Tag Archives: Storyline comic

Critical Miss

Over the last year, the computer gamer comic Critical Miss has been descending into madness (in-between its usual periodic side-steps commenting on the latest computer and console games) with its primary protagonist, video game reviewer Erin Stout, suffering from hallucinations after she was involved in an automobile accident. As with all stories, this storyline finally wrapped up after Erin’s confrontation with Link (though she didn’t know who he was). Sadly, it almost seems like Cory Rydell and Grey Carter are going that classic sitcom route of resetting things so that there are no lasting consequences between storylines. Of course, seeing that there have been other strips without Erin’s cadre of gaming characters urging her to listen to them, it could be that Erin is still nuts and we’re just not witnessing the meta-aspect of Erin’s “game-head-space” for the moment.

It’s too early to guess if Rydell and Carter have taken a Labor Day holiday and providing us with a glimpse of some of Erin’s classic wackiness, as I’m hoping is the case. I will be extremely disappointed if Erin “got better” from a significant mental impairment through sheer mental willpower. Sure, this is a comedic comic, but you don’t just retcon out a year-long storyline and hand-wave away mental illness. I mean, we not only have Erin pushing by the guy who threw her out of his house sans pants, but she then pulls a knife on a new worker. For that matter, wouldn’t it be interesting if the girl with the octopus hat had been hired to replace Erin (who has been suffering from psychosis for a number of weeks in the story-world)… and her knife-incident is the final straw leading to her firing?

The cynic in me doubts this is the case, as there’s little humor inherent in having Ms. Stabbity dragged to the police station before she’s locked up for her own safety. Neither path appears particularly palatable. Actually acknowledging Erin’s insanity as a genuine mental illness isn’t funny (and risks offending the more politically correct). Not even a pants-free catfight was enough to ameliorate the squick inherent in watching a young woman actually lose her mind. But the thought of retconning a story arc that literally just finished is equally unpleasant. Why did we bother following this to the end if it were just to be thrown over? Carter and Rydell may be looking at a very well-painted room, except for the corner in which they’re standing, unless they’ve some twist planned. The next few story-updates will reveal which path the comic will take… and one misstep could result in a number of readers leaving in disgust.

El Goonish Shive

Sometimes I’m left to wonder if Dan Shive weighs his comic on a scale, because it seems when El Goonish Shive’s artwork is at its best, the storytelling suffers… while he starts taking shortcuts with his art when ramping up his writing talents. Of course, I’ll be the first to admit I hold Shive to a higher standard than I probably should, especially when compared to quite a few other comics I’ve come to enjoy but which haven’t run for nearly as long as EGS. Unfortunately, Shive’s latest crime against artistry is a common flaw among many webcartoonists, even some who’ve been comicking for some time: copy-and-paste artwork.

Undoubtedly some of my older readers are already rolling their eyes at my mentioning this, as I’ve long had issues with the abuse of copy-and-paste art. I’ve long felt it robs the cartoonist with the chance at improving their artwork (for as the saying goes, practice makes perfect), and in turn robs the readers. And yes, I know that cartoonists are often hard-pressed for time, and draw comics as a hobby after work or school. Nor is all copy-and-paste bad; it’s quite possible to manipulate a drawing so that the copy-and-paste is hidden or transformed into something else.

Sadly, Shive ignored these alternatives and went for a cheap repeat of two panels. There were no shifting camera angles. There were no closeups. There were no background differences. In fact, Shive actually copied one panel and only altered a facial angle and added Elliot in two panels. And the irony is, the differences between panels 4 and 5 show how to disguise copy-and-paste art! The shift in Susan’s head and the addition of Elliot helped disguise the fact they’re both the same panel. It’s pure and utter laziness, with a scene that could have been far more powerful artistically if Shive had just taken the time to draw Susan from a different angle.

It diminishes from a potent bit of character development that I don’t recall being expanded upon before: Susan’s feeling of isolation after Sarah started dating Elliot (way way back when EGS was known for decent storytelling and mediocre artwork with oversized heads). This is something many of us can identify with: being abandoned by friends who suddenly have someone else to be with who sets their hormones percolating. And it’s not even a retcon. It makes sense and helps to deepen Susan’s character a bit further. I mean, we already knew she had issues with her father… but now we can see how she could feel anger at this guy whose only real crime was agreeing to date her best friend.

