Free Patreon Entry for All

I’ve done a very extensive write up on the process of reaching page 110 of Nailbat: Final Journey from the beginning to this page, and all of the alternate endings I had in mind before it came to this. You can check it out for free (you don’t need to be a patron) over on http://patreon.com/antibunny where it’s posted for all to see. Here’s a small sample: “The reason for the change from a front persI’ve done a very extensive write up on the process of reaching page 110 of Nailbat: Final Journey from the beginning to this page, and all of the alternate endings I had in mind before it came to this. You can check it out for free (you don’t need to be a patron) over on http://patreon.com/antibunny where it’s posted for all to see.

Here’s a small sample:

“The reason for the change from a front perspective, to a side silhouette is simply to add a greater feeling of force. To be honest the original panel looked almost comical, and didn’t evoke the emotional I wanted. Once again I mention that in comics you have to imply a lot of movement in a single image. With something like this I have to compress both the action of being stabbed, and the result of it into a single image that feels like it’s moving even though it’s standing still. When making comics, this is pretty much how every action has to be portrayed combining both event and result into one image, and sometimes even things leading up to the event, or even multiple events depending on how compressed or decompressed you want things to be. This is how comics are fundamentally different from animation. No matter how far you decompress a comic, it still must portray actions that are actually a sequence of movements in a single image.” pective, to a side silhouette is simply to add a greater feeling of force. To be honest the original panel looked almost comical, and didn’t evoke the emotional I wanted. Once again I mention that in comics you have to imply a lot of movement in a single image. With something like this I have to compress both the action of being stabbed, and the result of it into a single image that feels like it’s moving even though it’s standing still. When making comics, this is pretty much how every action has to be portrayed combining both event and result into one image, and sometimes even things leading up to the event, or even multiple events depending on how compressed or decompressed you want things to be. This is how comics are fundamentally different from animation. No matter how far you decompress a comic, it still must portray actions that are actually a sequence of movements in a single image.”

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