Concerning Worth and Big Pictures

I’m feeling very undeserving as of late. It began when I started creating a “timeline” of the projects I’ve finished and the projects I’ve yet to finish.

It’s a lot of work. I’ve done the math, it will likely take my lifetime (at my current pace). When I map it out like this, I start to feel like I’m not good enough to tell this story, or that it shouldn’t be as big as it is. That I’m not good enough for this, or that the idea itself isn’t worth illustrating; that “The Imbibe Universe” is only worth devoting a little space to it.

I don’t really have an argument against all that, other than I want this and that I’ve spent a good deal of my life thinking about it. It’s part of who I am as a person. It’s not a part I share very often. And I’d like to change that. Because it seems to be an awful shame for it to rot away in my skull after death. Regardless of whether or not it deserves telling.

Concerning Music Selections for a Medium That Is Silent

I miss doing songs with the comics. Maybe not with every page, but every episode should have a recommended song. Because Tapas Comics had a feature where you could add a song, there’s an entire Original Soundtrack for “Deep Circuitry”.

I really enjoyed that, because most of my comic projects were meant to be either live action or animated. Overall, I really miss audio. I miss the music and working with voice actors. I miss the collaboration and the spontaneity that would come with working with others.

Groph didn’t get music accompany. When I started illustrating “Groph’s Green Wizardry”, I didn’t have any music in mind. In retrospect, I think the soundtrack for “Groph’s Green Wizardry” would just be lofi.

For “Enter Cedar”, here are my initial thoughts on a recommended song accompany.

Episode 01: Smog “In the Pines”
Episode 10: Teho Teardo & Blixa Bargeld “Hey Hey, My My”
Episode 11: Philip Glass “Tagore-Scene II”
Episode 12: Tom Waits “Come on Up to the House”

Concerning the Log Children

This is an early piece depicting the Log Children. It was done digitally, because I thought I didn’t have an option to not do digital. You’ll note the lack of loincloth in the actual comic.

Original designs also incorporated a lot of lazy appropriation of Coast Salish elements. I had a lot of conversations with friends over this. The native elements are not super important to the story, as the gods behind the masks are not the actual gods, just beings who feed of the follower’s faith. Therefor, would that being use native elements to appear to people? They would to those they would be tricking, like someone who believed in the raven spirit. But would Ian see this? He’s just a white boy, with no affiliation with local tribes and customs, and since the appropriating beings use the thoughts and images they’re living in, they would appear with what’s available in Ian’s head. Thus, logs and blue tarps.

The added benefit is that this imagery is lot more personal to me. Making my stories personal to me is challenging.

Concerning the Details

“Paying attention to things – it’s how we show love.” – The Last of Us

That quote from last week’s episode hit me hard. I’m not one for details, both in my art and my personal life. My fear of not getting things done before my focus deviates causes me to seek the fastest method to get what is in my head outside. That means skimping on the details and embracing messy.

These are lichen hounds and mushroom tripods. I’m transcribing a script that happens about 6 books after “Enter Cedar”. It’s the same sort of creatures that form the “black mold boy” and the “moldies”.