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This guide will offer a rather streamlined method of straight on drawing, using the least steps, and least complications - and the ability to still go back and correct mistakes as late as the final step of the image. However to make full use of this it's assumed that one is:

> Able to reliably draw characters and scenery from life rather quickly.
> Capable to draw with line confidence. This is a crucial factor as each stroke should not be wasted. This method of working favors those who intuitively renders images and finds a lot of trouble transitioning them for final drafts.
> And lastly, the ability to do all this on a graphics tablet with an art program. Before we begin , know that I am using ClipStudio Paint and a simple Wacom. However, these conditions are completely applicable to Photoshop and other art programs that utilize a tablet. Throughout the entire excercise I will only use one tool; A G-pen "brush" [and what was accidentally a  gauss brush woops]. Pressure sensitivity is a factor and the brush size ranges from 5 pixels to 30.

Added Note: Hotkeys also aide in this excercise, with I being the eye dropper, P (or B) being my Pen/Brush tool, the [ ] brackets for brush sizes and numbers 1 through 9 , ending with 0 , as my opacity controls. Being able to have these buttons handy with your offhand as you draw is extremely important in speed and flow.

Right away we are able to generate expressive sketches of our characters and what we want them to do. Without the need to ever erase, simply stroke out their gestural lines and build from there. The sketchphase is loose and confident. A good way to condition yourself for this level of drawing is to simply do gesture practices at Posemaniacs or consistently draw in public.  If you are not happy with a pose or you find yourself noodling TOO long with one sketch then just DESTROY IT and start over. Don't get in a rut, and each new attempt gets you to what you really want faster.

Step 2: Inking / Smooth Draft

Either way, we now have what seems to be a rather energetic pose but its still very raw. So we'll start a new layer , set this one to fade into background at around 25% transperancy and just ink with bolder tints and more confident strokes.

In this step,  its better to zoom rather closely to the image so that each individual stroke is easy to perform And stroking in general becomes a braindead task of retreading the same energy as the last. However what you must never do is try to copy the under-drawing exactly. You are performing the same drawing- but better, smoother, more detailed. Small details like the bootstraps and the coat are explored more and embellishments can be added to the scene. It's also important to note that details NOT drawn are just as important.

  In this step, using the eyedropper to paint with "white" becomes a necessary component in smoothing out your lines as well as accentuating negative spaces.

The effect it produces allows absolute control of what is black and what is white. You can also use the opacities to create midtones. In the image we're working on i'm using 70% opacity on the greys and scraping it out with local colors.

Step 3: Colouring
In the interest of marrying the inked layer to color we will overlay a "Darken" layer on top of what we have and put down foundation colours. Unlike Multiply, Darken will preserve the inktones and won't darken when the eyedropper tool is continuously used. Coloring images in this way is very reliant on your ability to produce a good color pallete. (As a silver bullet method, I tend to keep my colors relative, moving only the hue slider or moving my monochromes along a curve.) 

The benefits to this step is that the shadows produced in previous steps will blend with this current layer. Dont spend too long colouring finer details until you start a normal layer on top and proceed to go ham on the rest of the image.

Once you enter the Normal Paint Phase, there is no longer any need to revisit the old layers because you can do all your adjustments on the normal layer, even inks. Personally I'm the type of monster who repaints whole parts of the image on the paint layer when something goes wrong.

Step 4:
When you are done , crush the image into one layer. Listen to the agonizing souls of the damned when you do. And then hit CTRL+L to crush the levels and get rid of those unused ranges so your image looks 12% better than it did 2 sentences ago.


And just like that, the image is done in under an hour.

Art Jams / Cover Jam.
« on: Feb 12, 2017, 08:24 AM »
Attempt a professional Eye catching illustration that features one of Void City's Best.

-At least One fully rendered character with this template on top of it.
-Include an issue number that reflects the current "Issue" they're on. [The # of canonical comics made]
- Include this template and integrate it in your illustration as best as possible.
- Do not use white as a background color. Do not use Black as a background color. Background must be simple. 
- THe Size is A4 but the final resolution will 90 dpi.
- There is no limits to attempts.

