“Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you.”
― Friedrich Nietzsche
“Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you.”
― Friedrich Nietzsche
Part two of the first chapter. I'm planning to do weekly updates for the next couple of months, then we'll turn it into monthly, once we're up to speed with what I'm currently drawing. Come back next Friday for the conclusion of chapter 1.
Another episode, another introduction. I trust it is not too overwhelming. Nadja Ravenstein will be a big part of this story. Further episodes will feature even more new faces. I suppose that is the nature of a comic focused on a world or society rather than a single protagonist.
Anyway. To give credit where the credit is due - the “kill yourself” bit is strongly inspired by a similar Louis C.K. line. I hope he wouldn’t mind. Nadja is a fan of strong comebacks and good comedy.
Throughout these episode descriptions I am going to explain some of my creative choices. Since certain mirrors I upload the comic at give rather harsh restrictions on the size of these posts (i.e. 400 characters), I’m going to cut the explanations in question into pieces. So, next time I will start relaying why I chose the “Rifky memoir” kind of narration. See you in a week.
I remember when I was a teenager (roughly twenty years ago) and I was attempting to write a book, I had a certain pet peeve. From the very beginning it was the choice of narration. I was actually quite anal about the disadvantages of both the third person and the first person narrator. I had to come up with something in-between…
The pickle was, if I choose a third person, all-knowing narrator, then the narrator needs to be cold and objective. Needs to have zero emotion. Can't throw in any quips, because if he does, then who is this guy? Are we supposed to know him? But we don’t know him. And I hated not being able to throw in quips!
Therefore I wanted to go with a first person narrator, i.e. one of the characters. In this case, the act of relaying the story becomes almost like a diary. But here comes another issue: I don't want a single protagonist that is the center of the entire story. I want to be able to tell other people’s stories just as well. But the first person narrator “wasn’t there!” So what do I do?
That's how I ended up with the "storyteller" type of narrator, i.e. a first person narrator that is not necessarily a participant of every scene. See, I am badly anal about this stuff where constructs like these are not logical.
If a character was not a participant of the scene, then how can he describe it? Did he hear it from someone else? If that is the case, then the narration stops being a recounting of events in which the narrator took part, and becomes essentially a collection of stories, as if they were told around the campfire to some sort of audience.
That is how the "audio memoirs" of Rifky were born: a collection of stories told to an unspecified person by a guy that happens to know these stories.
So yeah, the idea was born twenty years ago, now I'm finally doing it.
A few tidbits to finish off this chapter. There were two cases of an homage/blatant steal. The armor Warmaster Flesh is wearing is a design from a Guild Wars 1 game. In fact, that is where the character itself was first visualized properly. Also, the final line from this chapter is a Robert De Niro line from the movie Ronin. You know what they say, imitation is the sincerest form of flattery.
This chapter introduces Nina and Taro, the story's mainstays. I hope they become fan-favorites, as Taro likes showing some skin and Nina is properly thicc.
While I’m not a pro comic book artist, I did spend multiple years drawing comics. Today is the *first* time I’m attempting a panel frame break (the third to last panel). While I do respect the ‘rules’ of old-school comic book making, breaking the frame always seemed odd to me, like it was admitting “I ran out of space.” But I tried it and it seems pretty cool. I did run out of space btw.
Recently I’ve noticed a TYPO in episode 2 (the word “diving” instead of “dividing”). I’m trying not to be too anal about stuff like this, but it did bug me a lot and I’ve changed it in most of my mirrors (wherever I was able to edit an episode). It led me to an observation that I’m more eager to correct text than to correct art. I guess the sucking of early art is not an “error”, it’s a testament.
A bit of an interlude in the Horrik’s story. For the next couple of episodes we’ll check directly on our narrator and hopefully learn what the deal with the fissures is.
This episode is heavy on references. Some are comedic, some are serious, but I don't really want to spoil them. I feel dirty for even mentioning their presence 😬
Dialogue-heavy episodes are tough. Almost zero action, just talk, eh? Well, I hope that at least while binging the series, the episode will flow nicely.
That’s it when it comes to checking up on Rifky’s current day endeavors, at least for the time being. Next time we’re back to the retrospect of how the entire mess started.
Let’s end the chapter with some friendly banter between two relatively new characters. How many new characters is too many? I promise next episode we are returning to some established faces.
This episode I am experimenting with the format a bit. The panels are slightly larger and more spread out than before. I did not want to make the font any larger, since every now and then I need a wall of text (like the monologues in this episode) and a larger font would take too much space. I hope it's fine this way and easy on the eye. Let me know in the comments, especially if you read on mobile.
Am I supportive of skimpiness and raunchiness in comics? Of course, and I keep saying that I welcome a tasteful dose of sexualization of all genders (sexualization of only women is kind of cringy to be honest). I tried to emphasize it with the butt cornucopia in panel 7, but Taro’s ass got mostly obscured by his greatsword. And, sadly, that’s not an euphemism.
This is another episode that I open with Rifky’s summary of the current events. Are these reminders too frequent? Let me know if you feel like your intelligence is being insulted by the author.
On the second panel I broke the golden rule of “if you’re singing about the moon, the worst thing you can do is point at the moon.” While discussing Rifky’s aging I showed the side-by-side comparison. I feel vile. But I really wanted that shot of floating heads.
This particular bad guy’s name is revealed to be Zmora - fun fact about this word, it’s Polish and it’s a type of nightmare demon that strangles you in your sleep. Also, that’s how my grandpa named his cow (serious). The cow was black and had a twisted horn, hence Zmora’s look.
Anyway, next episode we step away from the field trip and revisit our pal Mistress Nadja.
A tiny cliffhanger, as this exchange finishes the chapter. Will Ikati be properly corrected? And if so, how? Perhaps we’ll find out, but not next time. Next time we move to a territory that has been frequently mentioned, but not yet visited: Murkwaste.