A part fo me really wonders where the hell I got the drive to make something like that...
Like, the art is hella fraudulent now and I hate looking at it, but I can't help but feel like a lot of the scripting and staging is still pretty sharp (as in these would be the storyboards that I would pass off to people who actually knew how to draw).
I may actually be more suited to being a screenwriter or something than someone who actually draws shit.
I like this sequence because Meilin just shows up at home after a long day out... she's so far up in the clouds that she forgets to use her key and, amusingly, the entire scene is rounded out when Syaoran finally asks what the hell happened to her face.
I essentially carried the joke incognito for like two pages (notice how you never actually see Meilin's face).[link][link]
Then when we see Meilin again, several pages later, there's just this huge fucking bruise on her face (after a random introduction by Naoko who asks what Syaoran asked like several pages ago).
I don't wanna toot my own horn, but carrying that shit over a bunch of pages required a lot of patience; I had to PLAN that nigga: everything from how to conceal it, to how I would eventually reveal it.[link]
Finally, aside from carrying the joke forward, I put a few little hints in there about Meilin's background as a student... don't know how far people would've read in to it, but I thought the implication that she was known to get into fights on a regular basis was an interesting one in that maybe she had a history of delinquency that developed between the end of the TV series and when my comic was set.[link]
I liked this one too since, if people remembered the TV series, Syaoran NEVER ate Meilin's stuff willingly... this contrast amused me because, at the end of the day, maybe Syaoran was just a dick.[link][link][link][link]
I liked these pages since shit was just intense and intimate; the art was hella fraudulent (with the exception of the odd surprisingly good drawing that would show up every dozen of panels or so), but how I framed things was pretty cool.[link]
And then this shit was just SMOOTH; FUCK.[link]
Another thing about the script was that... I was just trying to point out how the fundamental relationship between the two characters changed when they "hooked up"... like, shit they did without much thought before just wouldn't be the same anymore...
And it gets even more complicated when you realize that you have all that stuff ON TOP of the fact that it's a homosexual relationship (people of the same sex sleeping over is usually like whatever... but when you have a boy and a girl, it becomes unacceptable... Tomoyo and Meilin are both girls, but they're in a relationship... what's going on here?).
Like... I wanted people to just REALLY think about a lot of the dialog in this thing, but then I also took into consideration the fact that it should be seamlessly melded into a conversational style of writing; I was asking the viewers questions, but I didn't want them to know that I was actually asking it (LOLWUT).
Anyway, yeah... despite being a shitty fan comic, it was actually pretty high-ambition and a lot of thought went into everything; I put my knowledge and fondness of the series on display, but then injected some storytelling stuff that I was always interested in doing to the extent that I knowingly deviated from the series hard in a lot of places (the smoking, the sex, the bathroom antics... you'd never see shit like that in most anime, much less the world of CCS).
I didn't mind the deviation, but the problem was that it all got to the point where I began to regret the fact that I based a lot of my ideas off of CCS, which explains why I came up with Gumamela, which was essentially the same story as what I laid down here, but then told with original characters and an original setting...
That project didn't quite work out because, in the end, I was beginning to feel the weight of the subject matter: here I was, some random-ass motherfucker with no art or film training, and I was trying to make stuff like Y Tu Mama Tambien... when filmmakers like Alfonso Cuaron already made the fucking movie very competently.
Shit was too heavy for me and I felt like I wasn't ready as a storyteller to do shit like that.
Anyway, there was a lot of stagnation after this one and I never quite got as far with any other project I touched... shit was like a fucking curse.
So... here we are again at the dawn of a new project [Theresa] and I'm a little scared that it won't work out (especially now that the stakes are higher: I actually left law school in order to draw this thing).
I'm gonna try my best: I have a lot of great sequences planned out in my head (we just got to one, but I need to fix that page and make it better) and I'd love nothing more than to show all of them to the world... get you guys entertained, get you guys thinking.
But I'm not sure how far my stamina will take me this time around.
I guess we'll just see what happens...