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@somestuff3464

I think Wally would be surprised to find out He’s short (Maybe he’s never thought fully about the concepts of short and tall) But I Imagine him and Barnaby go to Howdy’s Place everyday for hot dogs, and Howdy always calls Wally a shrimp.  He’d ask, “Why do you call me a shrimp?” And Barn would explain, “Well, Shrimps are small, bud! You’re small, just like a shrimp!” And Wally would stand there, confused, but with a Hot dog in his hands. 

(Ehehe, adding in my own Tags so they don’t get lost because I’m jotting down more!!! For mE!!!) I imagine Eddie must be walking out of his Post Office across the way from them and Wally calls out to him, “Eddie, are you taller than me?” And Eddie would jump up but politely walk over to them and he’d say, "’Scuse me?” and Wally would repeat himself, “Eddie, are you taller than me?” And there would be a moment of befuddled silence from Eddie before looking down at himself and then back to Wally. “Well, you’re lookin’ up at me aren’t you?” And Wally would say, “Yes.” and Eddie would continue, “And I gotta look down at you to see you, don’t I?” And Wally would say, “Yes.” again. “Well then I’d say so! Why, is that no good?”  And Wally would shake his head and think, “No. I just wanted to make sure.” Barnaby’s been watching this lesson while eating his Hot dog! (I didn’t forget him!)

Word spreads quickly in Home (So few residents, and height must be a Hot Topic!) By which I mean Wally and Barnaby walk about as they usually do and ask others about height- Frank and Julie always together would be Confronted by them next- “Julie, are you taller than me?” Which Julie would respond, “Yes!!!” before wrapping her arms around him to Pick him up just enough for her to continue, “But now you’re taller than Me!!!” “You two are the same height.” Frank would correct her. “Your hair doesn’t count for your height!” “But I’m all hair! You’re tellin’ me I ain’t taller than Wally?!” Barnaby would pretend to cry and be quickly met with Frank’s angry response of, “You know that’s not what I meant, and that’s fur! Not hair!” “Are you taller than me, Frank?” Wally would butt as Julie continues to hold him up. “Of course.” Frank would reply, before pointing at Julie too. “I’m also taller than Julie!”  Julie would let out an Indignant, “Hey!!” Before falling onto the ground with Wally.

Does howdy ever get lonely in his store?? I know its probably not always busy, and if he gets bored, what does he do??

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Ooh, Let's talk about Howdy! Does Howdy get lonely or Bored? Not at all, He has his store! He has his Routine, His Merchandise, his Cash Register, his Payphone, his Impeccably clean floors- That's so many things! He's always humming, Or cleaning, or Organizing- There's never a dull Moment for this very busy caterpillar! I am laughing, Maybe there exists a Hint of boredom when Wally is taking too long to tell a Joke... ("You're takin' so long that I think my Bananas are startin' to spoil, Walls!")

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kindestegg
Image

ayyieeee!! im so happy to be able to finally show these off!! these are all the sprites i made for the current welcome home update, i hope that you like them!! this truly has been such a special moment, im jumping with joy!!

I didn`t notised the eye-hole in a vinyl record until my friend had pointed out this...I think i need new glasses `cause he noticed it on the first one, and here I am eight records later and didn't even pay attention while looking in a dark parts of pages -༼;´༎ຶ ۝ ༎ຶ༽-

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gachagon

I think the most important thing this new update has shown is that the fanbase for Welcome Home has wildly mischaracterized just about every character lol. Frank isn't a grouch the whole time, Julie doesn't go out of her way to be overly annoying and happy, Howdy and Wally are literal besties (and he even sends letters to Wally to remind him of when there's new paint in stock!!!) Sally is NOTHING like anything people expected (i kinda thought she'd be more of a humble character, but i love that she's so self centered and likes being the main attraction lol)

and wally is an air head. he's literally just a little dude who's happy to be included. He let two of his friends lift him without any prompt and just was like "Oh I'm up here now :)"

New Official Welcome Home Theory

The person Wally is talking to is from the Restoration Team, which the rest of the members seem to be against- the person who Wally is communicating with- is the black sheep of the team. You will see that in the hidden page where the passcode is needed. BSPJW is the password by the way.

That is also who Wally is referring to when he says in his new "prank call" audio "Keep working" because this person is the main one working to combine all the clues together while feeling left out by the rest of the Restoration Team.

This one is the apple of Wally's eye, which is why he says he loves them.

This person also seems to be experiencing some illusions, maybe they have sort of an unstable mental state, as you will see in the hidden page, they have spirals drawn on post cards, there are eyes, they're either dreaming or having illusions (caused by Wally?) of Wally sitting on the foot of their bed with a phone because he wants to communicate with them.

That's why all of the audios when you click each bug says "Answer" because Wally wants this person to answer his calls.

All of this is why I don't believe Wally is naive like we think he is. Maybe he was before his awakening, but his current self isn't at all. He's learned to code on computers, he's seemingly casting illusions as a way of communication, he's the only one that's aware his life is fictional which is why all of the audios (when you click on the bugs) ends with each character saying Wally's name in a distorted way.

-Because that's what his predicament is; distortion of life. Unreality if you will, like Clown tags each time he posts about Wally.

On that note, I'd like to end this observation with a small theory. Considering this ONE person from the RT is the one Wally is communicating with, I assume something is wrong with both the team AND Playfellow Workshop.

Wally and Home are crying out for help- for answers. None of them are the villain. I do believe Wally has been driven to slight insanity because of his situation, so he's questionable at best- but these two aren't the villains.

Playfellow Workshop is the problem and the Restoration Team (excluding the person Wally has chosen to talk with) doesn't exactly seem like a reliable source. You can read more about this theory on Reddit under username u/followthetrail_

That's all I have for now.

