"

My Least Favorite Trope (and this post will include spoilers for The Lego Movie, Guardians of the Galaxy, The Matrix, Western Civilization, and—cod help me—Bulletproof Monk*.) is the thing where there’s an awesome, smart, wonderful, powerful female character who by all rights ought to be the Chosen One and the hero of the movie, who is tasked with taking care of some generally ineffectual male character who is, for reasons of wish fulfillment, actually the person the film focuses on. She mentors him, she teaches him, and she inevitably becomes his girlfriend… and he gets the job she wanted: he gets to be the Chosen One even though she’s obviously far more qualified. And all he has to do to get it and deserve it is Man Up and Take Responsibility.

And that’s it. Every god-damned time. The mere fact of naming the films above and naming the trope gives away the entire plot and character arc of every single movie.

"

Elizabeth Bear - My Least Favorite Trope (via feministquotes)

whoo boy am I sick of this, yuuuup

(via potatofarmgirl)

Tags: cliches

gangerworld said: Hey there. If you don't mind me asking, I was wondering what your process was for making a comic. I don't mean "how do you draw". Your art is awesome and I know that only comes from years of practise. I was more wondering about the process from coming up with an idea to getting comic pages out. Like for me, I try to write a script out scene by scene, first. Then design the characters. Then do thumbnails, then roughs and finally cleans. Is it much different for you? I'd love to get ur input. Thx!

I have some new followers, so reminder that everyone can find all of my blogging about how I make comics (and some friendly suggestions for how you can make comics) right here on this handy tumblr post. Hopefully that will help with the more general “how do you make comics?” asks I’ve been getting lately. :)

As for my process to go from idea »»»> complete graphic novel, usually it goes idea > outline > thumbnails/script > revised script (submitted to editor) > pencils > inks > colours (if book is coloured). This is important: everything pre-production (before I start penciling the comic), character/location design, script, thumbnails is done BEFORE I start making the final comic. It helps with the consistency of the book, and it means you’re not making stuff up on the fly.

However ………………. sometimes I make it up on the fly. ;) For a project like The Nameless City, there are so many many background characters and locations that if I’d sat down & tried to design it all before-hand, I’d be designing until 2050. So what I do ahead of time is decide on the look and style of the world, and then quickly make up characters that fit within that setting when I need to do a crowd scene. I’m only one person, not an animation studio, so, y’know, I can’t work like an animation studio. ;) 

As for writing a graphic novel out scene by scene, I usually just straight ahead do the script and thumbnails, and add or subtract scenes as needed. It’s a very messy process. 

Disclaimer: This is my process for making comics that will be published, but when I’m making stuff for the web or stuff I’m not being paid to do, I tend to be a lot looser, because loose is fun. I did webcomics for years before I became a professional cartoonist, and I never really did any kind of pre-production or scripting ahead of time. Working that way didn’t do those comics any favours (they are pretty rough!), but making comics was something I did for fun and scripting/thumbnailing/designing ahead of time seemed too much like work. 

I actually really hate thumbnailing, because I think it’s boring. It’s the work you have to put in before you get to the fun part of actually drawing the comic page. I’d skip this part if I could, but it’s necessary, I think.

bryankonietzko:

korranation:

We interrupt your scrolling to bring you a very special announcement from your creators :)
[X]

THE FINAL SEASON STARTS OCTOBER 3RD!

YAY!!! Four days after my birthday! What a nice present! :D

bryankonietzko:

korranation:

We interrupt your scrolling to bring you a very special announcement from your creators :)

[X]

THE FINAL SEASON STARTS OCTOBER 3RD!

YAY!!! Four days after my birthday! What a nice present! :D

chrissamnee:

All of my covers for Dynamite’s Shadow: Year One series.

Colors on all ten issues by Matt Wilson.

Chris Samnee is a wizard

unicorn-brigade:

Shinigami?

unicorn-brigade:

Shinigami?

Artwork for the Alternative Press Expo (APE) program & poster (here it is with the words on it). I will be a special guest at APE in San Francisco on October 4-5th. Go here for more info.
Other conventions for 2014:
Word on the Street Halifax, Saturday, September 21st. Halifax, Nova Scotia
Hal-con, November 7-9th,Halifax, Nova Scotia
And that’s it! Hope to see everyone there, and thanks for making 2014 a fantastic year!

Artwork for the Alternative Press Expo (APE) program & poster (here it is with the words on it). I will be a special guest at APE in San Francisco on October 4-5th. Go here for more info.

