Happy Glorious 25th of May. Thank you for getting me into the discworld books (at least in an indirect way). They have quickly become one of my favorite series of books, even if I've only read a handful of them. As for a question, what have been your biggest takeaways or lessons from the discworld books? Whether it be how you write, how you engage with stories, or even how you look at the world.

we got another one lads

It's a little hard to boil it down! The books cover so much ground, and I read them at such a formative age it's hard to tease out how much of me is made from them.

On the most basic level, I love how angry those books are. Every POV protagonist is seething at unfairness and injustice and this is never framed as a bad thing - just something that needs to be controlled, directed, weaponized.

I like that everything is a joke, but in-universe everybody is absolutely sincere. The characters are charicatures and punchlines because of their sincerely-held beliefs and ideals. Captain Carrot is shiny and literal-minded and perfection personified and it's funny because he really is that good. Nanny Ogg is an outrageously horny and boisterous old woman and it's funny because she's having such a good time with it, especially when contrasted with her stern and serious foil Granny Weatherwax, and it's funny because the two of them know each other incredibly well and deal with each other's eccentricities with the practice of decades. The dwarves are funny because they're goofy little guys with big beards that think about nothing but gold and new songs to sing about gold, and as the books go on, the complexities of a culture that looks like that punchline become the deepest and most fascinating element of the worldbuilding in the entire Disc. The world is mounted on the back of four elephants and we made a book called the Fifth Elephant, how wacky, hey let's casually integrate the worldbuilding consequences of massive deposits of perfectly-crisped organic matter caused by the collision of a planet-sized elephant with a planet-sized planet. The discworld tells a joke and then commits to the consequences with its entire ass, and I love that.

A lot of the characters are in some way one-of-a-kind and unprecedented, or at least appear to be on the surface because nobody like them has even been publicly known, and the stories frequently explore how these unique people navigate their existence without a roadmap and trailblaze the way for the people just like them to someday follow. People who break rules by existing and make the world question what purpose those rules serve if they aren't actually unyielding principles of reality. The dwarf gender cultural revolution, the female wizard, the golem given a voice, the entire existence of Susan Sto Helit. It produces a world that feels like it's absolutely full of protagonists, like every story is one-of-a-kind and every individual person matters and has the right to choose the way they want to live, no matter what anyone else thinks. can't believe some terfs really think these books are for them as if they aren't precision-built to tell them to go fuck themselves

The cast full of protagonists makes the crossover events a delight. All these characters existing in the same universe means they can just run into each other sometimes, and they're all such absolute weirdos that their interactions never fail to be absolutely incredible. The world feels very thoroughly lived-in, to the point where the stories sometimes almost feel like they're telling themselves.

they're just really fuckin good ok

Hey Red! Huge fan of OSP and Aurora, my question for you is what animated superhero shows would you recommend?

little bee with an incongruously elephant-themed username, you are officially my best friend

Batman: Beyond

Fifty years after Batman: The Animated Series (which I also recommend, natch), Bruce Wayne has long since retired from being Batman and become a grumpy recluse until hooligan with a heart of gold Terry McGinnis steals the cowl and the fancy suit it's attached to in order to avenge his murdered father and goes on to become the Batman Of The Future, mentored by Bruce. One of the only truly episodic superhero cartoons - almost no overarching plotlines, just character arcs and the occasional villain with their own thing going on. Has a recurring rogue's gallery but also a higher villain bodycount than most superhero shows; villains of the week are not guaranteed to survive their episode, even (and especially) villains from the original Batman run. Exceptionally horrifying plotlines include "man presumed killed in industrial waste accident actually buried alive in horrifying immobilized undead purgatory and animates living humanoid masses of dirt for revenge", "all the cool kids are splicing their DNA and shockingly the dude in charge is evil about it" and "somehow the joker has returned." Also has a surprisingly good follow-up tie-in comic series (and a few less-good ones).

Justice League and Justice League: Unlimited

The first couple seasons (aka just Justice League) are almost entirely two-parters, mostly character-driven, focused in on the main seven founding Justice League members. The finale reshuffles the status quo somewhat, and then Justice League: Unlimited vastly expands the cast and incorporates basically every other DC hero ever written, but somehow doesn't completely fall apart like other shows that tried to follow suit. Most episodes of JLU are self-contained singletons that focus on small subsets of the expanded League - like "Double Date," which focuses on Huntress, The Question, Green Arrow and Black Canary and is well regarded as one of the best episodes. Features seasonal overarching plotlines as well as self-contained episodes that work in isolation. The JLU episodes that focus on the original seven Leaguers are always fun, but it's also nice to see other heroes get spotlighted.