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frillsand

RAAAAAA 💗💗💗

Wally Daring Interview has me in a headlock

I had to make this video

He was so …silly?! And effortlessly charming?! He’s the absolute most 💗💗💗💗

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aishishii

SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE

I’m NOT an expert but I have some working experience I can share. You need experience to become great. Here is my set of instructions, tips, and notes towards making a 12-page comic.
My method is to work backwards. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen.
I even plan/draw the end page first. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&.
If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. (treat the first page and the 2-page splash as you would the last).
Roughly… the steps to making your comic is
  1. WRITE
  2. PLAN THUMBNAILS
  3. DRAW
…BEGIN THE WRITING (DO NOT SKIP NO MATTER WHAT) like this, in this order:
  • How does it end?
  • Does the protag succeed or fail?
  • What is the turning point of their story?
  • What the protag do that led them there?
  • Where does it start?
  • Who is this protag?
EXAMPLE:
  • Guy gets mauled by a bear.
  • This is a fail on the guy’s half.
  • The bear must eat something or he’ll starve to death.
  • It’s the guy’s fault the bear can’t find other food. He caused the avalanche that buried all the cabins.
  • The guy is yodeling in an avalanche zone.
  • The guy is some guy.
CREATING “THE BEAT SHEET” Take the above stuff and reorder it to make sense.
  1. This guy yodels.
  2. Echoes roll.
  3. Snow slides down.
  4. Avalanche buries the mountain.
  5. Cabins are engulfed.
  6. This bear has no access to cabin food and garbage.
  7. Bear eats this guy.
Expand. Blow up important beats for emphasis. Keep less important beats brief.
  1. This guy is hiking in the snowy mountains.
  2. He comes across an avalanche warning sign.
  3. There is nobody around but him.
  4. A dumb expression forms over his face and he yodels.
  5. Echoes roll but nothing nearby is moved.
  6. At the top of the mountain the snow drifts twitch.
  7. Guy, satisfied, hikes away from there still yodeling.
  8. Frozen snow cracks.
  9. Snow puffs billow and great slabs of ice crash down the mountain side.
  10. Guy sees this and hightails it to safer ground.
  11. Animals, people, are all panicking and getting pushed over by the rushing snow.
  12. Cabins are destroyed.
  13. The guy takes cover by an outcropping of rocks, fastens himself securely to the rock face, and waits for the avalanche to die down.
  14. Avalanche dies down.
  15. A lone bear shambles over from the other side of the mountain.
  16. The bear goes to where a cabin used to be (only roof tiles are left). Bear sniffs a dish satellite.
  17. Bear forlornly eats a food wrapper.
  18. Bear tries to dig.
  19. Guy comes down from the rocks he as climbing and sees bear.
  20. Bear stops digging and sees him.
  21. Guy runs.
  22. Bear chases him down.
  23. Bear eats the guy.
BEAT SHEET COMPLETED!!!
  • After the beat sheet, write up all the sound effects and speech bubbles and conversation/dialogue you want to be in your comic.
  • Since comics are a visual medium, highest priority is given to the beats. If a story can’t be told with the art without the dialogue– you messed up and it’s time to rethink your life choices.
  • Try to keep all your text chunks as short as a tweet. Professionally you don’t want more than 25 words per speech bubble and no more than 250 words per page.
  • Next is translating the beats to pages…
STRUCTURE OVERVIEW:
[1] point of entry, in media res, hero intro
[2][3] conflict. establish conflict, setting, and mood by the third page. [4][5] rising action/false resolution to conflict/investigation
[6][7] turning point/plot twist/epiphany (this one epic image, to page spread is pivotal, spend a lot of effort into creating this)
[8][9] aftermath/“darkness before dawn”/struggle [10][11] recovery/“rise and conquer”/“fall”
[12] resolution/final end/cliffhanger
[front cover][interior] [interior][back cover]
——————–
My maximum per page is nine panels but I’ve seen pages that have way more. I like to have about 3 to 4 panels per row or less but I’ve seen the “rules” broken before. Advanced comic book artists manipulate time with the number of panels and the size of each panel.
remember, DIAGONALS!!! open up an issue of batman, superman, spider man, deadpool or whatever youre reading theyre everywhere.
———-
…DRAW IN THIS ORDER:
  • Page 12,
  • Page 6 and 7 (this is typically one large image that takes up the space of two pages),
  • Page 1,
  • and then the rest.
ONLY “DEVIATION” ALLOWED:
  • Page 12 and 1*
  • Page 6 and 7,
  • and then the rest.
*Draw the first and last page as a spread in situations where the beginning of the story mirrors the end of the story.
Cover is dead last.
———-
(If at the very end you find out you need more pages and it’s absolutely unavoidable and totally necessary you have to add them in fours. Try to stick to 12 pages for this crash course.)
——————–
FURTHER NOTES:
  • Plan and draw the pages in spreads (the twos) since this is how it will appear in print and when you submit them to an editor for review guess what, the pages with an exception to the first and last will be reviewed as spreads.
  • You at most only need one establishing panel of the setting and environment (scene) per page.
  • Forget “true to life” perspective outside of the establishing panel). Practice diagonal composition of objects and subjects within panels. For dynamism.
  • You don’t have to present the text all in one go (one paragraph or bubble). You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel.
  • Less important moments have smaller panels and or lesser detail. More details (or more word bubbles) slow down time. More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass)
  • Know your light sources. Control the blacks. Control the values.
TIPS | COFFEE? :3 | dA | IG |  
(more coming soon 11/22/2016)
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cibokilley

Where where you twenty years ago, ten years ago? How dare you, how dare you come to me now, when I am this?

If it helps– I have a .PDF you can download for free!