Wah, thank you! The comic’s a work of love from both of PG-chan and I (I swear I’m working on it this weekend). :D
You should totally draw it, because Star’s adorable (and because, well, drawing = ♥! haha.), and because certain black-haired vigilantes are pretty sexy and [babbling about shipping]. 8D
You’re being sweet, giving compliments, and thanking me for something I do to enjoy/entertain myself (and maybe 1 or 2 friends). I always feel like my work can’t be enjoyed because it’s not perfect but when people like you say things like that, I’m glad to have taken the risk to post it.
BLESS YOU, you are amazing and kind! ♥
Just updated it today. It’s updated when possible but PG-chan and I have to fit it around real life, of course. :D
I’m not sure PG’s seen the newest page yet, so it’s possible these panels won’t look the same later:
But we do what we can. :)
SORRY, SORRY, I’m having a hard time dealing with work so it’s taken a long time, but I really REALLY aim to get something posted at the end of this week.
And hopefully when we roll the next part out, who we think he is will become clear and this stuff will be answered. Thank you for reading (well, thank ALL of you for reading!) and more than that, thank you (and PG-chan too XD) for being patient with my slow ass. Normally I don’t feel the need to apologize for doing whatever I want in my spare time, but you guys have been so cool and nice, I wanna show gratitude by finally getting the next pages done.
In short, it depends on a lot of factors. Maybe 6-12 hours on average (start to finish, solid work without life interfering), but I think the longest I’ve ever spent on a page in this comic (page 18, the nightmare page) would probably be around 30 hours (roughly). That fucking page…
The answer’s complicated, though. I can sketch one out in an evening (2-6 hours) at a leisurely pace, but finished pages depend on these things:
• How many panels involve detailed background work (page 18 background lineart, man…). I’m faster at drawing figures than backgrounds, so drawing/inking figures often takes less time.
• How many panels are in a page (seriously page 18 wins again). It doesn’t always matter if it’s big or small because it generally takes the same amount of time to set up layer groups and masks for big or small panels in Photoshop when I’m toning.
• How tough the revisions are. I sketch, PG-chan reviews, we talk about it and then I go back to adjust. (The kiss page went through three revisions? IIRC?) I try to keep the release time short by starting a finished version ASAP. Yes, it allows for errors, but errors are better than not having a comic. After some amount of time passes I go back and fix the bigger regrets (can’t do this in a print production environment; good thing it’s a hobby.) (If you’ve been around since the beginning maybe you remember the old toning style we used to use, and that two pages still had it for a loooong while? I finally fixed that last month, and added some background art to a couple of older pages since they were made before I grew the balls to just do proper background art already.)
Soapbox time: I’ve worked in design/production environments since high school. In my experience nitpicking will KILL a project. I’ve seen clients who come to us from other companies because they burned through thousands of dollars through minuscule revisions. One woman, despite all of our warnings and insistence on sticking to the production timeline, or the original quote, the revision limit, etc., even blew 12 grand because she couldn’t decide which shade of pink/coral she wanted. ”NO, no, just go back and change it. I NEED THIS PERFECT NOW.” Before she could get her site off the ground Amazon came out with a tool that totally destroyed the point of her site. SHE WASTED HER LIFE SAVINGS BECAUSE THE SHADE OF CORAL WASN’T MAKING HER HAPPY, after picking a new one like 40 times.
Let’s just say I (mostly) live by the done manifesto these days.
• Always and forever, release time is affected by how stressful my work life is. Sorry it’s been so long since last release, but I’m mentally ready to come back (to TTX) now. It’s better this way.
Uh, and in case anyone’s wondering we’re doing a two-page spread for the beginning of Part 2 because I’ve never done one before and might as well learn how. 8D (We treat it as a print project even though I can’t even legally get books printed, since TT is under American copyright. Just for practice.)
(First, sorry if I didn’t get what you were asking!)
Haven’t thought about drawing them together. It’s easy to see how people would like them together (especially if you read Red Hood and the Outlaws), but I’m indifferent to Jason/Starfire personally. It’s probably because I’m a fan of the TV series. (Yeah, I know, to some that means I’m not a “real” fan, but OH WELL, don’t have time for much more. ;) )
But, if I had to draw them in a picture together I’d try my very best to make it meaningful, cute, or sexy. :)
Haha, well, the problem with answering this question too precisely is usually the fact that there’s a point where I either say it or make a comic— and the real excuse for even bringing it up is to make the comic. :D
But I really think the TV series gave us enough to work with, in terms of identifying him.
(And I think the irony about all of this is that even though our whole point of making the comic was to say who we think he is and how, there’s also a bit of minutiae that I don’t think matters as long as the general idea is there.)