- If you make a cover of your character, you must make a cover of another character.
- If someone makes a cover of your character, your cover theme has to interact with theirs in some way. Either through color ,design queues, or slight winks to their efforts.

> What's with these dumb rules ?
Its a game of telephone but with design decisions.
I want you to suffer.

VOID University / Some Handy Gun drawing Tips !
« on: Jan 26, 2016, 01:22 PM »
Nothing much to say here other than I may be creating a multiple page tutorial on drawing guns, weapons, and other hard to draw things. But for now it's just guns :v I hope you get a lot out of this, and I'm curious to see your attempts below.

Jobs / Monday Draws for Muns
« on: Nov 26, 2015, 01:28 AM »
Coomi shins r open :3!!!

Look Now Ok Thamk
For my Hourly commissions I vroom vroom at 10muns per hour with a 4 hour minimum.


THE INCUBATOR / Nephilim Harvey [wip][nsfw]
« on: Jun 12, 2015, 01:25 AM »

Expanded version:

Figure since I've been here a couple years now I could start adding to the Dead District cast of characters.

Nephilim is considered "varelse" a life form with the bare minimum understanding of human values but strives to understand them even if it finds them unacceptable.
 There is a roughly 15% chance Nephilim will engage in sexual conduct with your fighter. Probably because it's capable of transposing between genders and body shapes, and probably because its shapeshifting head doubles as a supernatural appendage, allowing it to change appearance and physical properties. But it chooses to look like it's original host who has effectively resumed living out its teenage years as an enlightened cosmic horror.

 Nephilim could be considered as having more intellect than the cosmos but madly attempts to be normal by human standards as it finds the creatures to be a fascinating contradiction of  chemicals. Nephilim also does its work free but does so in exchange for sating it's much needed experimental curiosities.

The surgical tool Neph uses are meant for combating other elderitch abominations should operations go awry or hostile ascendants seek out to devour it. In human scale, it's capable of bisecting a vending a speeding truck in one swing.   

Otherwise it's work as a backalley Wyrd Surgeon has garnered it infamy for producing medical miracles not possible on this planet. Currently Nephilim is working diligently to integrate into the meta-science community, even going so far as declaring itself as a Class X Cosmic Horror so that there is no confusion when it decides to devour a city. However, since it is void and violence is generally accepted, Nephilim gets plenty of practice and money in both medical and combat disciplines.

Other Notes
*Nephilim doesn't sleep.
*Nephilim is both a kid and a squid.
*Nephilim is an active member of the scientific community but its peers are often overwhelmed by maddening knowledge and doesn't survive the week.
*Using its Elderitch form, Nephilim consumes a lot of calories, and so only seeks to resort to it when it knows that its hunger can be sated.
*Hunger transcends physical matter, it can devour dreams, emotions, and ghosts.
*Current legalities bar Nephilim from devouring humans and so it resorts to a diet of seamonsters.
 Vido Notes: Nephilim currently resides in Vido an alternate part of the Void Multiverse. And so it's battles will integrate the opponnent accordingly.

Im open to reductions , suggestions, or even new angles.

Art Jams / Void Fantasy Tactics
« on: Jun 16, 2014, 10:59 AM »
Did you just click that name out of sheer involuntary reflexive response ? Cause I got a jam for you.
Void characters dressed up as Classes in Final Fantasy Tactics' Ivalice ! Render your void character as if they have done the rounds in Ivalice, cruising the mean streets of classism and hopping bars for easy Gil. Surely a meta would find a cushy job in a world like this... right ? 

For those unfamiliar with FF Tactics you played as a rowdy band of cadet badasses out to become the king's badass units. Fighting together as not just a party but as whole unit. Every character has their Job which includes Knights, Monks, WizeArds, and Priests [White Mages]
A wikia list can be found here:

Tactics Advance classes are also acceptable.

And a curious listing of said jobs can be found here [sorry]

So Ground Rules:
* Your Character in the setting of Ivalice
* As a Final Fantasy Job
* Wardrobe can be changed up a bit to match your character [be creative !]
- No Race switching, however if your character is a catperson then they can swing a Veera job, if they're a lizard monster or a mishappen demi human then a bangaa or orcbro is up their alley.