Green Lantern: The Animated Series

Do you like lancers? Do you like sad bad boys? Do you like starcrossed love stories? Do you like self-loathing jerks with hearts of gold? Do you like it when Green Lantern is also there? Have I got a show for you! I firmly believe this show only exists to justify someone's OC fanfic romance between the world's angstiest bad boy and a sentient spaceship, and there are only Green Lanterns in it because there have to be. And it's worth it. Also features some deep pulls from the Green Lantern canon like Larfleeze, Mogo the living planet and Saint Walker the first Blue Lantern. Only two seasons and the art style takes some getting used to, but man it's got some high points. Extremely overarching-plot-driven with the occasional more episodic adventure.

Teen Titans

One of those shows that oscillates wildly between "so lighthearted it's a little tooth-aching to watch" and "so crushingly dark it's unbelievable that this is the same show as those other episodes," just how I like it. Extremely episodic which makes it easy to skip around, which is good, because a lot of these episodes are kinda dumb. Adapts some of the most iconic plotlines of The New Teen Titans, but it's a very different adaptation of all characters involved to the point where it's hard to think of them as the same characters at all. This is not a bad thing, it's just a thing. A superhero show where it feels like everyone is legitimately friends with everyone else, with shipping relegated to the background in favor of platonic dynamics. Main villain isn't allowed to be called his supervillain name because it has "death" in it and that's a no-no, so he goes by his actual legal name instead. For some reason a big deal is made over his identity and face being hidden despite his identity in the comics being Just A Buff Old Guy and his villain name being his legal name he pays taxes under.

Static Shock

Took me a criminally long time to watch this one, and I've only gotten through the first couple seasons, but it's really good. A solo hero rather than a team, Virgil's fun to watch because his powerset is limited but he's really smart with it. Turns out giving a brilliant nerd electromagnetic powers means he figures out a lot of ways to use them beyond "zapping things" or "magnetizing stuff" and it's fun to watch him figure out solutions to problems he can't just blast his way through. Also while the show had to limit some storylines to just coding and subtext (Virgil's best friend Richie is gay, but the kind of gay that's not allowed to be explicitly stated anywhere except creator interviews) the show is incredibly overt in discussions of systemic racism, police brutality, gang violence, sky-high familial expectations and how Virgil struggles to deal with all those things. Has a very brightly-colored and cartoony palette compared to other DCAU shows, making it incredibly jarring when someone hands Virgil a straight-up real gun in the first episode, which he promptly throws in the bay because he's a Certified Good Boy.

Legion of Super Heroes

Criminally underrated and only two seasons long! Clark Kent, long before he becomes Superman, gets recruited by a superhero team from the 31st century to travel into the future and help them out with a supervillain problem. He sticks around for a while learning to be a better superhero and live up to the legend he'll someday inspire, including acquiring his suit from a museum dedicated to himself. Lots of fun dramatic irony as an audience is expected to know stuff about Superman that even Clark doesn't know yet, like what Kryptonite is and why his powers don't work on planets with red suns. First season is very episodic. Everyone gets timeskipped in Season 2 and when Superman comes back he's actually been Superman for a while and is a lot better at it now. Standout character through both seasons is Brainiac 5, who is typically written romantically interested in Supergirl and in this show appears to have the exact same level of affection for Superman, which implies that his type is "kryptonians who can bridal carry me" and probably confuses the hell out of the remnants of Original Brainiac buried in his sourcecode. His "true form" is a ten-foot killer robot, which means he chooses to look like a twinky blond. In season 2 he uses a holodeck to play out dramatically dying in Superman's arms, which is around the point where "subtext" becomes "text." Superman and an edgy lancer clone of Superman spend the season 2 finale helping him out in a Battle In The Center Of The Mind versus Original Evil Brainiac, a process I am convinced only takes as long as it does because Brainiac 5 has two Supermen fighting for him and he's not gonna let that opportunity slip away. Take a drink every time he uses the phrase "twelfth level intellect" and finish the glass whenever he and Superman play out a scene that would be less romantic if they kissed.