The irony of the situation is even more interesting when you consider Shive has actually been laying the groundwork for Elliot and Sarah’s eventual breakup… and Susan’s own growing attraction to him. For all that I’ve complained in the past about Shive’s bizarre fixation on turning EGS into the Hogwarts Comic of Magic and Witchcraft, he has slowly started the pendulum swing back toward better storytelling. Unfortunately, this is a moment when some of those fancy camera angles he’s used in the past could have helped deepen the emotion of the scene, rather than stall it out with the entropic weight of copy-and-paste artwork.

Ultimately, this is about what would make El Goonish Shive into a better comic. I applaud his continued effort to improve his storytelling (assuming this is not just a cyclical shift between art and story), but this is only half of the job. The best comics utilize art itself to tell the story. You can see elements of this with Susan’s body language and the weight of her solitude weighing her down. Sadly, shortcuts such as copy-and-paste art cheapens his storytelling efforts and diminish the quality of the comic as a whole. If he avoids (or at the very least does a better job of disguising) these elements, then EGS may surpass its heyday so many years past. Yes, I know it’s an odd idea to think of me praising EGS eventually, but he may yet pull it off.

El Goonish Shive

For all of my criticisms of Dan Shive’s storytelling, I must admit he’s managed to improve his artistic skills significantly from when he first started drawing El Goonish Shive over a decade ago. But there’s more to art than carefully crafting lines on paper; the best art captures the life and soul of the subjects being drawn. Shive will be the first to admit he’s still got much to learn, but today’s update does manage to impart life to his characters. This isn’t to say there aren’t flaws in Shive’s artistry; his use of computer-generated backgrounds to save time is used by several comics, including Questionable Content; unfortunately, the blurring and abstract aspect of the background details does distract a little from the character art, and Shive would be better off using crisper art similar to the above-mentioned QC.

Quibbles about background art aside, Shive did an excellent job in bringing his characters to life in this update. Tedd’s body language in particular is especially well done, as Sarah starts reminiscing about “The Incident” concerning involuntary transformation that turned her into a non-verbal catgirl and he starts to slouch. This was particularly telling as Tedd had been experimenting with a hair transformation gadget, and his hair went from short to shoulder-length, seeming to pull him down as the litany of grief was ladled out. Seeing that Tedd suffers from self-confidence issues, it often appears like he hides behind his hair while trying to avoid being hurt by the actions of others.

The short-haired Tedd was quite interesting to observe, and in many ways I think it suits Tedd better than his usual look. Equally interesting was his reaction to his cousin Nanase; it’s obvious that he’s jealous of her (seeing that Nanase has magic he’ll never have, is immensely talented… and wasn’t abandoned by her mother), and being told he resembles her is obviously not a complement he wishes to hear. No doubt Tedd blames himself for his mother leaving and may even think deep down that if he only had magic she’d not have left. Nanase ends up being the Mirror of Erised reflection (to borrow a phrase from the first Harry Potter novel) of what he could have had if he’d only not been Tedd. This may ultimately explain why he’s so fascinated in transformations as he seeks to become someone other than himself.

Sarah was also fairly well done, though I suspect Shive could use some practice drawing long-haired people; something felt off about seeing Sarah’s locks extra-long, and I suspect part of it lies with how the hair sits on her shoulders and chest. Amusingly, despite being hidden behind her hair, Sarah was actually opening up to Tedd for a change, which is a welcome step of growth for her character, especially seeing that she and Tedd share a commonality in being without magic. In a number of ways, both Sarah and Tedd are kindred spirits among their larger group of friends, seeing neither of them have magical talents or are skilled in martial arts and the like. Only the Incident has stood between them… and now with Sarah reaching out, it looks like this old wound is finally healing and a new friendship can emerge.

No doubt if you look back at my recent EGS reviews you’ll see a theme of negativity and pushing Shive to strengthen his storytelling. At times it seems Shive has pushed his artistic improvement while letting his storytelling skills falter. But for all my complaints about various shenanigans and idiot-ball plots, this latest storyline actually feels right. Perhaps it is the integration of art and character, with body language telling as much a tale as dialogue, or it could be Shive has finally started focusing on a storytelling skill I’ve long insisted he had but failed to utilize to its fullest. If he keeps it up, then El Goonish Shive may once more become a story I read for enjoyment rather than from a sense of obligation to my readers.

