice that I was drawing finer lines until I was done.
It looks nice. The finer linework fits the characters better. But I want all my HD sprites to be consistent. So I either need to fineline myself and Jump, or broadbrush Octoboy and Piranha. Or, worse still, pick a relative brush size halfway between the two (as though I were working at 450 DPI) and redo all four!
I’m completely out of capacity to make further progress today. So I’m going to leave the question aside for now, and we’ll pick a path tomorrow. But at least the test furnishes me with the data I’ll need.
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.
I have tried being employed, and swallowing my arguments with my employer rather than walking out.
I have tried being unemployed.
I have tried being employed, but feeling quite content to walk out when things don’t suit me.
I dislike all of these states. But the first feels dishonest, and the other two at least feel honest.
It is possible, just possible, that there is a job out there in which I can be content. It is also possible that I need to learn, by the Grace of God, to be content in a suboptimal job.
But I think I had ought rather to try being self employed.
Previously I have stated that I think I would rather have a day job than have to choose my artistic projects on their profit merit. Now that day jobs require obeisance to the State Religion, I am less content with that conclusion.
I talked it over with my best friend. My real plan is to tinker until mid-September, and hope that I can be drugged into being a productive citizen. But my ultimate goal is to create a little media company that covers my family’s needs, and there’s no reason I shouldn’t act on that goal. And following a pragmatic plan that I have considered and ignored because I doubt I can hold to it with my ADHD, on the basis of “Well, I might get treated a month from now, and that might enable me to carry it through,” is every bit as sensible as getting a retail job for a month, and hoping my treatment allows me to hold down a real job.
That was where I ended my thoughts the day before yesterday. Yesterday was a whirlwind tour of journaling in the form of comic-making.
I hope never to run these comics on Bunny Trail Junction. Navel gazing is self-indulgent and poor entertainment. But the rules are I draw whatever I feel like at the time and hope God gives me something good. And the whole point of this blog is to permit me to be self-indulgent.
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.
I’ve started doing a book about my ADHD. I dunno. Maybe it’ll be useful some day. I’m working in my Zoom & Enhance workflow.
Tonight, for grins and giggles, I did the page of me overlooking Anvor.
I have started working on the book because my mind is stuck on a continuous loop of how crap it is that I do not choose what to focus on or focus well enough to do anything. I am enjoying my new day job as much as one can. It’s a great fit. But I dislike having a day job. I have a list of almost 30 projects, and 5 or 6 of them would be guaranteed hits if I followed through on them.
I’m getting that frustration of wheel spinning again.
The ADHD book shouts out the big list of projects. After all, 90% of my problem is a million great ideas and zero follow through. And because of that, I keep getting reminded that more than one of them is financially quite viable. Aside from Anvor being… okay. Fine I guess. I would enjoy it… 8 Lives Left would kill, and so would Re-Tail.
The problem with being inspired to consider my problems is I get to wallow in my archetypical despair.
But perhaps now that I have an idea what I’m aiming at, I can get that fixed. Yech.
Who can deliver me from this body of death? Praise be to the God and Father of our Lord Jesus Christ.
Anyway, tonight’s process has got me thinking about the painting I’ve been going on about for the last three posts. I was unsatisfied with how the cartoon painting of Anvor came out. It’s fine. It’s okay. It’s not great.
I think this experiment is failing. Well. I think this experiment is succeeding, in that any experiment which teaches you something is a success, and this one is teaching me that I don’t like the results of my digital painting.
After being intensely dissatisfied with the painting of Anvor, I decided to do a quick, small, study, where I dug up a photo from the internet and painted my own version, using the sloppy zoom & enhance methodology. Only I convert it to Wren. I decided to go full thirst mode on this, because the point was I wasn’t having fun or enjoying the outcome and so let’s paint something I will find pleasant to look at. Behold, study in blue and orange:
Thanks, but I hate it.
I think it’s a decent enough picture for a quick, impressionistic study made solely 100% for fun. I will probably include it henceforth whenever I make a great gallery of Wren. But I think that impressionistic brush paintings are not going to be it for me, and this picture was the straw that killed it.
Well, these pictures:
I just like these pictures so much more:
At the end of the day, I am still a cartoonist, and content so to be.
Woke up this day to people bashing Shel Silverstein in a blog I follow. I endorse bashing Shel Silverstein. It is abundantly clear to me from his work that he hated little kids, and given that I, who enjoy writing for children, have to have a day job, it irritates me that a man who hated it made a career of it.
You know, making kids books is a good enough calling. It’s a freaking fantastic calling. It’s just about the best calling there could be. And yet, my mind is always on churn, looking for other things to do, or ways to complicate it, even though I make kids’ books just fine.
I dunno what’s next. Focus on getting the ADHD sorted. Maybe try to find a short path to feeding my family as I get there.
Awesome Moments awaits.
Despite the extensive 3D work I’ve put into it, I think I want to ditch using 3D rotoscopes for consistency because they stiffen my drawings in the same way painting does. I dunno. I suppose still using them as reference, but not for tracing might work out allright.
More studies, more practice, more refinement are in order. But less of A, and more of B:
And I need rest and spiritual counsel and prayer.
I feel like we took a detour that was needed to be sure of the road.
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.