Hi, I was wondering if you could help me out. I am trying to write a story. It's about a girl who has been isolated by her family. She rebels and sneaks out at night. I would describe her as cold and closed. Her parents get murdered because they work with the people who are ruining sort of everything in the country. She had no idea as for why, but she will find out. She wants revenge. It id a story about a girl who is finding herself and connecting with her feelings. Is this cliché? Any tips?😊
There is potential for cliche, but it depends on how you develop it going forward, because there are ways to make it work. There are definitely some questions about the world and this girl that need to be addressed creatively that can really help make it work.
The Main Character:
- First, let’s develop her a little. Cold and closed is a start, but it’s not everything we need to have a main character. And honestly, if she’s too cold and closed, she may not be too relatable or even likable to readers. We need someone to root for in this girl or else we won’t care about her story, right?
-Second, let’s think a little about her position thus far:
Why was she isolated by her parents? Does she know their reasons? Does she understand them, even a little bit?
How has this isolation affected her? Is she scared of the world? Curious about it? (By running away, it seems more like the latter, which also indicates that she is not so 100% ‘closed’ as she first appears- she is used to isolation but craves something bigger)
What is her relationship with her parents? Does she hate them for locking her away? Love them because they’re the only people she really knows? Are they kind to her or strict or abusive? Does it pain her to disappoint them by running away?
How much does she know about the outside world? Was she kept entirely in the dark about most things, or does she have a general idea of how most things work?
You also have something interesting going on with this world here that can be very intriguing and again, leaves us wanting to know some more.
Who is “ruining everything in the country?” Why? How much support do they have? What actions are they taking? What is their goal? Who opposes them?
Why do her parents work for these people? Do they agree with their goals? Or are they forced into it?
What exactly causes them to be murdered? Did they take some action they were not supposed to? Were they killed by their own side or those who oppose them?
Does their daughter know about and/or agree with their roles and actions?
Is the girl capable of navigating this world outside her home on her quest for revenge or does she need help?
You also have some great ideas going for your story. You world is interesting, and you know how you want your character to development. A “story about
a girl who is finding herself and connecting with her feelings” is a good idea for sure. This girl, her position, her world, give you a lot to go with developmentally, and I think her mental and emotional journey is a great opportunity for representing the “character arc”, with a lot of room to grow and learn.
But your world in itself is so interesting, I have to wonder if that is really all the story is. Yes, this girl’s growth is definitely a huge part of the plot, but it’s more the mental/emotional part. Don’t forget to spend some time thinking not just about the metas, but the physical parts, the actions and plot points that mark turning points in her own adventure- thejourney, in a word, the specific actions taken on her quest for revenge.
I also want to know about any supporting characters and how she interacts with different people, especially keeping in mind her background. Is she excited when she meets new people? Shy? Does she use her cold demeanor to avoid others because she feels strange and afraid because she doesn’t know how to interact? How do her relationships change and develop with her development emotionally?
But the big important message I want to tell you is this:
Every story can sound a little cliche if you only sum it up in a few details. It’s the care and development that goes into it that really brings it to life and makes it into something special. Don’t spend too much time and energy worrying about being too cliche. It’s a work in progress.
And for a work in progress, let me tell you, you have some real good things going. You’ve got some good stuff to work with already, so keep at it, darling!
We know the whole ‘sugar, spice, and everything nice’ rhyme. But what metaphorical (or literal) ingredients make up MY Muse? Whether it be salt or cinnamon or an unhealthy obsession with crows, let me know in my inbox!
In this tutorial, I will explain you how to use a couple techniques I used to improve Planet Centauri’s sprites before implementing them into the game (or before animating them). Some of the rules shown here are very easy to use, and/or are purely methodical; so even if you aren’t very skilled, follow those simple guidelines to make your sprites cleaner.
A lot of basic mistakes will ruin the quality of your art. Thankfully, they’re also generally quite easy to fix with some experience, and by paying attention.
Too many colors
Pixel art is all about constraints. When two colors are very close, merge them into an intermediate one, so you see if it improves the result. Using a small palette will help you improving your skills much more easily, and will make creating sprites also easier. It also will make it easier to identify unwanted artifacts (i.e. misplaced pixels).
If you are constructing a palette with gradients, avoid at any cost independent gradients (i.e. only dimmed/lighted base colors). Use gradients that depends on each other.
You can also try to use yellow-ish or cyan-ish saturated light colors, and blue-ish and purple-ish desaturated dark colors. However, avoid using an over-saturated or an under-saturated palette. This usually ends up bad and breaks contrasts. You should also use gradients with outspread tints to avoid washy color contrasts.
