>>5412 I'm sorry if this comes off as kind of hostile, but "detracts from the effect of the comic" is such a vague statement. It straight up does not mean anything. Are you implying that it is always wrong to do this kind of reverse order establishing? Because that I just can't agree with. There are many reasons why you might want to use that technique. I agree it's an awkward application if only because it's just a name, and shoved into the corner at that, but I wouldn't say that I feel particularly lost. >>5413 Here's an example that kind of sequence in Aruku Hito, even more vague and on the very first page of the comic, although in that case it's kind of irrelevant who is speaking. I think it might make it less awkward if you rewrote the dialogue to fit more information over the establishing shot, rather than just the name of the protagonist, if that's the way you want to play it. The "heh" bubble on page 3 I think would be better placed inside the last panel, or at least further down. The way it is, my eye is drawn to it even before looking at panel 4, which messes up the sequence. I would generally be careful about placing bubbles between panels unless you have a specific reason to. It's a useful trick for making something read as simultaneous or softening a transition, but it can just as easily make a sequence feel kind of limp. I'm a little curious about your reasoning for that particular bubble placement. p.5 has a similar issue, I read the text and move into panel 3 right off the bat. I pretty much have to force myself to look up to the corner at panel 2. It would work better if the two boxes of exposition weren't completely adjacent. If you moved one or had a gutter between. Overall I think the takeaway is simply study how professional comic artists place their bubbles. Compare their work with yours and think as much about what they don't do as what they do. This stuff is pretty sensitive, you want to avoid making the reader need to actively move their eye elsewhere than the most obvious reading order, and speech bubbles seem to take priority over pictures in most cases. Anything that can be mistaken will be mistaken.

>>5443 >that kind of sequence Maybe not the right phrase actually. The sequence itself isn't that comparable Whatever.

>>5443 >I'm a little curious about your reasoning for that particular bubble placement. i'm afraid i didn't really think about it the same goes for the text bubble on page 5 maybe i should have placed it at the top of page five ty, i don't know if i'll ever do something like this ever again, but if i do i'll try incorporate your advice

Been looking forward to this thread since it was started. It might a damn good while before I have much in the way of story telling to share, so here's something related in the meanwhile.

>>5804 >>5744 Very nice, very talented you guys

>>5804 Dude you have really improved, it's great to see you posting again. Please visit us in the Drawpile sometime-it's where a lot of the activity has been funneled these days but we're trying to keep a heartbeat going here as well.

>>5804 Very expressive. That slam at the end has all the force it should.

>>5804 >TFW no sassy tiny white girl to share my beeg cream with

Comic Book Resources used to have a script archive, but they since took it down. Luckily it is preserved at: https://www.comicsexperience.com/scripts/ https://web.archive.org/web/20211216000857/http://www.comicsexperience.com/scripts/ A lot of scripts are from hacks, but there are some good ones. Some decent writers to take a look at are Cullen Bunn, Alan Moore, Brandon Seifert, and Chuck Dixon. Scripts by the likes of Bendis can be used as something to avoid. Either way, it could be useful resource to at least see how things are done in the American industry.

This is a nice step by step of a comic page from The Grémillet Sisters by Alessandro Barbucci that I found. Most artists do not show their step by step process. On rare occasion when they do, it's usually veteran mangakas with enough experience to rarely need any rough drafts or on-paper planning.

I'll go ahead and bump this thread with a question for you all: What's a comic or webcomic or manga that's inspired you and your art style? Or has just had a major influence on how you see art? As much as it pains me and as cringy as it is now, Homestuck definitely had a major impact on me when it came out. All of MS Paint Adventures did, really, but especially Homestuck considering how popular it became and how many drawfags on 4chan and elsewhere essentially aped its style.

>>6520 Homestuck certainly is lame yes, much like using disgusting filthy normal-faggot lingo like "cringe". Jokes aside, it was alright until Hussie decided to tailor it to tumblr. It also went on for too long, which was probably related to the fanbase as well. Almost everything wrong about that comic was related to tumblr in some way, but of course Hussie bares the greatest responsibility since he wasn't being forced to do anything.

>>6520 My biggest influence is Hayashida Q, and to a lesser extent Hirano Kouta. When Dorohedoro was going I really grew to love the silliness adjacent to cruelty and brutality. Another comic, Nekojiru Sou, is also like this (though it is much more cruel and the silliness is more contained in presentation). This has held a major influence over how I approach things. I wouldn't call myself obsessed but I did develop something of an obsession with her oneshot "underground underground" which i've read over many times as well. I became fond of this particular aesthetic of things being a little messy and impressionistic. I think in enjoying her works I also understood what I wanted from my own art, at least a little bit. I've struggled with trying to feel out how I want my own art to look, that has lead my nose to many more artists drawing manga in styles not seen as typically conventional. On the off side, not having conventional or 'current' influences also means it's not what people are used to expecting from manga.