Makeshift Miracle

It’s been said that the first sentence of a story can make or break it. This is a bit of a fallacy; while the first sentence has importance, it’s more that the first few paragraphs present the hook needed to draw in new readers. In the case of webcomics, it’s the first page that really draws in readers. Unfortunately, a growing number of webcartoonists have started their comics with full-page spreads that look nice enough, but don’t do anything to catch the reader. This was the case with the contemporary fantasy webcomic Makeshift Miracle, and while the art was quite nice, the narration, that first sentence, failed to nail my interest.

Fortunately, I have a method of dealing with comics like this; I read them backward. Perhaps by starting from a later point and working backward, I’m starting from a position of knowledge. I already know the comic is decent enough from its later content, and can thus move through the parts that lag. In addition, reading the story backward helps me create a sense of disconnect, allowing me to work past parts that I disliked or that barely held my interest. With MM, this wasn’t too difficult as while the start of the comic was… less than riveting, about a dozen pages in the story jumps from introspective and sedate to something that started to draw my attention.

To be honest, it’s the start of the second chapter of MM that works best for drawing in a reader, and it would have made for a more effective start of the comic; as we later learn, our narrator, Colby, is writing down what happened on the computer (though he’s not blogging it or the like, just writing down what happened to try and sort things out in his head), so the entire first three chapters is in effect a massive flashback in any event. By starting with a bang (metaphorically, though having a meteor with a naked girl inside smack into the ground likely counts as literal as well), writer Jim Zubkavich would have had that hook in the first sentence that draws in and keeps readers interested even through the more introspective parts of the first chapter. Sure, he then loses the “surprise” factor of Colby finding a naked girl in the middle of a steaming crater, but I think it would have been worth it.

This isn’t to say that the story isn’t effective, and once readers get past that first chapter, the story’s pace picks up and keeps readers interested. While the dialogue is iffy in a couple of places, this might be due to the quirk of Iris, the girl Colby saved from freezing to death, and who in turn saved him with the second of the odd miracles that I suspect will surround her (assuming the title refers to her mysterious talents). And I must admit, Colby’s reaction to Iris is likely reasonable (especially when you consider he’s probably a teenager, rather than a cynical old coot like myself) (and in fact, I must admit one of my favorite lines was the narration “[t]here was a naked meteor girl in my house. Of course she needed a shower. Silly me.”) given what he’d just gone through.

As to what the story’s about, that’s hard to say at this juncture. There’s been under 50 story updates and ten of those were “establishing shots” which I’ve already commented on. In essence all we know is that a strange girl dropped out of the sky, survived an impact that left a sizeable crater, has some odd talents, and that someone mysterious (who knows Colby’s name, due to a misplaced backpack) appears to be looking for her. Oh, and she shared a weird dream with Colby. As to what her story is, or what the basic plot of the comic will be? That’s currently a mystery.

Despite these flaws, there are some seeds planted here that show promise. The artwork, by Shun Hong Chan, is quite striking with a beautiful watercolor effect giving it life that traditional computer-rendered coloring often seems to lack. Likewise, Iris seems to be a fascinating character, and Colby’s introspection an interesting change from the traditional protagonists that often litter stories. Despite a tepid start, the comic is worth reading, though for any reader who’s having difficulties getting into the comic, I recommend jumping straight into the second chapter. Or, like I did, you can try reading it backward.

Outsider

For the longest time I’ve been a fan of science fiction, both written and on television and in movies. One of the few cartoons I remember watching as a child was the old Star Blazers series (Space Battleship Yamato, for those purists out there, though the dubbed version was among the best of the early dubbed animes). Perhaps that is part of the reason behind my fondness for space operas and science fiction that focuses on the exploration of outer space (though I’ll admit that having been born in the Apollo Era might also have something to do with this).

As such, Outsider fits quite nicely in my interests. It’s the story of Ensign Alex Jardin, who was a member of the Earth scout ship Bellarmine as they scouted out a warzone between two alien factions: the Loroi (who had a reputation as genociders) and the Umiak (who had a reputation as slavers). Neither side would allow an alien race to remain neutral, possibly due to the potential threat of a neutral power could pose should it wait until the two primary powers weakened one another through nonstop warfare.

Fortunately, humanity was warned by one race who had tried to remain neutral… until the Umiak invaded and enslaved their populace. These refugees are also kind enough to teach humanity the common trade tongue, of which we get some dialogue before the comic switches over to the trade tongue full-time (rather than use < and > as a means of identifying non-English language all the time, which would get old fast).