*Plus points for matching your character to an Archetype in this thread [and yes dragon can be matched with something ]
* Gamified Void powers as attacks

Nightmare Mode:
† Group Battles
† Pixel Sprites

WIP ! Black as an Archer

VOID Characters and Comics / Archetypes and Jobs.
« on: Jun 16, 2014, 01:40 AM »
Political Disclaimer:
As you may recall I'm responsible for that amazing [read:awful] thread involved with the current problems of creating characters towards a wider tapestry of stories. The jist of it is that the  current approach tends to create "origonal" characters from "donotstealandia" rather than "original" characters that tackles ideas not yet presented in hero centric culture, but even an extreme version of this tends to really stretch away from the themes of what Void is in terms of a battle comix site, and a super metropolis setting. While a lot of people can create their "hero" it is inevitable that in void they'll also encounter "heroes" rather than sidecharacters that in their story, would have to write as supporting characters or antagonists. And when the two collide the picture often ends up what flavor of hero are you competing with ? It's not bad, but I think we can take this further.

With the advent of E3, you may be familiar with Super Smash Bros or rather, it's inclusion of every hero as well as every Villain. Know that when you're going into void you don't get that kind of backstory or your own game universe to base your character off of, and in comic battles that average around 5-10 pages there may not be enough time to introduce a part of that story, when conflicts and interactions have to play out.

Smash Bros, WWF, Avengers, Super Robot Wars,and Street Fighter have a huge colorful range of characters and even if you go in not knowing anything about their lore you get a great idea of what their deal is, just on fighting style and visuals alone. In void, instead of combat mechanics and battle animations you are dealing with variant types of storytelling and themes. Your character could be a Hero, a Villain, or a Supporting character while your opponnent could also be a Hero, a Villain and a Supporting character.  But even after this classification there is more types of characters to consider.

If we break it down - even break down every flavor of character in a 5 man band it comes out to looking like this. Now a foreword, the reason I'm making this list is to inform the different kinds of classifications of void characters that are feasible and easy to wrap your head around, but also can be written in ways vastly different from the next guy. This is also a completely made up list but what's important here is that everyone theoretically falls into one category and every category works together when they end up in the same story.

Archetype/Job are listed as such. Mix up a character's archetype/ with a /job to get unique formulae.

1.The Fighter/Vigilante:
The basic Fighters puts on a persona and go out to essentially /look/ for trouble. They fight for a cause probably because they are new to the city or have been until that point doing fine until a very specific tragedy or event struck them.  Vigilantes champion a cause, or could represent a minority without a voice. Essentially this type of character can be anything but it's easy to get carried away and make them too complicated on the first battle. Vigilantes require battles and interactions to chisel who they are, anything else will simply have no weight.

II.The Questant/ Wanderer:
Another kind of Vigilante but their cause or quest from outside of void leads them to this city in search of something. Sometimes being sent in through a wormhole or another dimension kills their sense of purpose and their story becomes that of an immigrant tale- a badass immigrant tale. Questants must never lose their roots. Whatever magical OC setting they came from must always show through in their character and voice. Do not ever depend on your opponent to write your story for you unless you're gunning to lose. Once they've achieved their quest, development must take place for better or for worse, this may end your character but it could definitely start a new one.

III.The Deviant/ Rogue: Are driven by their bases and vices, looking for fun at every corner and weathering through mistakes and tragedies in this amoral world. They possess a unique perspective on tragedy and are hardly troubled by it when everyone else goes through the similar struggle. They are not strangers to doing dirty deeds to get ahead nor do they flinch when they exploit someone in a better position than them. Rogues get into inner circles easily by virtue of knowing what's going on better than others they may even infiltrate a particularly niche interest group only to sabotage them unflinchingly for an arbitrary purpose or because their needs got to the better of them. As they work well with parties, Rogues themselves have a hard time with other Rogues.

IV.The Prodigy/ Swordsman: Let's face it, the term keep your friends close, and your enemies closer is an invention by those who have a sword at their waist. The prodigy doesnt necessarily have to have a sword but a versatile skill that defines their life, a martial arts skill or a weapon that helps them get ahead. But its not just about the weapon, but the user too- the prodigy will always continue to progress with every fight and learn a lesson about their skills but ultimately have to face the real world in naked terms. Soon however- they'll arrive at a moment where their kido or "way" will face its defining moment. Swordsmen keep their cool in battle but their real characters shows through before they draw their sword and in tense moments where they display emotion at the risk of losing.