>>5409 Its been two years since i made this post, i've graduated and dropped out of college I want to thank all you anons for keeping me drawing and pursuing comics, i've finished 1 and am still working on the other I'll get to the point, recently i met a former classmate, he told me i look even more insane then i did back then (i stopped shaving last year, it doesnt look good) point being, I am here to express my utter contempt for my former self I have gotten much better at drawing and have a clearer understanding of anatomy, but i will never again be able to make something this coherent and while i've understand anatomy better now, my drawings have degenerated, they're no longer as clean as the ones in this post I hate myself, i've gone insane, and I hate my former self for somehow being better than who I am now

>>6613 Sounds like the average artist experience to me.

comig

>>6613 Now it's been 3 and a half years. Hope you're doing well, anon! >>6884 The world needs more Bogle adventures

first timer here. been working on my own thing for a while which i have a tumblr page for since i dont know how to make my own site for the life of me but i might aswell post the 8 pages i made back in 2024. my webcomic is called MERCS and its about a ragtag crew of mercenaries under a mysterious organization, doing odd jobs that come their way and more importantly take down a rival organization known as the syndicate. been wanting to work on more pages but random bullshit keeps throwing me off but i figured asking what you guys think of it, give me some pointers or any other questions :P

>>6958 last 3 pages since i may have fucked up somewhere. i posted all of them but only the first 5 showed up in the post

>>6958 I genuinely enjoyed this. While not an illustrative master class it has a great energy to it. Keep it up fella

>>6958 couple things making me scratch my head. Why didn't spy man have a gun and also did he think he could outrun bullets or what's goin on there?

>>4849 I'm back nearly 5 years later and i've learned how to draw fat people. I owe a considerable level of improvement and earned confidence to constant and forceful grind. I had an epiphany lately that if I hadn't chosen to draw this full time I would still be in the place I was 5 years before, and it makes me sad that I couldn't accomplish this without this extreme level of initiative, but happy that I did. It's always surprising to look on these first pages, which are now protected in manila envelopes and sitting in a box. There's something about seeing drawings with your own eyes and holding them in your hands that feels so much more raw, and also, they are very ugly! I'm sure eventually I will reflect on this post with different feelings whatever they are. To everyone else, please post more comics. I love to see them.

>>7009 This inspires me to take that initiative and start making more comics. In 5 years I'll be glad to have done so.

>>7002 okay so i do know there are some things i have overlooked but ill give you 2 answers >real reason i was working on this with a really close friend of mine and intended to have enough pages ready to hand out copies at NYCC for october to get the word out, but we had a sort of falling out around september iirc and i got so pissed about it that i hastily finished up 8 pages and some making of/BTS info bits about the characters, but TLDR i rushed these pages out for comic con. me and the close friend later resolved our issues, if not for her i wouldnt have been doing this in the first place. >in universe reason the spy man didn't have a gun because he thought it was gonna be some quick in-n-out espionage mission but he severely underestimated so he tries to pull a fast one and run off unscathed. right now im working on more pages to better explain it so hopefully i make it more cohesive when i wrap the next couple of pages up

>>7011 Sorry to hear about your falling out, i've been through that multiple times and it's hard not to let it erode your trust in other people. I'm glad things worked out for you in the end. This in universe reason comes across as him being a rookie or otherwise making an idiot mistake. Assuming you're doing this on the fly (because it's far harder to change things that are already written in), rather than simply attempting to explain away errors in canon it comes across as more proficient to lean into them. It's the difference between having a scene a reader might end up questioning, possibly taking them out of the story, and making it part of the plot and people not even being aware it was an error to begin with.

>>7012 thanks 4 the pointers, come to think if it maybe ill throw in minor inconsistencies that'll lead up to a "to boldly flee" style story haha. all seriousness though, you are correct im practically doing this on the fly so leaning into them sounds like the better call.

You could probably make a manga making general on /a/ now. Not to be a thread splitter. I just think a mmg that every /a/non can hang out in could be fun.

>>7041 You could but I don't really see a reason to. A: there aren't enough interested anons, B: the ones that are would have already congregated here. The old mmg was populated by the same 10 ish people on a good day, I think whatever's going on here is just fine right now.

Hey fellas, i have a backrooms project in mind and would like an opinion on my first time trying this style.

>>6613 >>5409 fuck, this is going to be me soon. My art is getting worse and less ambitious since I'm more lazy and have less patience with drawing.

>>7083 I like it. Very simple drawings but quite evocative dialog and compositions, anon

Reposting a couple of diagrams i've made. The first one is a short guide for printing, the second one was something I made to help a person with composition focusing on the hierarchy of detail. This is a noteworthy skill to maintain for comics as a matter of clarity, especially if you are struggling to achieve it. The balance of black to white can make for a very nice pages in addition to making it easy to understand at a glance, and knowing how to balance simple/complex in an image makes for pleasing illustrations. Toriyama's work often shows this theory applied to great effect, with simple characters showing undetailed faces and physical forms placed against complex vehicles or machinery. It's definitely worth trying to understand how to apply this.

>>7200 Very informative. I would hate for my ambiguous blob to look like Guile or Bart by accident

Havent done much paneling but here's something I conjured up, Wish I looked at this thread beforehand

>>7433 Based