Questions addressed (or not) by the Credits upd8 (snapchats)
How do they populate the new universe?
The survivors make a set of ectobabies/grubs, then jump forward 5,000 years to let them repopulate naturally. Therefore all humans and trolls are descended from the surviving kids and trolls.
At this point there appears to be large scale breeding of trolls, presumably from a descendent of the Mother Grub hatched from Kanaya’s matriorb.
What is life like in the new universe?
There appear to be separate polities for humans, trolls, carapacians and consorts, each described as a kingdom. There are, however, carapacians selling news in the human kingdom so the division is not strict. It can probably be assumed that relations between them are peaceful.
It is not clear how the new troll culture differs from the old one - whether there is a social hemospectrum, how trolls are rased without lusii, etc. However, the workers hatching trolls are wearing jade outfits and appear to be working in a cavern, so the connection between jade blood and reproductive duties remains?
Troll hives appear to be decorated monochromatically so there is still some significance to blood colour most likely. There is a troll hive with bright green decorations which could mean that Lime blood is back? (Though it is a different colour to the Lime blood splatters in the Grand Highblood’s room.)
There are corporations including Jane’s CrockerCorp and Jake’s SN Enterprises (presumably SkaiaNet), and Jane has a graph showing rising profits, suggesting a capitalist economy at least in the human kingdom.
Architecturally, the human kingdom seems to have cuboid skyscrapers (possibly this is inspired by the ruined architecture of the B2 Earth…), the troll kingdom appears to have insectoid shapes and hives much like those of Alternia and Beforus, the carapacian kingdom has purple and yellow architecture and conical towers reminiscent of Prospit and Derse, and we don’t see any buildings in the consort kingdom.
John’s house is surrounded by cylindrical buildings with conical roofs.
The kids hold a marriage ceremony for Rose and Kanaya, but it might be their idea rather than something in the new world’s culture. It involves lifting the couple up on chairs, a tradition of Jewish weddings.
Mobile phones exist with Snapchat on them. In fact they seem to exist even before the kids travel forward 5000 years.
Before the kids jumped forward 5000 years, some kind of boxy flying cars were present.
Jane’s Dad is in the new universe, and seems to live in the human kingdom.
What role do the characters have in the new universe?
Their role in creating it is widely known; despite their 5000 year disappearance, they are immediately recognised as the ‘creators’ when they come back.
After ectobiologically creating the first group of humans and trolls, they have a relatively minimal role in building the four new kingdoms over the first five thousand years.
Upon their return, they are celebrated with massive parades and given crowns. However, most of them don’t appear to take long term power in the kingdoms (with the exception of Roxy and Callie?).
Jane has rebuilt CrockerCorp, and appears to be successful as its CEO in the human kingdom. She may also be Mayor of Can Town.
Jake seems to own or work for SN Enterprises (SkaiaNet?) and is regularly on TV as some kind of reality star/sex symbol. This is also in the human kingdom, but his TV appearances are also broadcast in the troll kingdom.
Jade, Dave and Karkat are seen hanging out on a couch in a troll hive. They are within relatively easy flying distance of John’s house. They also spend some of their time excavating the old world, including the abundant shitty statues of liberty.
Kanaya and Rose, now happily married, appear to be involved in the work of breeding trolls (or at least, we see them in the caverns).
Dirk and Jake appear to share a robot workshop, probably in the consort kingdom.
Roxy and Callie appear to live in the carapacian throne room, Roxy wears a crown and sits on the throne, and they have good relations with the carapacians. It seems likely that they are the queens of the Carapacian Kingdom. (Not clear what happened to the prior monarch, if there was one.)
GCatavrosprite is alive and hangs out with Dirk and Jake.
WV and PM were left building the founding Can Town, 5000 years ago. WV’s Mayor sash is later seen on Jane cutting a ribbon in the Human Kingdom. It’s not known how long-lived Carapacians are, but it seems to be a long time, so perhaps WV and PM are kicking around in retirement somewhere.
Caliborn appears to have contact with John from somewhere, after his defeat of Yaldabaoth (since he has 8-ball eyes).
Terezi left the universe to search for Vriska.
Whose fate don’t we see?
A Gamzee is seen beside Caliborn at the end, but it’s not clear if this is the same Gamzee as was trapped inside the fridge at the end of Collide.
Vriska. But Terezi is searching for her.
Aradia, Sollux and Davepetasprite^2.
Jasprosesprite^2 and Arquiusprite.
Possibly a Nannasprite?
B1 Jack Noir and Ms. Paint.
B2 Draconian Dignitary.
Do the players’ game powers still work in the new universe?
Yes. The god tier players (and Kanaya apparently?) fly around just as before, Dave can still travel through time, and presumably Jade had to grow the Earth.
Can the players travel in and out of the new universe?
Yes. Terezi was in the new universe to begin with, but she left to search for Vriska in the Furthest Ring. This probably implies there is a route from the new universe back to the B2 Session.
Snapchat can communicate in and out of the new universe. It’s not entirely clear how the timelines connect up - did Terezi leave 5000 years after entering from the perspective of the B2 session?
What happened to the ghosts of the Furthest Ring?
Unclear, but many seem to still be falling into the black hole. We see a ghost Nepeta falling into the black hole and looking bloody terrified about it. They are not in the new universe.
What happens when a Prismatic loses their color? They turn into a Monochromatic. Some Prismatic are just born negative. Others are made that way. Whatever the case, they are the rebels of planet Prisma!
☾Abilities: The Monochromatic just want to wreak havoc. In a nutshell: They are skilled in bringing out the worst emotions in others.
Being innocently mischievous or downright evil is more their thing. They can steal joy and in some cases, even sap Prismatics of their color. Instead of peace, they partake in violence and war, though some of them are harmless pranksters.
