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Welcome to Escape from Suicide Wolf Forest, a communal blog focused on comics, manga, graphic novels, zines, and anything and everything related.

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    21 / 10 / 11

    whitecomics:

    The entirety of Sexbuzz Chapter 5 is now online. That’s 17 new pages, for those of you keeping score at home. Take a look, won’t you?

    12 / 10 / 11

    pauflip:

    I just woke up and this was on my mind for some reason, so forgive my shaky morning hands.

    Here are some lines. There is a straight flat line of consistent weight. Then there are some lines of varying weight that look more interesting.

    You may have heard that curves are inherently more…

    (Source: furippupauplus)

    24 / 9 / 11

    buttastic:

    heysawbones:

    bigbigtruck:

    rosalarian:

    Man, I didn’t even know stuff like this was a “controversy” in comics. Very interesting.


    This is a really good post.

    The “Western vs. Japanese” bent of the article bothers me a little, because “decompression” is something often found in Western independent work, and I somehow suspect it’s not something every single one of those creators derived from manga. Decompression is a style of panelling and writing that comes naturally to people who prioritize particular certain aspects of narrative over (or at least as much as) the plot elements described as endemic to “Western superhero comics” by the article.

    Oh god, decompression. On the one hand, it leads to some really beautiful and haunting imagery that really gives a sense of time, and I really like that. But my first experience (and I guess at this point only) experience with actually making a comic was in the format of a one-page-a-week webcomic, and I found myself compressing the content more and more as time went along so that the plot and dialogue I wanted to communicate actually got across to people. I’ve since come to the conclusion that “which is better” isn’t really a viable question, since it depends so much on the media through which the comic’s distributed and the quantity of pages released at a time. For a big tpb with a lot of room to tell a story and what amounts to an assurance to the reader that there is always more to come in the pages they have yet to read and that they can read it all in one go if they so choose, compression is a great way to build suspense and drama. In a monthly 20-page floppy, at least some degree of compression is required in order for the reader to feel satisfied with the comic they hold in their hands and make them willing to wait for more. With that in mind, it’s hard to say either one is wrong. It’s like comparing apples to oranges.

    20 / 9 / 11

    amberblade:

    Really awesome run down about how to approach Concept Design-

    http://www.autodestruct.com/thumbwar.htm

    (Source: eyecaging)

    18 / 9 / 11

    whitecomics:

    I just posted some new pages from my comic Sexbuzz. It’s about half of the new chapter, which is turning out to be much longer than normal, so I decided to break my arbitrary rule of only posting full chapters. Enjoy!

    12 / 9 / 11

    amberblade:

    Hopefully this is handy for a few folks.

    It is a miracle I have people who want to talk to me on a daily basis.

    (Source: eyecaging)

    7 / 9 / 11

    krismukai:

    drawnblog:

    Victor Kerlow begins a space adventure webcomic, What’s in the Backpack?

    oh my GOD. victor kerlow is drawing a WEBCOMIC.

    27 / 8 / 11

    tsulala:

    Escape From Illustration Island – Illustration Resources and Community provides these rare, out-of-print illustration how-to books by Andrew Loomis, free to distribute because of their public domain status.

    25 / 8 / 11

    lagrenouillenoire:

    My super talented brother Coro — Art Director of the Massive Black fame — is trying to finance the publishing of his awesome graphic novel through kickstarter.

    You guys have only 49 hours left to invest in it to make it happen.

    The comic is great, the art is amazing it’s 212 pages gorgeous color work, it would be a fuckin’ shame if that wonderful thing didn’t get published. So get the fuck off your ass right now, Jump on you credit card give as much as you can, I swear it is more than worth it.
    It’s easy, you just have to click on BumBumBumBumBuuuuum follow the link and click on the green button “back this project”. Go! I promise you you’d be damn’ stupid if you didn’t.

    Besides in return there’s a lot of cool stuff you can get for your support.

    ———————————————————————————

    Mon super talentueux Frangin américain Coro, — Directeur Artistique de Massive Black — essaye de financer la publication de son roman graphique par le biais de Kickstarter.

    Vous n’avez plus que 49 heures pour investir et faire en sorte que ça se fasse.

    La BD est d’enfer, le couleur directe du dessin est à tomber, y’a 212 pages de bonheur, ça serait criminel de laisser ça mourir dans l’oeuf. Sautez sur vos cartes de credit tout de suite — maintenant — et donnez ce que vous pouvez, je vous jure ça en vaut vraiment le coup.
    C’est facile, vous n’avez qu’à cliquer sur BumBumBumBumBuuuuum, suivre le lien et presser sur le bouton vert “back this project”.
    Hop hop hop! je vous promet, vous seriez vraiment cons de louper le coche.