While I won’t spoil too many things for you, through situations beyond Alex’s control he finds himself stranded on the Loroi vessel Tempest, where he finds himself among a race of blue-skinned, pointy-eared telepathic amazons who are quite amazed at how… similar humans are physically to the Loroi. They also find it somewhat disturbing that humans are resistant to Loroi telepathic probes, especially as much of their intelligence-gathering and defense depends on their telepathy, which comes in handy for Alex as he soon realizes despite a telepathic interrogation that he has some level of bargaining power as the impromptu ambassador for his species.

Interestingly, Outsider plays with several tropes traditional to the space opera genre and then twists them to interesting ends. One such trope was when Beryl, the tactical analyst assigned to Alex, asked about his mating needs and if he was going to require medical aid in this regard. Rather than a cheap come on (as I initially believed it to be), it was a cold analytical determination based in part because the Loroi culture has a significant female-to-male ratio, with males playing the role of studs (the Loroi find it fascinating that male and female humans are at a 1:1 ratio for the most part). Likewise, Alex didn’t play it off as a means to get into a blue-skinned alien’s pants… but instead was taken aback and slightly offended by what was said.

At several times I’d watch Beryl show considerable interest in Alex, watching him constantly while he reacted to events around him. Eventually I realized this wasn’t attraction or the like. Instead, Beryl was studying this human to learn as much as she could of him through observation (especially as telepathic examinations had provided minimal data). In short, he wasn’t a person as such (or at least he wasn’t considered an equal to the Loroi). He was a specimen to be studied. No doubt half the reason why he wasn’t dissected or the like was that alive, he provided more value to the Loroi than he would dead. The moment his value ended, he could very well end up dead.

Another thing I found fascinating was the character of Alex himself. While he was depicted as at-times brash with a tendency to get into trouble, the moment he’s alone on the Tempest he shows considerable constraint. He avoids mouthing off (he thinks of it, but he behaves himself for the most part) and puts himself forward as a professional. It is a refreshing change from the traditional variations of his character in both anime and in most space operas, and I must admit I was surprised to see this type of character behaving as intelligently as he should.

This isn’t to say everything is perfect with the comic. One thing I find puzzling is the fact that a species that evolved telepathy as its primary method for communication would also evolve vocal cords that would be effective in communicating with other species. Likewise, I was puzzled at the commander of the fleet issuing orders verbally; perhaps this was partly because of the non-Loroi accompanying the Loroi task force as they fought an Umiak attack force, but it still seemed incongruous. The final thing actually isn’t an issue, and that’s the physical similarities between humanity and Loroi… instead, this seems to be a plot point that may play out later in the series. And even so, these are minor quibbles at best.

To sum up, Outsider is a fascinating, well-drawn, and well-written science fiction story of first contact with an alien species. The aliens might seem fairly human, but there were some refreshing differences that allowed the Loroi, the Umiak, and the other species depicted to be alien rather than funny-looking humans (though the Loroi were still closest to humanity in actions and behaviors). Personally, I suspect Outsider will appeal to any fan of good storytelling, even if they don’t usually enjoy science fiction, and I have to highly recommend this comic.

Friends With Boys

It’s been a couple of decades since I last was in high school (as a student, at least; it’s been over five since I last did time as a substitute teacher, which is often akin to being a prison guard but without the respect). While I don’t remember too many details of my high school years, I recall a sense of alienation as I (and the students in my class) went from being top dogs in the old school to the bottom of the heap at a new school. I also had to deal with teachers who were familiar with my brother (who graduated the year before I started high school) and of trying to establish my own identity in a new environment. It’s something most of us have gone through, which is undoubtedly why high school is a common setting for books and webcomics.

Now imagine for a moment that you didn’t have the advantage of middle school (or Junior High) before being plunked down in the middle of high school because you’d been homeschooled for most of your life. This is the basic plot of Friends With Boys, Erin Faith Hicks’ webcomic about Maggie McKay, a young teen who is entering public school for the first time in her life after being homeschooled and raised with three older brothers. While Hicks has written comics with characters in high school in the past (the three teen protagonists in her first comic, Demonology 101, were in high school during the run of that series), this is Hicks’ first online comic that focuses primarily on high school and on a teenage girl’s efforts to fit in.