V.The Hunter/Archer: [See also; the Gunman] Unlike the swordsman that practices their craft in self defense or upholding an idea, the Hunter strikes for basic survival with sheer pragmatism. Whether it's for self defense, or for mitigating a calculated risk, they act ultimately out of a premeditated purpose in mind. This confounds others as their plans are often shrouded by distance. But the bigger their concern, the sooner they act. Archers in battle secure field advantage and strike when it's favorable- and strike they do, whether it's in groups or on their own they're not afraid to sacrifice certain things or risk themselves when they know they'll come out of it alive. Paradoxically an outsider would see them as ruthless objectivists as they are often the fastest to make a risky decision. 

VI.The Wizard/Strategist: Wizards possess a vast knowledge of their trade and craft and much more about the world they're in. Their options are limitless but often have a hard time arriving at a decision as said options warp their sense of ethics. However the opposite could also be true and they execute their plans without tact, or consideration for morals. The audience finds appeal in the Strategist because their narratives are inclusive and informative while remaining eccentric and at times divorced from drama or simple "action. Here, ideas and concepts are at stake as well as an open mind to consequence. The strategist will conform their sensibilities until the very end where their plan unfolds and every wrong is righted again in measures more thorough than simple combat. Others will also look to the Strategist when the problem is bigger than what a few people can handle.

VII.The Guide/Doctor: Are as perceptive of people and problems as the Wizard is but excels in finding solutions to them, as they have practiced often. They act as guides but not necessarily for finding trouble. Guides are healers and mediators between conflicted groups opening their eyes to a solution that transcends conflict. A doctor's pursuits are often interrupted or contested by others even of those others are the ones with the problem, or her pursuits will eventually benefit everyone. The Doctor will fight against social norms and conflicting institutions as well as mundane problems everyone else faces. However with every battle, the Doctor is sure to gain more friends that can help. Variants of the doctor include mad doctors [see Franken Fran] whose flaws are extrapolated on unwitting that seek their help.

VIII.The Inheritor/Empress[Emperor]: The inheritor from birth has had everything handed to them from institutions that they must uphold in order to preserve their way of life. Being the inheritor, they are the beneficiary of generations of ancestors or institutions' work and from the very day of their birth are thrust into a role that they have no choice but to accept. While the inheritor possesses vast resources or kingdoms they are also a product of their lineage. Emperors who rule over their subjects are mindful of their struggles and box everyone in groups rather than as individuals. Often their actions in dealing with an individual serves as an example for many to observe. As such subtlety comes with a price, and though they have the privilege to do whatever they wish, the consequences for their actions strike back a hundred fold. Emperors have many enemies who often see them as a symbol, or a target. But every king will always have their Army, and fellow questants, and hired guns are always at their disposal. An emperor is by no means weak, as they can muster an amazing show of force in moment and only wish to keep it strong just like their predecessors.

 Minor variants of the Inheritor are /princes and /princesses who have the same powers as their seniors whose freedom is at the mercy of their approval.

IX. The Dragon/ Destroyer: While not always a literal Dragon, the Dragon is most often seen as a villain because of the massive power they possess. To fight one, one must respect the raw power they hold, acknowledge it as a problem, obstacle, or a resource to tame and go from there. To fight as one, either play to the audiences expectation and wont for destruction or gain their sympathy by using the dragon as a divine punisher of sorts, a raw force of nature, or as a dragon- fighting another dragon. A destroyer is often times apolitical, watching out for no.1 and it is possible that their warpath may end with their death and the destruction of others but they care not for it. Like the rogue they may engage in this as a sort of fun, or deal with an internal conflict that often results in the outward hyperbole of their grief. To be in the receiving end of a Destroyer's wrath often results in the automatic sympathy of the audience, creating a [Victim] Character. Ironically a Destroyer can be credited with the creation of many conflicts or even character lines.

