Since I had so much fun doing the Section 17 comic for Secret Santa, I thought I’d try my hand at another Fitzsimmons comic. So here’s the reunion scene from the end of episode 4x07! This was so much fun to do; it stretched my artistic muscles in directions they haven’t gone before. Hope you guys enjoy! I’d love to do more of these in the future.
Since they butchered his character on Riverdale, here is what the REAL Chuck is like:
“Chuck is African American and the son of Floyd Clayton, who works at Riverdale High School as the school’s coach, and Alice Clayton, a housewife. In earlier stories, including his recurring appearances in Archie at Riverdale High, Chuck was usually shown as one of Riverdale High’s top athletes. Chuck was also depicted as a close friend of Archie, often spending time together or engaging in various adventures. By the early 1990s, Chuck’s interest in cartooning was added to round out his character, and also serves to promote the comics he appears in. In modern stories, Chuck is depicted primarily as a cartoonist, whose greatest ambition is to someday become a professional comic book and comic strip illustrator. Despite the long hours he spends practicing his craft, he still finds time to participate in all of Riverdale high’s varsity sports, study his own African-American heritage, and spend time with his girlfriend, Nancy Woods.” (source)
If you want more of this Chuck, go grab a Digest at your local comic book store. This has been a PSA.
No offense to Phyllis and her professional comic books, but this is how I’d imagine Penn’s reaction would be if he saw Rippen’s ‘Bad Penn’ drawing. He’d be stressing out! I still like the drawing though.
Also, please submit your drawings to disneyxd.tumblr.com/submit if you have any. Although they haven’t posted the submissions yet, the more the better.
see you have kazoo here who has a beautiful comic and makes things efficient and comfortable for themself by planning in advance and then you have me, who has a vague idea of each chapter that sound more like cookie fortunes when spoken aloud, flinging myself into each page in absolute darkness and winging it because “i had a good headmovie to Cascada’s Every Time We Touch” and swore up and down i’d complete the page “LIKE THAT” but ended up with a sketch for one (1) page for months before finishing it
Before we start, please remember that I’m not a professional writer/comic artist and I’m still figuring stuff out myself. These are simply gonna be personal experiences and observations.
Here’s the first problem in no particular order: lack of self-containment.
BBR is heavily linked to other projects I had in mind. Those included the tie-ins in the same universe (such as prequels) and some other stories that barely had anything in common with BBR aside from some deus ex characters (such as the Seven Deaths). At this point, I can’t even begin to take all the references away without very, VERY major rewriting of the plot.
Now, there’s probably nothing wrong with the stories being linked with each other. In fact, I often enjoy those if they’re done right. So let’s talk about this idea for a sec.
I don’t read that many superhero comics, but I do know how many characters and stories are intertwined there. So if I pick up a comic issue with a superhero I know and love, and they randomly team up with a superhero from another comic series I’ve barely ever heard of, my experience will be either:
A) It doesn’t affect the plot and the storyline is crystal clear to me, despite my ignorance of the foreign series. There may be some confusion about the other superhero, but it’s minor and doesn’t ruin the understanding of the situation. If I’m still curious about, I can research some stuff on my own, but it’s not mandatory.
B) It affects the storyline to the point of me being greatly confused. I HAVE to do some research of that other superhero to fully enjoy my fav series. What if I’m not interested in it? Well, sucks to be me!
The knowledge of your other works shouldn’t be required from the reader.
1. Don’t expect them to drop everything and start doing their homework to even begin to understand your plot. They’re probably going to drop your comic instead.
2. What if those “other works” don’t even exist yet? What if you’re never gonna make them? Without those tie-ins even your magnus opus would make no sense.
3. Comic publishers often do this kinda thing to sell you another comic you wouldn’t be interested in otherwise. That’s cheap and unpleasant, so don’t do it just for the sake of that.
On the other hand, hint-dropping and characters making cameos can be just fine. In fact, it’s great because later you can always point on those hints and say “See? It’s not an asspull!”. I love these kind of smart details! Again, it depends on how subtle you’re being with it and how much it affects the plot.
BBR was as subtle with it as an elephant in a porcelain shop.
I need between 50 and 100 bucks to restock my kitchen which is bare of pretty much everything after my two and a half month absence and it is not in my budget, I do not get paid for any recent work for a little while, blah blah, if someone wanted to hire me to write or draw a thing (or write and draw a thing) now is the time to get in touch with me about it, I am a professional comics person, you know the drill, if you have not seen samples of my work I’ll post them when I’m not on mobile later today.
if u feel bad about same-facing ur drawings and it’s hard to make your faces more diverse just remember Phil Noto is a a popular professional comic-book artist yet he can only draw 1 (one) type of women