#4, Pg. 18 | Boy Crush

#4, Pg. 18 | Boy Crush

October 7, 2013 in Issue 4
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Caley Tibbittz Collopy 14th Oct 2013, 7:25 PM
Caley Tibbittz Collopy
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SwordCat Writes | A Digital Letter Column

There comes a point in a Sunday afternoon when you just have to give up on the week that was and save the very late update for Monday.

Hi, y'all. I don't say "y'all" in real life.

Anyhoo (which I do say 5,000 times every day), this is an experimental page in some ways for me. The thumbnail was built on the standard 5-tier grid I've been using for the every page (in case you haven't noticed, I've been using a 5-tier grid for every page, inspired by the grids used in Watchmen and Dark Knight Doesn't Suck Unlike Its Terrible Sequel).

But I got bored. I felt like being Neal Adams this week. My lack of actual talent shortchanged me a bit in the execution, but I'm still pretty happy with this one.

Smily's super fun to write. His original dialogue here was something like "Penis metaphor -- stay down.", but I've been listening to The Lonely Island a lot lately, and so one "dick" led to another...

I love silly t-shirts, and I've always enjoyed putting them on my characters. Jack's t-shirt, which reads "Irish I Had a Bigger Penis", can be found here.

Non-me plug: in the BG behind Jack in panel one is a wanted poster. The wanted individual is the star of the BRILLIANT comic Genocide Man. It is so bloody fantastic, an absolute MUST read. You must READ IT.

As usual, COMMISSIONS ARE OPEN! Send me a PM, or hit me up on Facebook or Twitter. My rates are reasonable -- don't reason a cow.

Soup sock,

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Jackarais 3rd Nov 2013, 10:50 PM
Oh man, I really really like the masked guy--were you calling him Smiley? What's his name? Also is he wearing a spandex suit because if so the deal is sealed and he is my permanent favourite. Gotta love the spike nipples. Is he a kinky guy or what?

But hey, I'm gonna throw a bit of criticism in here-- The action in your comic is really hard to follow sometimes. ;-; like I'm not sure what's going on , and that's on the majority of the pages--does smiley kick the door in, here? is he coming in from a window? I'm really not sure.
I think one of the reasons this page in particular is confusing because the backgrounds are oddly abstract and hard to distinguish. There are a lot of close ups and you hardly see the character's feet /full body, so its tough to tell where they are standing.

Also I might add that smiley guy looks like he's got two completely different body types in his two panels! In one, he's on the skinny side--in the bottom panel, he's hella ripped!

You're insanely talented, especially with your faces and figures. Everything is so photographic in its realism, it's absolutely splendid. and that lighting--how the hell do you do that so well? it must be witchcraft. you just might want to dedicate some time to working on your composition.
Caley Tibbittz Collopy 22nd Dec 2013, 6:20 PM
Caley Tibbittz Collopy
Yeah, it's honestly a failing how much backgrounds and most full-body shots bore me. I usually want to zoom in on the faces and hands, forgetting that scenery and full-body poses can also tell a story.

Not a cure, exactly, but color WILL help somewhat. I'm basically drawing a coloring book.
Steven-Vincent 3rd Jan 2016, 5:47 PM
I know it has been a while since he posted, but I am going to partially agree with Jacarais. I was not sure exactly what happened in that last panel and had to read them a couple of times to figure it out. It almost felt like you skipped a panel (where mask boy enters the room and kicks the cop). We see the tail end of the kick, with the flying gun, and the silhouette of the cop's face with him presumably on the ground, but it feels like there should be another panel here to fill in the sequence. Or maybe just the cop seen being kicked in the 2nd to last panel.

I also agree that sometimes the 'camera' is in too tight and it is hard to tell what is going on.
Caley Tibbittz Collopy 3rd Jan 2016, 5:53 PM
Caley Tibbittz Collopy
I don't know why I seem to often prefer a tight camera.

And this page will get an edit. I thought Jack's gun would connect everything together, but he effectively seems to "vanish" on Smiley's entrance. There's an easy solution: I didn't need to overlap Smiley's boot onto the final panel. And with his boot behind the gutter line, I could put Jack's arm in there as he falls, and the continuity would be improved mightily. So, I will do this ASAP.
Steven-Vincent 3rd Jan 2016, 6:10 PM
How 'tight' the 'camera' is really is a matter of preference. There are movies that I just can't watch because the director keeps the camera in so tight I can't tell what is happening. Other people *love* the same movies and the tight camera. So it is really in many ways a matter of preference.

The same is true with panel transitions. I tend to prefer to see all parts of the action. Not everyone does. Some people prefer bigger 'gaps' from panel to panel to let their imaginations fill in the missing pieces. Again all a matter of preference.

Ultimately you have to express your artistic vision. But just keep in mind that having large panel gaps and tight camera angles will confuse some people, causing them to be unable to tell what is happening on the page (like me, here and in a few other cases).