X. The Victim/Underdog: The Victim is one who is on the receiving end of a great downfall or impending tragedy and must fight with all their power to stop it. Or the victim is already afflicted by tragedy and cannot escape the grief it has caused them while others go on to become a Vigilante to prevent it from happening again to others or deal with it in their own way. Likewise a character could also be a slave to their circumstances after the fact and we begin the story with them starting rock bottom. Underdogs already win the audience's sympathies because of this but one must be careful when giving them too much tragedy that it becomes unbelievable and self absorbed as compared to giving them power derived from desperation- derived from NOTHING! to pull out scarce and sweet victories. The underdog must fight with all their power to get out of their situation and when they do they transcend to become Heroes or Guides or devolve into Destroyers or [Jokers] who keep a broken system going to appease their inner sense of karmic justice. Victims beware, you will gain many opponents who will try to fix your problems for you. It is your job to stop them until you fix your problems in your own terms !

XI. The Savior/Hero: Heroes are a dime a dozen in comic book narratives and are so because of the qualities that they exhibit. Everyone roots for a hero, people will *wish* to see a hero win - but only if they truly did work for it and only if they are a champion everyone's eyes even their own. A true hero always has humble beginnings and often are underpowered because they fall in the norm, they struggle, they ascend, and eventually they fall only to get up again. In no way are they invincible however if there is one thing that holds true to them it is an idea or virtue that will see them through thick and thin and allow them to save the day. Heroes are not obvious in the beginning and in fact they have the highest casualty rate. They did no go into void to be immediately ready for it, but they are soon thrust in a situation where they will be as ready as they'll ever be. As the stakes get higher, so will the hero but know that reality will soon happen and that they cannot win it all. At times, they will lose more than they gain... 

XII. The Oracle/Watcher: Remains outside of the situation but is always aware of it. The tragedy that an oracle faces is that while they can identify a problem before it happens they are also aware at how powerless they are to stop it themselves. Oracles must then act as the heralds and informants for the right kinds of people and hope for success. A Watcher may also be on a quest to FIND THE TRUTH in ways that no one else knows and are often misled or deceived by those who do not wish to be found out. Though they are powerless they possess a great sense of duty and awareness and eventually they must be spurred into action or find that the problem is bigger than anyone realized. Alternatively an oracle may slip into being a joker and lead others onto the path of conflict or set them astray. [Writing for an Oracle or Watcher is surprisingly liberating as it allows the artist to take the lead in a developing storyline]

XIII. The Joker/Artist: There are apolitical, amoral forces out there that are unpredictable and are out to prove a point or simply go through life. These are the Jokers. Jokers are agents of chaos but are unaffected by it. Like the Oracle, they have a wide awareness of what is going on, some of it hardly relevant and those that are is often lost to others, even the Wizard. Because they alone are burdened with this realization, Jokers move to exploit others with it and drive everyone to realize it on their own terms. Jokers are either extremely perceptive of how others act or do not care altogether as it will never affect them. On the other hand the artist will provide those who do not know better a new perspective or offer a service no one else can. Their victories are not in winning, but in simply existing and affecting others with their work, much like the void battle ! In a pinch this agent is capable of doing anything and no matter the result, their efforts must always produce interesting outcomes or lead to denouement. Maligned jokers will cause widespread chaos knowingly to great efficiency and has the highest chance of taking down The Emperor, or various institutions. Maligned artists will specialize in erecting new ideas or lies that could hurt others indirectly.

== How mixing these ideas will work.
Simply recombine different combinations according to their "/" placement.
The Hunter/ Emperor,The Guide/ Swordsman , The Victim/Vigilante are all unlikely combinations that produce interesting mixes while

The Oracle/Archer, The Dragon/Emperor, The Prodigy/Hero are extremely potent combinations.

I'm hoping that I can cover all types with these 13. I'll soon update this with interactions and images. Others may suggest additions to the list or argue the relevance of each one !

spit spat, time to chat / The Zac Gorman Question.
« on: Mar 04, 2014, 08:54 AM »
So my team has been thinking of doing an extra comic on the side but this comic is more a thing of inspiration and just as the gods of nintendo would have it, there's a thing going on right now called Twitch Plays Pokemon.

