Is the current storyline based on the 50th anniversary of the mods & rockers wars (see bbc4 tonight)?
If only I was this smart. Just before Christmas I was waiting for a friend in a pub. He was an hour late. I was jotting down ideas in my sketchbook, and for some reason, I wrote down the phrase, “not mad, but mod”, which I used in this comic and then formed the basis of the current Bad Machinery story. Which just goes to show, you should always see a long wait as a creative opportunity and not spend it playing with your phone. THE END.
Please tell me 'Expecting to Fly' is a reference to the album by popular beat combo the Bluetones, light of my teenage years and object of some unlikely cowboy fanfic composed for the amusement of myself and my favourite friends??!
Yes. Of course, it’s a Neil Young (as part of Buffalo Springfield?) song too, but I was thinking of the deeply middling Britpop release. Great singles, shame about the rest.
“Back in the day, Walter would, every once in a while, forget how to draw. Remember?" Louise said.
“Oh yeah,” Walter agreed. “That still happens occasionally. It’s like, ‘Oh my god, nothing I’m drawing looks any good anymore. My life is over as an artist.’ And what I realized, because I was an editor at the time, and had seen a lot of work go past me, was that when you hit this phase where suddenly your stuff, which looks just like it did yesterday, doesn’t look good to you anymore, it’s because your mind has made a leap. Your brain has gotten farther than your hand has learned to do it yet. But eventually, give it a few weeks, keep it up and you’ve made a leap in your own craft. That was a big help because it was so depressing when you realize you couldn’t draw anymore.”—From an interview with Walt and Louise Simonson. (via twiststreet)
I will be taking a week off Bad Machinery next week (July 7th-11th) to go on holiday. I’m sorry. But filling in (from July 4th, and including a big Saturday strip), I’ll have a week of Bobbins featuring the return of a much loved/loathed character. Loved and loathed in equal measure. So get ready for a week of comics that you’ll either enjoy, or hate. I can’t do anything about it now. I’m in France and I’m not looking at the Internet.
“I know you fellow .01%ers tend to dismiss this kind of argument; I’ve had many of you tell me to my face I’m completely bonkers. And yes, I know there are many of you who are convinced that because you saw a poor kid with an iPhone that one time, inequality is a fiction. Here’s what I say to you: You’re living in a dream world. What everyone wants to believe is that when things reach a tipping point and go from being merely crappy for the masses to dangerous and socially destabilizing, that we’re somehow going to know about that shift ahead of time. Any student of history knows that’s not the way it happens. Revolutions, like bankruptcies, come gradually, and then suddenly. One day, somebody sets himself on fire, then thousands of people are in the streets, and before you know it, the country is burning. And then there’s no time for us to get to the airport and jump on our Gulfstream Vs and fly to New Zealand. That’s the way it always happens. If inequality keeps rising as it has been, eventually it will happen. We will not be able to predict when, and it will be terrible—for everybody. But especially for us.”—Nick Hanauer’s “The Pitchforks are Coming… For Us Plutocrats." (via twiststreet)
I’m very limited (by non-unpleasant “circumstances”) as to the items I can sell out of my UK shop at the moment, but I do have a new teatowel design for you! IN PIE WE CRUST!
Sorry that it’s not possible to get my signed prints, custom postcards, small commissions etc from me at the moment, but there’s a huge range of Scary Go Round merchandise available from Topatoco at the moment, and the exchange rate should make it all pretty agreeable to UK pockets right now.
“Regarding single issue sales: they are incredibly important to a lot of Image creators. On Rocket Girl, it’s by far the biggest chunk (of course, we don’t have a tpb yet). And every reader counts. A few thousand copies can make or break a series. If Rocket Girl dips into the 8000s, we’ll start thinking about when to wrap it up. If it stays above 12,000 we can do it forever. At 12,000 copies I can make as much writing Rocket Girl as Hulk; Amy Reeder can make as much penciling/inking/coloring as she would on Batwoman. 8000 vs 12,000 is a significant difference in percentage, but it’s not a huge amount of readers. A lot of Image creators are in the same boat, albeit their individual line might be a bit higher or lower. Certainly collected editions and digital and ancillary media/merchandise contribute as well. But a lot of making creator-owned work is down to financing: and single issues have the biggest impact on cash flow–and the only impact on cash flow for almost a full year when you take into account early production to ‘get ahead’ as well as solicitation. Also: your comment forgets artists, who are forgotten way to much nowadays. A writer can maybe juggle 4 simultaneous projects, but an artist can do just one book at a time. It is much harder for an artist to make the plunge into creator-owned–so consider that when choosing what to support.”—
Reblogging because the economics of creator-owned comics are of interest to me, and because this is the kind of thing I should probably take into account when it comes to who gets their comic pre-ordered, who gets shelf picked, and who gets trade-waited.
I'm so glad I found your tumblr! Scary Go Round was the first webcomic I ever read & it will always be a huge influence to me. I'm writing a graphic novel and the more that unfolds the more I realize I've barely scraped the surface. But also, from the 50+ pages I've produced so far I've seen my style develop & my skill improve. Some days all I can manage is to ink what I already have, other days I can whip out 2 pages start to finish. Do you have advice for getting through creative brain blocks?
All my tricks for getting through blocks involve either getting focus when I can’t focus, or making sure I never have to come up with an idea from nothing - unless I really want to. My ideas go through a lot of stages, to the point where when I come to write a page, I know pretty clearly exactly what it has to be about. That way I can concentrate on enjoying writing it.
There are days when I sit down to draw, and I don’t want to draw. It’s usually because I’m tired, or distracted. I try never to schedule a heavy day of drawing after exhausting travel or high stress, because I know I won’t be into it. If it’s unavoidable, I try to do the heavy creative lifting before I have to, so if I know I have to send Sunday doing something that will have me working sub-par on Monday, I’ll do the pencils ahead of time on Friday. That way it’s just a case of doing leg-work rather than composition and layout, which I find challenging.
Everyone is different, but if I am struggling, I find that sitting in silence rather than listening to music, helps. I also like pink noise - I find it very helpful as an aid to concentration. I turn off my phone, I disconnect my Wi-Fi. The fewer distractions I have, the more likely I am to suddenly become “inspired”.
I think these are muscles you build with time - good luck!
I always thought it was a bit of a shame that Darren got written out! I was very interested in this rough looking, tough acting kid being very protective of his little sister, making her cute costumes and things and showing a creative side.
I looked at the already huge cast at the start of Bad Machinery and merged Shauna’s stepdad and brother into one character. He was always surplus to requirements, Shauna was originally introduced just to make his original plot line from Scary Go Round work.