Inktober Trash, Yes I know its till September I am far to early so here you go. I got a short new job to work on a event. so I worked outside for many hours this week and Ended u just sketching my sketchbook full of stuff
Some Napstabot x US Papyrus @kamenmango one of my fave ships hoho
(I love ths AU Sans, the Sans that creates Manga with his main character Papyrus, So I also wanted to design Sanspei’s work environment, lots of enegry drinks to meet the deadline for the manga chaptes, also I love the ship of ReversexStorytell
(Btw rrobo01 is still ill wish them get well wishes <3 )
I got an ask about coming up with names for stories, but I think tumblr ate it? Just in case, here is my answer:
A passive way to go about naming is to designate a journal or document
for listing cool words that you come across. You just let names come to
you over time, then when you’re writing and in need of a name, this
collection is a useful place you can turn to.
If that list is
unsatisfactory for what you currently need, you can try actively hunting
down names. One of my favorite sites is Behind the Name,
where you can search for names based on their meanings and region. You
can also look up topics on Wikipedia and scan over the pages for ideas
(Some of mine come from vessels or notable captains due to this).
Lastly, you can just go nuts by making anagrams,
spelling Tolkien characters backwards, or using a variant spelling of
the medication on your desk. I have done all of these things. Hope this
( what do you think enables a human to become a seraph upon death? is there a choice in the matter, something they can do to influence it? what determines the kind of seraph they become? )
The only real things we know about seraphic rebirth is this skit really.
Lailah: There’s really no established method to be reborn. However, it is said that human who are truly pure of heart will be reborn as seraphim.
With that being the only real piece of information we have to go off of, everything else is headcanon territory! So the main criteria would be that they have to be pure. Malevolence is mostly a human generation, while seraphim are highly sensitive and negatively impacted by it. Someone with malevolence in their hearts would never be able to become a seraph.
And remember, “purity” doesn’t even necessarily mean moral superiority. Romano, who had ordered the slaughter of children, didn’t hold malevolence in his heart either so– that’s definitely something to think about.
As for beyond that, I don’t know. Plot convenience? It could be taken many ways. Obviously there doesn’t have to be intent, as Mikleo as a baby wouldn’t have been actively thinking about much. It could be perhaps a feeling of business still left undone? In the end, if even Lailah isn’t sure, there probably isn’t any easily defined methods.
As for which element they take on, it probably just has to do with their elemental affinity as a human. Since hidden artes are a thing, you can tell when people naturally lean more towards one element or another. Some kind of inherent talent?
For example, a majority of Sorey’s artes are wind-based, and even though his mystic isn’t given an element in-game, Bolt Tempest is pretty obviously a wind/lightning arte so my Sorey becomes a wind seraph ( and tales games tend to place lightning artes under wind, the same way ice artes are categorized under water. )
Their natural affinity may also have something to do with their own nature? That’s hard to decide exactly how each element maps onto traits in Zestiria, because it’s never discussed.
One of the reasons that I love comics so much is that there are many valid ways to approach the medium. When I make comics, the parts I’m most concerned with are character and story. Everything I draw on the comic page is in service to character and story. Because of my focus on those two elements over, say, experimenting with my art and page structure, I will sometimes get criticism that my work is safe or boring. This is probably fair criticism! I don’t do a lot of experimenting with paneling or challenging storytelling or explicitly challenging artwork in my comics, because right now that’s not what I’m interested in. Maybe I will be more experimental someday, but not right now, with the kind of stories I want to tell. :)
When I make a comic, my goal is for my readers to be engaged with the story I’m telling, and the characters in that story. That’s also what I look for when I want to read a good comic. I want characters to love, I want a story to be engaged with.
For the most part, I struggle with drawing comics (most artists do, if we’re honest ;)), but there are some parts of comics I think I have a good handle on. I feel like I’m strongest when portraying emotion on the page, and I’m good at drawing those scenes out and making the reader feel what my characters are going through. Some of the techniques I use to convey emotion came from being obsessed with movies when I was a teenager, and some techniques are stolen from my holy trinity of influences: Jeff Smith (Bone), Hiromu Arakawa (Fullmetal Alchemist) and Naoki Urasawa (Monster, Pluto, 20th Century Boys).
Of the three artists I’ve mentioned, I consider Urasawa especially to be a master of emotion and pacing. When I first started reading his comics, it was like light struck my brain; finally I saw what I’d been trying to do for years right there on the comic page in front of me! I like the way he lays out his emotional scenes a lot. Here’s an example (read right to left):
Urasawa uses repeating panels and decompression to draw out the emotions of a scene. In this single page there isn’t a lot of movement. It’s literally just two characters staring at each other, but the tension rises going from panel 1 to panel five. Gesicht (the man)’s expression doesn’t change between panels two and five, but we literally feel his anger rising off-panel, concluding in the close up in panel 5.
There’s an excellent You Tube channel called Every Frame a Painting (I’m sure you’ve heard of it, but if you haven’t, please go watch all the videos! There aren’t many, and they’re all really informative). My favourite video is this one, about editing:
This video hit on something that I strive for in my comics: emotion takes time. When I draw a scene that is emotional, when characters are struggling with something, or celebrating something, or being challenged, I want my readers to feel what the character is feeling, and one of the best ways to do that, for me, is to take my time. To give that emotion time to breathe on the page.
I’m going to use some scenes in my graphic novel The Nameless City to illustrate how I use decompression and pacing to underscore the emotion in my comics. To avoid spoilers and because this is getting a little long, I’m going to put it under a cut. Please read on! :)