Avengers: Earth's Mightiest Heroes

On to Marvel finally! Rock solid through all of season 1, the writing gets a little shaky through season 2 - some episodes are spectacular, some are just okay, and a couple verge on full-on idiot plots. Still well worth a watch, if for no other reason than the broadly incredible character writing. This show writes Captain America so well that when he's replaced with a Skrull in season 2 the audience can tell that something is missing; Skrull-Cap acts the way Captain America acts when written by somebody who thinks he's boring, while real Cap acts like a real person who happens to be an absolute paragon of heroism. This show also writes Thor really well and respects his status as the powerhouse, and broadly all the characters are well handled and make good, smart decisions for the information they have available. This is what I consider to be the definitive version of The Avengers, and its existence is why I'm not mad at the MCU when it does my faves dirty - I know I'll always have EMH season 1!

X-Men: Evolution

So, SO early 2000s! Most of the younger X-Men are de-aged so they can double up superheroics with high school drama, which means this version of Wolverine is a full-on dad and it's great. This show also invented X-23. Also if you watched basically any anime in the 90s there are a lot of familiar voices, which makes certain scenes very jarring - Light Yagami as Nightcrawler is one of the funniest bits of dissonance. Also for new God of War fans, Magneto might sound very familiar. Quality is hit-or-miss in places - the season 1 finale is kind of laughably terrible and the show mostly pretends it didn't happen - but it has some extreme high points, mostly the Wolverine-centric episodes. Almost every conflict could be resolved immediately by Nightcrawler's powers, so unfortunately he gets knocked out at the start of nearly every fight, which circles around to being very funny after a while.

Spectacular Spider-Man

The best Spider-Man cartoon, I think! Very much a solo story - just Spider-Man alone vs his massive rogue's gallery, no other superheroes. Extremely quality banter and arcs - several villains have their origins during the series, many appearing in important roles before becoming proper supervillains. Very much an overarching-plot story, and unfortunately canceled before some of those arcs could be resolved, so it ends on a bit of a bummer, which is fairly standard stuff for Spider-Man, tbh. This is a good version of Peter, which is good, because we spend a lot of the show in his head; we get a nearly-constant inner monologue from him so we always know what he's thinking, so he'd better be likable.

Heyo, it's the fool who wants to make a comic with zero experience in drawing or finishing stories again. A lot of people, including you, I think, mentioned that "Your first work will be bad". Any tips how…not to do that? I don't expect it to be a magnum opus or smth, but I at least want to make something people would genuinely unironically enjoy, and "first story is always not good" notion everywhere is very discouraging

It's not like I never tried anything creative ever, but this is my first attempt of putting it down on paper with intention of completing it, instead of having vague ideas of "I know what would be so cool when I make it a thing" in my head for months without acting upon any of these ideas

It's definitely a disheartening adage, even if it's supposed to take the pressure off young creators.

Unfortunately, no matter how good your starting point gets - and you can get it very good, don't get me wrong - you are still going to find it unbearably bad when you look back on it with experienced eyes. You might eventually circle back around to finding it impressive, considering it was your absolute first starting point and you had no experience, but you still won't be able to see its merit the way your audience will.

The thing is, your first project is going to teach you a lot of things you couldn't have known you needed to learn beforehand. This means everything you make after learning those things is going to be smoother in process and better in result. There's also just the fact that the more you do this sort of thing the more practiced you'll get at the mechanical side of it, making it faster and easier for you and leaving you with more energy to punch things up. Compare the Big Fight Scene from chapter 3 with the one from chapter 17 in terms of visual complexity:

Particle effects, ambient glow, soft lighting, atmospheric depth, metallic effects, light and shadow. The seeds of these ideas are present in the earlier shot, but executed in a much clumsier way. Fourteen chapters of gradually increasing complexity and just raw practice got me to the point where drawing that second panel was fun rather than exhausting. If I'd tried that in the first chapter I would've probably been so worn out just trying to finish the lineart that the quality of the rest of the image would've suffered from sheer exhaustion.

And even before that, those first chapters only flowed as well as they did because I'd been drawing hundreds and hundreds of video frames for years at this point, which had gotten my lineart muscle memory polished enough that I wasn't agonizing over every single stroke.

I was absolutely determined to start this comic off at the best level of quality I could, and that determination kept me kicking the can down the road for a decade. I think this was a good thing; if I'd started it any earlier I think I would've been a slow enough learner that the quality increase over those first few chapters wouldn't have been as steep as it was. And that first chapter was as good as I could've made it at the time; I didn't take any shortcuts or laze around, and I used every skill I'd learned over the previous decade of physical and digital art. Of course, if I knew then what I knew now there's loads of stuff I'd have changed about the way I handled the intro. In fact, I'm going to break my One Rule about "never going back or redoing things" and I'm going to walk you all through chapter 1 and what I would change/fix if I was drawing it now.