And my question is thus:

What is the ruling behind doing copyrighted works as a parody or tribute ? I saw what Zac Gorman did with magic game time and quite frankly the premise we're attempting is quite similar.

spit spat, time to chat / Hey ya'll
« on: Feb 09, 2014, 12:03 AM »
Anyone know any good self publishing sites like Indiegogo ? Or this other indy comics site that escapes my name at the moment ? [It was full of really amateurish work and we were all about wrecking that space]

I'm also curious where guys like Sheldon and James placed their stuff

We're currently using one publisher but definitely open to branching out. Thanks in advance guise !

Jobs / Who wants to get published on Revolt
« on: Jan 16, 2014, 07:35 AM »

Revolt Komiks is constantly taking submissions and since a good chunk of its submissions are veteran voiders I figure I'll make this place the first to get the memo.

So somethings you should know about this gig before signing up.

~We are a manga inspired, serial pulp comic anthology that uses the japanese manga method of having serial comic chapters compiled every month from various artists. The only difference is that unlike Shonen Jump, we release every month instead of every 2 weeks.

~To get started we will be accepting standalone one shots, or 2 chapter-length Pilots that run at a minimum of 36-60 pages.  For more details on submission, Email

~You will get paid royalties only. Meaning that for every issue you show up in, the money YOU get will be based on sales alone. So don't look forward to anything that will pay soon or pay your rent. BUT this also means that if we do well the amount you get back could be huge. Again, we believe that the quality of your work should speak for itself.


~Long term serial artists can assemble a tankobon [or graphic novel] under our publishing deal, for every 6-9 chapters we can assemble a book for ya and the royalties for that is much higher than if you were to show up on our monthly issues.

What we can offer:
As a company we have publishing deals with large distributors that hits international markets in 3 continents, as well as an editing staff that does the grunt work of book compilation and assembly for you. Not to mention a chance to get published in what could arguably be the first "international" manga publication.  What this means is that we intend to translate our works in as many different languages possible to circulate it around the world. Multilingual artists are definitely a plus.

The best part ? There's no financial risk. If it doesn't sell you only lost time with us but you can keep your work for portfolio use and future employment.

What we like
 Despite being a "manga" inspired company we embrace different approaches and styles so long as
-It's Black and White.
-Has competent writing.
-Looks complete.
- Is on a professional level that is salable.

Revolt Komiks also focuses on very specific themes such as:

Works that exhibit 3 out of 4 of these things are eligible to get published.

A few examples of works that we have include
A sci-fi fantasy involving a virtual MMORPG.
A crime drama.
And a martial arts epic.

A couple reality checks.
+ You can work from home so long as you have a scanner , an internet connection and a microphone.
- Even if you get serialized, theres a chance you'll get dropped. This is true for other jump publishers, if there isn't any sales or appeal being generated by a series, it tends to have a short life.
+ Depending on your local area we may send you to conventions. Paid. With a table. And 50 rounds of ammo.

+ We're looking for fresh tackles on the great manga experiment. That means we're not shooting for 10 chapter fight scenes, 500 chapter serial epics, or even super sexualized or objectified female casts. We're not japan , we're not japanese, so technically we can't actually make manga. We aim to make something new, internationally appealing and equally representational.

Take everything you hated about every cheap marketing ploy that every mainstream works did turn that hatred to bullets, inks and pages.

Operators are standing by.

spit spat, time to chat / Revolt Komiks Monthly anthology !
« on: Jan 06, 2014, 06:03 PM »
So me, a few voiders and a handful of kids from the philippines got together and made ourselves an international publication inspired by magazines like Shonen Jump and Heavy Metal. While this is a huge experiment in marketing, it's my dream job. We'll post an issue every month as opposed to every 2 weeks and we're already on our way to making February's issue !

We'll be distributing through Amazon and a few other publishers but we definitely intend to try out other sources. [Really , we're open to ideas on that]
We'll also be accepting submissions indefinitely , anyone would be able to pop in with a serial story or a one shot every month if they've got the chops :u


ISSUE 02 Will be out by March 01 ! Get readyyyy

VOID University / Void characters and how best to make them.
« on: Jan 02, 2014, 07:55 AM »
Now I would actually want to start a topic here since I figure it would do the most damage. On the other hand, I should disclaim right here that the advice I'm about to offer is based on [9] years of an informed opinion.

