page 46 of whatever this is.
I used to kill minor characters constantly in my oldest comics, and continued bestowing maladies-apparently-exceeding-injury to sketchbook dwellers, even ones which returned to live again afterward, but at some point I started finding it more depressing than funny. This has not changed.
I tried to keep the ink layer separate from the color layer, because this would allow me to preserve the full alpha qualities of the lines, rather than reducing them to flat black and white. Not only did this not look better, it in fact looks worse, because correcting errors is more of a hassle so I’m less inclined to bother, and what I did do took four times longer than usual, in part due to the various scan blemishes also retaining full fidelity, which I meant I had to constantly be removing them. Ordinarily, all the murky greys turn white and cease to be a factor. But now…
GRIIIIIIIIIME! Hours and hours removing grime! My compulsions are too powerful to allow me to not remove grime. The worse is when it’s on highlights or in the center of the letter O. The shiny part of an object should not have grime on it! Must scrub. This grime I cannot handle.
No! Even this picture of someone scrubbing has grime on it! It’s nothing more than a common griminal! It’s not even a special griminal! It’s the same old grime every time!
I’ve been seeking out grime for so long that now I’m seeing it in places where it does not exist! Single layer, flat-color images that I know factually that I never scanned off of grimy paper through a grimy scanner. My monitor itself is afflicted and now I will always notice it. Or perhaps my own EYES are covered with a wet, slimy substance! ARHHGJKHGJ GET it offffffffffffenbach
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An old fogey sez:
I assure you, any characters you’ve killed have met a far more merciful fate than those left alive to witness the Rise of the Dopes. Incidentally, your public is still waiting on news as to when they can expect your magnum opus Jope and Some Dopes 3: Rise of the Other Sort of Dope to make its Broadway premiere.
Concerning the current page, the number of scene changes here seems a touch jarring; the not-telling/must-do cut would have been fine if each part had appeared on a separate page on the website, but seems a bit odd as it currently is; it might be smoother to go from the not-telling panel to a panel of Pog alone watching television, to Kumquat in the lift, to Kumquat+Pog, or to simply cut directly to Nemitz and crew and have all of the Kumuat/Pog antics take place in the next scene.
I quite like this new part of the city we’ve entered into, incidentally; the first panel reminds me of an area in Lübeck just across the river from the historic Altstadt (and a reat contrast thereto), and the other parts remind me of quite a number of run-down industial areas I’ve wandered through in my younger days. I was also quite fond of the ramshackle hut at first until I realized it apparently has a resident, transforming what initially appeared to be the melancholy and poetic decay of an abandoned structure into simple bad housekeeping. Shameless.
Uvprimlurx sez:
45 will be moved back to following 44 once I add 47, and 46 will be left to initiate its section, though that is not by deliberate design. I had meant to institute a new sorting mechanism whereby I would have a cut off every 3 “pages” instead of just one, so that there would be less after thought frame fiddling for me, but I did not commit to it.
I decided the lizard should either live in a trash[ier] part of town or have to travel through one, out of necessity or thinking itself a clever time saver.
The shed frame was unnaturally inserted between the two around it (is that not obvious?) because I wanted to conclude on “they’re going to kill me.” I liked the idea of the creature blatantly cutting through residential property, in view of an ostensible resident. I also had it switch places with nemitz before I put the ink on, hence the weird word box positioning. I really have no idea what I am doing!
I am glad that you appreciate the industrial junk hints; I was frustrated that I could not represent it better with the background space I had given me and my limited ability to comprehend my Baltimore train ride photograph references.