Remove the outline on the background mountains, add color variance to the further mountains so they appear farther in the background, un-muddy the color of the sky and make those clouds a little more impressive; this could've looked like a full glorious noonday sun. The forest was drawn with an experimental brush I'd created for foliage that I ended up deciding didn't produce the effect I wanted; I'd probably go through and use the technique I developed for Gleicann's forest to cel shade blocks of foliage.

Add at least the bare hint of buildings behind the sword pedestal - just gradient outlines would be fine, similar to the extended backgrounds in Zuurith. Also slap some blue cinder-y particle effects coming up off the sword. Clean up the shading layer so there aren't as many holes. Add metallic shine to the blade and marbling/stone texture to the pedestal.

Un-muddy the colors on this background; they match The Collector's color palette but that matters less than looking nice. The background needs something - speed lines, the implication of foliage - etc. The poses could also be more dynamic and drawn with more confidence. To show the power behind the blows, re-choreographs the fight to show more of the damage it does to the environment - the sword carving through rocks, ploughing furrows into the ground, starting to spark with starfire, etc.

Same problem with the foliage; the special brush adds too much detail, drawing the eye away from the important parts of the scene, and the colors are muddy to cover that up. Brighter greens and cel-shaded layers would produce the effect I actually wanted and be faster than hand-drawing every treetrunk and then shading them so they're indistinguishable anyway. Also, more intense shading on the foreground figure - a neutral tan shadow layer is functional, but it could look a lot more dramatic, and he's shaded much more lightly than the extremely muddied background is.

Of course, "if I knew then what I know now" is a meaningless turn of phrase. I needed to draw these pages this way in order to learn what I know now. If I had jumped straight into the shortcuts I've painstakingly developed without having had that intervening practice, the end result would've been just as bad - if not worse, because it would've been executed shakily, without the confidence that accompanies muscle memory. The techniques I used in this first chapter had served me well up til that point. The techniques I use now were built on these foundations. Lamenting that I could've done it better if I'd started now is like saying the pyramids would be so much taller if they'd laid the foundations at the top part instead.

There's a degree to which this work is sisyphusian. You do your best, you push yourself, and then your "best" gets better. At some point you have to accept that what was your best is still okay, even if you can't see it that way.

When I was working on this comic in the pre-actually-drawing-it years, I came to a realization that helped me get unstuck: "good enough" is a mask that "perfect" wears. Striving for perfection is a pointless task, and this is pretty well known, but it seems a lot more reasonable to just try to get "good enough" at art to guarantee that your work will be good enough. But if you unpack that concept, you likely find that your definition of "good enough" is basically "without flaws." Which is "perfect." Which is, as mentioned, unattainable. Those pages are as good as I could've possibly made them at the time, and they aren't perfect, and I never thought they were perfect, because I knew if I waited for them to be perfect in my eyes I'd never make them. I just had to grit my teeth, make them public and hope that people got something out of them that I couldn't.

There is a baseline level of artistic skill and preparation that I do recommend cultivating - figure and life drawing, anatomy studies, landscapes, reading Scott McCloud's "Understanding Comics" cover to cover - but there is no hardline starting point at which you are guaranteed to be good enough to make the story and art good. This is because "good" is subjective, and as long as you are improving as an artist, your own perspective on your old work will never be that it is "good." You have to trust that the audience that likes your story likes it for their own valid reasons.

The thing is, I know this is a bummer. This whole thing is a bummer perspective. Artists want to make good art and the nature of artistic creation is being unable to see your own art as good for long. If you believe that your art must be a certain baseline level of Good to be worthy of existing, this truth seems to be a condemnation to an eternal and pointless purgatorial struggle.

The most valuable skill an artist can develop at this stage is strangling that insecurity with their bare hands.

Trust your audience! Trust that they enjoy what they enjoy, and trust that they see something in your art, even if all you can see are the critiques you'd use to polish it! "Perfect" and "good enough" will tell you that your creation will always be hideously unlovable and must be hidden from scrutiny until it's "ready", but like all insecurities, underpinning this is the axiom that anyone who likes you or your work is lying. Strangle this falsehood, trust freely and openly that your audience is being honest with you, and while you work to improve on the creation side of things, trust that in the eyes of the people who like your work, it is Good Enough.