-Born Pure Monochromatic (male model): Monochromatic from head to toe, they naturally possess black “spots” on their skins, highlighted by glowing tattoos. Their eyes have no whites and are a single color.They may dye their hair, change their tattoo’s hue, and choose to wear colored contacts using a single color that has personal meaning to them. May have long nails and fangs.
-Born Mixed or Turned Monochromatic (female model): Either just the skin or hair is a shade between white and black. Also, the forehead Prismatic mark is turned upside-down. These mixed Monochromatic still retain a bit of the “good” from their Prismatic side, but with a few quirks in their personality. ie: A sarcastic and short-tempered candy shop owner. xD A turned Monochromatic can be converted back into a Prismatic, with lots of help from positive emotions ❤
May I have a soulmate au angst with oikawa? He met his soulmate - he sees color because of a childhood friend but she still sees in black and white. That is until she sees color when she sees kageyama and kageyama can see color too - met each other while she was hanging with oikawa
This request physically hurt me ;_;
Oikawa could hardly recall what a world in monochrome looked like.
For as long as he could remember, his world had always been awash in brilliant colors since the day he met her. And although he could no longer imagine a monochromatic world, he could still vividly remember that pivotal moment.
He saw her, and suddenly the world was bright, almost blinding, painting his vision with unfathomable hues and shades. He could only define the sensation as magical—enlightening, almost—and joyful. The happiness and awe he felt were indescribable. That was how he felt when he saw the colors—when he saw her.
Hello, webcomic friends! This is Gabi and Amy here, today, to talk with you about something we are both very passionate about: color! You might think that we only mean what is designated as “full color” when we say this, but it really boils down to any way that you choose - or don’t choose - to use shade within your work, and how it can be used to communicate form and mood within specific scenes, but also tone of the overall story.
For my comic, The Muse Mentor, I chose to go full-color mostly because I was new to the game, and didn’t realize there were so many smart ways to make monochromatic still work perfectly well for all sorts of subject matter… but I digress! It has turned out to be a great decision so as to help fully illustrate the imaginary and imagination-located (it’s complicated if you haven’t read TMM) city of Santa Astra as well as the denizens within it.
I use color to communicate A LOT, from simple things like time of day,
to slightly more complex things, like mood.
These two scenes are in the same ale house, but a little red versus green can change a lot about how it comes off, and I find it a useful, if not very subtle trick, for showing instead of telling.
One of the things I have also found color most useful for is imbuing a bit of personality into otherwise inanimate things, like environments! I’m not very good at POPULATING environments, per se, so having a way to use colors to communicate is very helpful.
Do I need someplace a little intimidating? Go slightly cooler. Do I need someplace that might be a bit more notably jarring? Go warmer.
Crisper? Darker? More laidback? All of these decisions are informed by how much yellow, blue/purple, or green I can use, or how much hue I use.
Which is not at all to say that this same effect can’t be achieved by black and white! Negative space and shadow play just as much into mood as color can, it all depends on the artist and the subject. For me, though, color is certainly something I depend on in my arsenal, so I try to utilize it as much as I can. It is a good little helper!
When it really comes down to it, a lot of what I do with color is experimental. Sometimes I know right away what palette I want, and other times it is a mystery to be unraveled as I go. In the end, it’s fun to try different things and see what kind of impression I can give, and how far I can play with mood in regards to lighting versus time of day and staging, etc. etc.
If you want to see some artists that I think have a very strong full color aesthetic, check out Juanjo Guarnido (Blacksad), David Petersen (MouseGuard), and Nate Simpson (Nonplayer).
If you’re familiar with my illustrative work at all, you already know I LOVE color. I love using beautiful and surprising combinations to achieve the palette (HA HA!) of effects Amy has already described. However, I chose to conceive my comic H&J in monochrome color instead, for several reasons.
First, monochromatic colors are shades of a single color, achieved by adding more black/grey or white to the base color. For example the four colours employed in H&J are darker and lighter versions of a single pink color:
Obviously, black and white or on the opposite extremes of the scale.
So why use black and white or monochromatic colours? Well, like certain full color palettes can connote certain feelings, so can a limited palette. H&J is a loving parody of old detective stories, so I chose to callback to the black and white movies, photography and illustrations of the time. In short, it gives the comic a “retro” feeling, in conjunction with the bold graphic design inspired linework.
Monochromatic artwork is not necessarily easier to create just because it’s apparently simpler, however - rather, it presents it’s own set of challenges and advantages.
Right out the gate, monochromatic art has a certain appealing visual cohesiveness. It cuts out the color choosing process, therefore the artist doesn’t need to keep track of full color palettes. Depending on the artist’s style, it can even greatly cut down on and even cut out the lighting and shading process. For example, H&J is almost always completely flat color, except for effect.
However, the artist using this method has to pay special attention to visual legibility. They must choose strong values that contrast well, or else the drawing will look flat and uninteresting, and distribute them appealingly throughout a panel to lead the eye, or risk confusing the reader. They may employ repeating patterns and dramatic shadowing more heavily to add visual interest and exploit negative space. The artist must also be a creative problem solver - how do you convey a bright sunny day vs a dark stormy night if you can’t draw a bright blue or a dark purple sky? Or a sense of depth and volume if you’re only using flat colours?
This is second reason I choose to render H&J monochromatically - the challenge. To keep the comic visually interesting and moody, I have to resort to a lot of stylization and crazy paneling. I learn immensely, and the results are often really fun… if not always effective. Like Amy, sometimes my solutions are intuitive leaps rather logical ones, but the ongoing learning process is half the fun of comics making!
For further reading, check out the work of Mike Mignola (Hellboy), David Mazzucchelli (Asterios Polyp) and Michel Rabagliati (Paul). What are some of your favourite monochrome/black and white artists?