Other conventions for 2014:

Word on the Street Halifax, Saturday, September 21st. 
Halifax, Nova Scotia

Hal-con, November 7-9th,
Halifax, Nova Scotia

And that’s it! Hope to see everyone there, and thanks for making 2014 a fantastic year!

bryankonietzko:

korranation:

GET READY.

SOON

WHAAAAAAAAAAAAAA

bryankonietzko:

korranation:

GET READY.

SOON

WHAAAAAAAAAAAAAA

timlarade:

Allison finds something weird in Sean’s journals (which is saying something) in today’s new Mush-A-Mush page!
Enjoy!
Head on over to the site to get caught up on this chapter, as well as the first three! Mush-A-Mush!

Red = danger!
I mean, I’m just guessing. *shifty eyes*

timlarade:

Allison finds something weird in Sean’s journals (which is saying something) in today’s new Mush-A-Mush page!

Enjoy!

Head on over to the site to get caught up on this chapter, as well as the first three! Mush-A-Mush!

Red = danger!

I mean, I’m just guessing. *shifty eyes*

Guys, the final Bigfoot Boy graphic novel came out this week! Bigfoot Boy is a kids graphic novel trilogy drawn by me and written by J.Torres. It’s a fun and adventurous story about Rufus, who finds a totem in the woods behind his grandmother’s house, that transforms him into … a Bigfoot. It is super Canadian. It’s set on the Canadian west coast and has First Nation characters in it, and also lots of awesome girl characters because of course, I drew it. ;) 

If you know any young readers who are interested in comics but aren’t quite old enough for classics like Bone or Smile, this would be a great series to give them. 

Here’s the publisher’s website, and you can order these from Amazon, Chapters/Indigo, your local bookstore or local comic store.

Here’s a book trailer for the series

Hope you enjoy it! I’ve been drawing these comics since 2011, and it was a fantastic experience. Learned a lot about drawing animals. ;) 

greg-pak:

Gene Yang is one of my heroes. Read this, y’all.
weneeddiversebooks:

Read This: Gene Luen Yang’s rousing comics speech at the 2014 National Book Festival gala
From the Washington Post, article here.
GENE LUEN YANG, Library of Congress, Jefferson Building:
Good evening. Thank you, Library of Congress and National Book Festival, for inviting me to share the stage with such esteemed authors, and to speak with all of you. I am deeply grateful for this honor.
I’m a comic-book guy, so tonight I’d like to talk about another comic book guy. Dwayne McDuffie was one of my favorite writers. When I was growing up, he was one of the few African-Americans working in American comics. Dwayne worked primarily within the superhero genre. He got his start at Marvel Comics but eventually worked for almost every comic book publisher out there. He even branched out into television and wrote for popular cartoon series like “Justice League” and “Ben 10.”
Dwayne McDuffie
Dwayne McDuffie is no longer with us, unfortunately. He passed away in 2011, at the age of 49. But within comics, his influence is still deeply felt.
I was lucky enough to have met him once. About a year before his death, we were on a panel together at Comic-Con. I had the opportunity to shake his hand and tell him how much his work meant to me.
In a column Dwayne wrote in 1999, he talked about his love of the Black Panther, a Marvel Comics character. The Black Panther’s secret alias is T’Challa, the king of the fictional African nation of Wakanda. He has super senses, super strength, and super agility. He’s an Avenger, though he hasn’t yet made it into the movies.
The Black Panther wasn’t created by African American cartoonists. He was created in July of 1966 by two Jewish Americans, Stan Lee (who was born Stanley Lieber) and Jack Kirby (who was born Jacob Kurtzberg).
By modern standards, the Black Panther is not a flawless example of a black superhero. In their first draft of the character, Lee and Kirby called him “the Coal Tiger” and gave him a goofy yellow and black costume. Even in his final form, his superhero alias includes the word “Black.” This is true of many early African and African American superheroes, as if what makes them remarkable is neither their superpowers nor their heroism, but their ethnicity. Most problematic, though, was that Marvel made their most prominent black superhero the star of a series called Jungle Action.
All of these flaws were lost on Dwayne McDuffie when he first encountered the Black Panther in 1973, at the age of 11. What struck him was the character’s commanding sense of dignity. The Black Panther wasn’t anyone’s sidekick. He wasn’t an angry thug. He wasn’t a victim. He was his own hero, his own man. As Dwayne describes it, “In the space of 15 pages, black people moved from invisible to inevitable.”
Dwayne’s love of the Black Panther eventually blossomed into a love of comics in general. Dwayne was a smart guy with a lot of options in life. He’d earned a master’s degree in physics. But he chose to write comics as his career. I would argue that without the Black Panther, this flawed black character created by a writer and an artist who were not black, there would be no Dwayne McDuffie the comic book writer.
Dwayne wasn’t just a writer — he was also a businessman. In the early ’90s, he teamed with a group of writers and artists to found Milestone Media, the most prominent minority-owned comic book company that has ever existed. The Milestone universe have since been folded into DC Comics, so these days characters like Static Shock and Icon – characters Dwayne co-created – fight crime alongside Superman and Batman.
In the early ’90s, I was finishing up my adolescence. I visited my local comic-book store on a weekly basis, and one week I found a book on the stands called Xombi, published by Milestone Media. Xombi is a scientist who became a superhero after he was injected with nanotechnology. He allied himself with a secret order of superpowered nuns. One sister was known as Nun of the Above, another Nun the Less. Together, they protected the world from all kinds of supernatural threats.
Xombi was inventive and fun, but he stood out to me because he was an Asian American male carrying in his own monthly title. And even more notable – he didn’t know Kung Fu. Xombi wasn’t created by Asian Americans – his writer was white and his artist black – but he did make Asian Americans a little less invisible.
We in the book community are in the middle of a sustained conversation about diversity. We talk about our need for diverse books with diverse characters written by diverse writers. I wholeheartedly agree.
But I have noticed an undercurrent of fear in many of our discussions. We’re afraid of writing characters different from ourselves because we’re afraid of getting it wrong. We’re afraid of what the Internet might say.
This fear can be a good thing if it drives us to do our homework, to be meticulous in our cultural research. But this fear crosses the line when we become so intimidated that we quietly make choices against stepping out of our own identities. After all, our job as writers is to step out of ourselves, and to encourage our readers to do the same.
I told you the story of Dwayne McDuffie to encourage all of us to be generous with ourselves and with one another. The Black Panther, despite his flaws, was able to inspire a young African American reader to become a writer.
We have to allow ourselves the freedom to make mistakes, including cultural mistakes, in our first drafts. I believe it’s okay to get cultural details wrong in your first draft. It’s okay if stereotypes emerge. It just means that your experience is limited, that you’re human.
Just make sure you iron them out before the final draft. Make sure you do your homework. Make sure your early readers include people who are a part of the culture you’re writing about. Make sure your editor has the insider knowledge to help you out. If they don’t, consider hiring a freelance editor who does.
Also, it’s okay if stereotypes emerge in the first drafts of your colleagues. Correct them – definitely correct them – but do so in a spirit of generosity. Remember how soul-wrenching the act of writing is, how much courage it took for that writer to put words down on a page.
And let’s say you do your best. You put in all the effort you can. But then when your book comes out, the Internet gets angry. You slowly realize that, for once, the Internet might be right. You made a cultural misstep. If this happens, take comfort in the fact that even flawed characters can inspire. Apologize if necessary, resolve do better, and move on.
Let your fear drive you to do your homework. But no matter what, don’t ever let your fear stop you.



Gene is the best dude.

greg-pak:

Gene Yang is one of my heroes. Read this, y’all.

weneeddiversebooks:

Read This: Gene Luen Yang’s rousing comics speech at the 2014 National Book Festival gala

From the Washington Post, article here.

GENE LUEN YANG, Library of Congress, Jefferson Building:

Good evening. Thank you, Library of Congress and National Book Festival, for inviting me to share the stage with such esteemed authors, and to speak with all of you. I am deeply grateful for this honor.

I’m a comic-book guy, so tonight I’d like to talk about another comic book guy. Dwayne McDuffie was one of my favorite writers. When I was growing up, he was one of the few African-Americans working in American comics. Dwayne worked primarily within the superhero genre. He got his start at Marvel Comics but eventually worked for almost every comic book publisher out there. He even branched out into television and wrote for popular cartoon series like “Justice League” and “Ben 10.”

Dwayne McDuffie is no longer with us, unfortunately. He passed away in 2011, at the age of 49. But within comics, his influence is still deeply felt.

I was lucky enough to have met him once. About a year before his death, we were on a panel together at Comic-Con. I had the opportunity to shake his hand and tell him how much his work meant to me.