    En plus pour vous remercier de soutenir le projet vous recevrai des tas de trucs cool.

    Faites passer l’info. Le monde a besoin de cette BD!

    22 / 8 / 11

    nolantjones:

    Friend of the program Joe Mulvey’s interviews are basically porn for those of us who believe that the comic book medium could better be sold to the masses.  He essentially takes a person who doesn’t read comics and then sees their reaction.  The following is not a transcription, but it how I interpret events usually oging:

    “Oh you like it when I give you comics? YOU WANT MORE? I’ll give you more! I will fill you with so many comics…”

    It’s so hot.  Read his latest interview now!

    20 / 8 / 11

    marlez:

    Edit: Fixed the 8th link. Jesus Christ people 5000 notes? You guys are crazy

    I’ve been saving links, links of tutorials, books, etc.

    And pretty much, this is what I have so far.

    Gesture drawing tool

    Drawing Script

    Nudes References

    Emotions/Expressions

    Human Anatomy for the…

    (Source: cereal-murder)

    18 / 8 / 11

    bluebed:

    Circumfibrilated spread 2/2, Psychic Detective gets political. Also, it’s the last day of my Kickstarter and your last chance to get my original drawings and goodies!

    I already have to draw ~100 rewards, this is going to be so nerve-wrecking, especially drawing for cartoonists far more talented & prolific than me who were kind enough to support my half-assed project. Every day I wake up nauseous with doubt & dread, if it wasn’t for kickstarter overfunding, I would’ve abandoned this pretentious incoherent trash long ago. (Just deleted another great big shitload of words on how unhappy I am, hurrah self-control). One day I’ll stop disguising my misery with ‘surreal’ storytelling and draw the most depressing autobio in history instead of vomiting buildings..

    Questions:

    Anonymous asked you:Congratulation for the 3x3 annual! I see this morning you’re the winner for the graphic novel section! Congrats!!!:D

    So it seems, thanks!

    luckiestduck asked you:You’re absolutely amazing!

    Thanks, but I’m not. 

    Anonymous asked you:What is your favorite kind of weather?

    Gloomy and sunless, but not too freezing.

    18 / 7 / 11

    Excellent thoughts regarding story and structure and why it doesn’t have to be so RIGID.

    16 / 7 / 11

    krismukai:

    goknights:

    borednschooled:

    writingadvice:

    by Chuck Palahniuk

    In six seconds, you’ll hate me.
    But in six months, you’ll be a better writer.

    From this point forward—at least for the next half year—you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.

    The list should also include: Loves and Hates.
    And it should include: Is and Has, but we’ll get to those later.

    Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”

    Instead, you’ll have to Un-pack that to something like: “The mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”

    Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.

    Instead of saying: “Adam knew Gwen liked him.” You’ll have to say: “Between classes, Gwen had always leaned on his locker when he’d go to open it. She’s roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her butt. And the next break, Gwen would be leaned there, again.”

    In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.

    Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later). In a way, they state the intention of the paragraph. And what follows, illustrates them.

    For example:
    “Brenda knew she’d never make the deadline. Traffic was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”

    Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.

    If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.

    Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.

    Don’t tell your reader: “Lisa hated Tom.”

    Instead, make your case like a lawyer in court, detail by detail.

    Present each piece of evidence. For example:
    “During roll call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just as Tom was saying, ‘Here’.”

    One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.

    For example: Waiting for the bus, Mark started to worry about how long the trip would take…”

    A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”

    A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.

    Oh, and you can just forget about using the verbs forget and remember.

    No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”

    Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”

    Again, Un-pack. Don’t take short-cuts.

    Better yet, get your character with another character, fast. Get them together and get the action started. Let their actions and words show their thoughts. You—stay out of their heads.

    And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”

    For example:
    “Ann’s eyes are blue.”

    “Ann has blue eyes.”

    Versus:

    “Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”

    Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.

    And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”

    Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.

    (…)

    For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.

    Then, pick through some published fiction and do the same thing. Be ruthless.

    “Marty imagined fish, jumping in the moonlight…”

    “Nancy recalled the way the wine tasted…”

    “Larry knew he was a dead man…”

    Find them. After that, find a way to re-write them. Make them stronger.

    I need this on my blog so that I remember to do it…

    advice 2 live by

    (via milkywellsanctuary)

    15 / 7 / 11

    krismukai:

    GRRM LOOKING AT OUR BLOOD MAGIC ZINE AAAAAA