While the comic has been updating for just over two months, Hicks has done a fine job of introducing and rapidly developing the cast and basic story. This is a lesson that more webcartoonists need to learn; far too often it seems comics meander and take their time fleshing things out and in doing so forget that most important aspect of storytelling: telling an actual story. Hicks has even added little quirks to help the comic stand out from others in the high school genre; the revelation that Maggie is being followed by a ghost was a rather fascinating element, and I suspect will be relevant later as the story unfolds.

Outside of Maggie’s benign haunting, the comic has mostly focused on the character’s first days at school and slowly starting to fit in. While there’s been no rapid friendships as in some of her previous works, the seeds for at least one friendship has formed. We’ve also been shown glimpses of Maggie’s relationship with her brothers, including her realizing that she might not know her brothers as well as she thought she did. Given that Maggie’s not yet made close friends in the comic, her interactions with her brothers has been the main source of character development to date.

Interestingly, FWB was designed and drawn for print; Hicks’ publisher is allowing her to post the comic online prior to its printing in February of 2012 (which allows it to build up a readership and potential buyers). As such, the comic has a set beginning, middle and end and won’t be an ongoing storyline (barring sequels of course; while I doubt she started the story with sequels in mind, that’s not to say sufficient fan interest (and sales) would preclude a second volume). Undoubtedly this is part of the reason for the rapid character development; the print genre is far less forgiving of meandering plots and glacial character development than the web.

I’ve long been a proponent of buffers; seeing that Friends With Boys was drawn with publication in mind, the entire run of the comic has been completely drawn and edited. Most of the panels have backgrounds, though I’ve noticed Hicks has a tendency to take more care on her outdoor backgrounds than of classrooms and the like. I’ve also been enjoying reading her thoughts on the artistic process in the comments field under each comic. But while these elements help increase my enjoyment of the comic, it’s Hicks’ storytelling that is the real draw here, and I look forward to watching this story grow.

Darths and Droids

It’s been over two years since I first reviewed the photo webcomic Darths and Droids, which has been doing a grand job of taking the train wreck that was Episode 3 of the Star Wars prequel trilogy and making it into something interesting. I have to admit I’d have enjoyed any imaginative retelling of the Star Wars movies, but what’s made DaD especially enjoyable is how the crew behind the comic mix the ongoing story as crafted by the fictional role players and their mundane lives. We’ve watched Sally grow… well, older, if not up, and watched the relationship between Annie and Jim go through some rough patches even as the game itself underwent twists that would make a Mobius Strip green with envy.

But I have to admit, I was not expecting the last few updates with Padme facing down Anakin and ending up on death’s door. Part of this is due to the hiccups we’ve observed between Jim and Annie both in and outside of the game. Yes, I know things had finally started working out between the two, but I figured something would go wrong. The argument between Padme and Anakin worked well as a visualization of their falling out… or even as a misunderstanding that would result in hurt feelings when Anakin finally went off the deep end in character.

Instead, we had a crowning moment of awesome with Jim embracing his inner role player and giving Annie a scene she could revel in. And he even rolled with the inevitable death of his character (the second of his characters that would die) and continued role playing the scene for all it was worth. Leading to Annie, the thespian of the group, to break character and let Jim know how much she loves him for doing this for her. I’m not sure if I enjoy this more because I didn’t see it coming, or because it was just entirely too much fun.

While we still have the big fight scene between Anakin and Obi-Wan ahead of us (with both Ben and Annie accepting the inevitable conflict between their characters with no hard feelings involved), I must admit I’m eagerly awaiting the next chapter of the comic… when the comic starts on the original Star Wars trilogy. I’m not nearly the purist or diehard fan of the original movies that some of my friends are, so I have no problem poking fun at the old movies. (Indeed, I was wishing Mike and the Bots could watch Star Wars in the Satellite of Love, which horrified friends of mine who otherwise loved MST3K; they refused to see the flaws inherent in the movies that would make it worth ridiculing.) But I have to admit I realize these next three “campaigns” are going to inevitably upset some fans who view these specific films as sacrosanct.

It’ll be especially interesting to see what roles Annie and Jim choose once their old characters die or are retired. Though I’ll admit I already know who Sally is going to play: Luke. While it may seem more obvious for Annie to play Luke, I must admit it would be fun to see Sally start to play a more central role in the game… perhaps inspired by Annie’s portrayal of Anakin. I’m just left wondering if Jim’s going to revamp his role by playing Padme’s daughter Leia… or if he’ll go with the rascally smuggler instead, and let Annie run a more political character. It’ll definitely be worth reading in any event.