In a column Dwayne wrote in 1999, he talked about his love of the Black Panther, a Marvel Comics character. The Black Panther’s secret alias is T’Challa, the king of the fictional African nation of Wakanda. He has super senses, super strength, and super agility. He’s an Avenger, though he hasn’t yet made it into the movies.

The Black Panther wasn’t created by African American cartoonists. He was created in July of 1966 by two Jewish Americans, Stan Lee (who was born Stanley Lieber) and Jack Kirby (who was born Jacob Kurtzberg).

By modern standards, the Black Panther is not a flawless example of a black superhero. In their first draft of the character, Lee and Kirby called him “the Coal Tiger” and gave him a goofy yellow and black costume. Even in his final form, his superhero alias includes the word “Black.” This is true of many early African and African American superheroes, as if what makes them remarkable is neither their superpowers nor their heroism, but their ethnicity. Most problematic, though, was that Marvel made their most prominent black superhero the star of a series called Jungle Action.

All of these flaws were lost on Dwayne McDuffie when he first encountered the Black Panther in 1973, at the age of 11. What struck him was the character’s commanding sense of dignity. The Black Panther wasn’t anyone’s sidekick. He wasn’t an angry thug. He wasn’t a victim. He was his own hero, his own man. As Dwayne describes it, “In the space of 15 pages, black people moved from invisible to inevitable.”

Dwayne’s love of the Black Panther eventually blossomed into a love of comics in general. Dwayne was a smart guy with a lot of options in life. He’d earned a master’s degree in physics. But he chose to write comics as his career. I would argue that without the Black Panther, this flawed black character created by a writer and an artist who were not black, there would be no Dwayne McDuffie the comic book writer.

Dwayne wasn’t just a writer — he was also a businessman. In the early ’90s, he teamed with a group of writers and artists to found Milestone Media, the most prominent minority-owned comic book company that has ever existed. The Milestone universe have since been folded into DC Comics, so these days characters like Static Shock and Icon – characters Dwayne co-created – fight crime alongside Superman and Batman.

In the early ’90s, I was finishing up my adolescence. I visited my local comic-book store on a weekly basis, and one week I found a book on the stands called Xombi, published by Milestone Media. Xombi is a scientist who became a superhero after he was injected with nanotechnology. He allied himself with a secret order of superpowered nuns. One sister was known as Nun of the Above, another Nun the Less. Together, they protected the world from all kinds of supernatural threats.

Xombi was inventive and fun, but he stood out to me because he was an Asian American male carrying in his own monthly title. And even more notable – he didn’t know Kung Fu. Xombi wasn’t created by Asian Americans – his writer was white and his artist black – but he did make Asian Americans a little less invisible.

We in the book community are in the middle of a sustained conversation about diversity. We talk about our need for diverse books with diverse characters written by diverse writers. I wholeheartedly agree.

But I have noticed an undercurrent of fear in many of our discussions. We’re afraid of writing characters different from ourselves because we’re afraid of getting it wrong. We’re afraid of what the Internet might say.

This fear can be a good thing if it drives us to do our homework, to be meticulous in our cultural research. But this fear crosses the line when we become so intimidated that we quietly make choices against stepping out of our own identities.
After all, our job as writers is to step out of ourselves, and to encourage our readers to do the same.

I told you the story of Dwayne McDuffie to encourage all of us to be generous with ourselves and with one another. The Black Panther, despite his flaws, was able to inspire a young African American reader to become a writer.

We have to allow ourselves the freedom to make mistakes, including cultural mistakes, in our first drafts. I believe it’s okay to get cultural details wrong in your first draft. It’s okay if stereotypes emerge. It just means that your experience is limited, that you’re human.

Just make sure you iron them out before the final draft. Make sure you do your homework. Make sure your early readers include people who are a part of the culture you’re writing about. Make sure your editor has the insider knowledge to help you out. If they don’t, consider hiring a freelance editor who does.

Also, it’s okay if stereotypes emerge in the first drafts of your colleagues. Correct them – definitely correct them – but do so in a spirit of generosity. Remember how soul-wrenching the act of writing is, how much courage it took for that writer to put words down on a page.

And let’s say you do your best. You put in all the effort you can. But then when your book comes out, the Internet gets angry. You slowly realize that, for once, the Internet might be right. You made a cultural misstep. If this happens, take comfort in the fact that even flawed characters can inspire. Apologize if necessary, resolve do better, and move on.

Let your fear drive you to do your homework. But no matter what, don’t ever let your fear stop you.

Gene is the best dude.

(via benito-cereno)

Tags: gene yang