Remember never to use more colors than necessary, and use gradients with contrasted brightness. Feel free to try using other generic palettes on your sprite to compare it with your palette so you can improve it.
Avoid as much as you can excessive contrasts between neighboring pixels. For example, a black line over a white background usually won’t look natural. A line that fits the background color well gives a realistic volume effect.
This is as true for outlines, which has to fit with both the inner color and the umbrage of the surface.
NB: Obviously, this doesn’t work with any graphic style.
Pillow shading is a nasty effect that occurs when the light source comes from the front.
Avoid pillow shading, unless you really know what you’re doing.
Lines and curves
Perfect line: A line that has a constant vertical and horizontal step.
Perfect curve: A curve made of perfect lines which step always depends on the other parts of the curve.
Dirty line: A line that has at least one sub-segment with more than one adjacent pixel on one end.
As you may have noticed on the pictures above, dirty lines should be avoided. You should use as much perfect lines and curves as possible.
A cluster is a group, a pack of connected pixels with the same color. Cluster shapes will greatly affect the final image. Bony and crude clusters will give a sketchy aspect. Round and straight lines are preferred so you get a precise, smooth and nice image.
Avoid lonely pixels. If one pixel is inside of a different color cluster without any adjacent pixel with the same color, remove it.
Dithering et texturing
Contrary to popular belief, dithering isn’t as great as it seems. A lot of dithering between heavily contrasted colors will often give a dirty and noisy image. It is also a very bad idea to use dithering when animating a sprite, because keeping coherent dithering will be awfully hard.
If you art style lets you do it, use texturing instead (the difference is that texturing does not induce color limitations). But don’t forget, texturing means harder animation and worse clarity. Again, it’s a matter of style. If you want a cartoon-ish look, do not use dithering nor texturing.
Antialiasing a technique that reduces the staircase effect (aliasing) which is clearly visible on two lines between two contrasted surfaces.
There are two use-cases for internal AA : Simply separating two surfaces, and using lines or curves cutting through two different surfaces.
In the first case, you may just need to insert an intermediate color where aliasing is visible to reduce it (generally, when the curve abruptly changes).
In the second case, you may just need to add a small intermediate color cluster between every horizontal or vertical sub-segment. Its size directly depends on the sub-segment size.
External AA suffers from an important restriction, unlike internal AA: The background color in a game will constantly change, so you need to have an effect that looks good on both dark and light backgrounds.
This rule is quite easy: You only apply the effect inside of the sprite. The end of an outline that neighbors with the background should never be modified.
In this image, the internal AA effect applied on the outer part of the sprite unveils some nasty artifacts, while external AA, even if it isn’t as efficient, gives a great effect on any background type.
Immature Si: I only seek details that make me comfortable while ignoring or downplaying important details that might require me to change course Mature Si: I prepare myself to perform well by methodically learning and attending to every new or significant detail that each situation brings
Immature Ni: I believe I know how the world works though I can’t see myself accurately and don’t know how to live my own life meaningfully Mature Ni: I make positive progress because I possess a deep and meaningful vision of who I should be and what I contribute to the world
Immature Ti: I follow my own rules and principles without really understanding exactly how my actions influence the world at large Mature Ti: I seek precise knowledge of what impact my thoughts/behaviors produce so as to act coherently without harm, bias, or hypocrisy
Immature Fi: I can only see as far as my own values and suffering so I can’t formulate a factual and objective understanding of the world at large Mature Fi: I seek deep understanding of human experience in order to act with integrity and work to prevent/alleviate suffering for myself and others
Immature Se: I simply react as circumstances dictate without enough consideration for whether the direction is the right one to take Mature Se: I seek out new/positive learning experiences and fully appreciate that the unexpected can teach me to be more adaptable to life’s changes
Immature Ne: My mind is unable to conceptualize the best ideas or grasp the most promising opportunities for making progress in life Mature Ne: I am confident in making continual progress because I can work out many viable paths to approach any situation or difficult problem
Immature Te: I utilize power to shape the world into what I want it to be and fail to realize that my actions do not produce universally positive results Mature Te: I utilize my strengths to get positive results for all and work to improve my weaknesses so as to minimize negative or harmful behaviors
Immature Fe: I only care about others in terms of how they affect me and fail to treat them as individuals with their own unique needs/experiences Mature Fe: I can see other people objectively and separately from myself and respond to their needs appropriately and compassionately
This time I changed up the linework to a different, more sketchy brush, and I love this way more! It has a more fluid feel to it. You have Dex and his family on top, and a mysterious woman in the bottom.