To those who don't know me, I entered void around 2005 with an Amnesiac Assassin inspired by noir movies, Memento and 10 years of anime named Agent Black. In this article I'll talk at length about my work with him simply because I feel that I've accomplished more with this single character [and made more mistakes with him] and also because I have the most authority to talk about my own stuff.  Now what I will say next should offend everyone, and frankly, maybe it should otherwise you're not going to give your own approach and way of working a serious look.


Void is in a unique position , similar to Marvel or DC in of that it has the potential to house many characters  within the same universe, but at the same time allow them to tell their own story. However unlike marvel , OR DC, Void is a little more tight knit than that. In a given comic series you have a HERO,  with a supporting character or cast and then you have antagonists by the boatload that contest this HERO  everyday. Every once in a while they'll interact with other HEROES or VIGILANTES or even ANTIHEROES in another canon but this is rare and takes place after considerable volume of stuff has been told about said character - allowing them to develop and grow.

But Void ? Void isn't like that. As soon as a character is born with what little pages you're offered to let them be themselves, they will be thrown to the crossover meatgrinder like a faceless redshirt for someone's personal glory. Do you draw well ? Can you pump out 20 page battles ? Do you have STYLE ?  Then you might actually have a chance. Everyone else will have to look into a different model of working one that isn't as a resource intensive or as exclusive as a Marvel Canon. In fact, let me suggest something that is far more similar to the situation your fight comix will adopt:

Why does this shit work ? Couple reasons.
 Because void fighters are better suited at fitting into a tapestry of characters and realizing the bigger picture. 
As of today, there are now more Edgy-Anti Hero-Protagonists and than there are Basic Heroes, or standard bad guys, or hell, even off the cuff supporting character types.  If I had to use Void lingo, it means that there are probably way more people vying to be Crazy Sams than there are Heimie the Fishboys. And Heimie the Fishboys are only balancing out the equation by the sheer merit that HEIMIE HAS DONE 20 FUCKING CHARACTERS. Second to the crazy sams are the Angies, which you will realize- only two people in my whole recollection of void has ever succeeded in pulling off: Angie herself, and whoever managed to finish their character's story with any measure of a satisfying conclusion after doing 20 or so fights. So your first challenge would be to figure out what kind of role your character would fill, even if it means realizing that a "main" character exists out there that isn't yours. But I'll give you a hint , you can't NOT be a main character of your own story so no matter what you do, people will always read about you --if you do it right.

Secondly, we are in a comic battle site. Comic battles may take on more intricate and complex forms nowadays but I find the lot of them wholly unentertaining and missing the point. Mainly because there's no conflict, no dynamic that is worth noting when two characters come together.  There is a reason why Speed Death Tournament is so fucking good. It's quite literally because its the only FIGHT COMICS I see on a COMIC BATTLING SITE. You can't NOT have conflict in a story that will have two different MAIN characters. And you can't NOT antagonize them in some way because at the core of how we're interacting with each other, WE ARE THROWN IN A RING TO HAVE OUR PUNCH COMIX PUNCH HARDER THAN THE OTHER PUNCH COMIC. It is dumb as shit but don't deny that it is FUN. I'm not saying that you should stop doing slice of life comics. I'm not saying that your proof of concept period piece is trash either but like I suggested earlier, looking around and fitting the right kind of comic in a sea of This Comix and That Comix and having a keen understanding of the basics will basically let you get away with anything.

Going back to wrestling, there are normally two types of wrestlers that enter a ring. A Face, which is someone like Hulk Hogan, Macho Man, or StoneCold Steve Austin - and a HEEL - basically everyone else. The villains, the sideshows, the dudes with a gimmick that play dirty and makes the audience physically want to spit at the television set. Have you not swore in front of your parents while watching wrestling ? Then you did not enjoy wrestling correctly. Even though it's two sweaty guys mangrabbing each other around in a big cushy bed, people will not get tired of it because the build up and the background conflict paints much of the fakeymangrabbing and the transparent gimmicks and cheap thrills that WWF offered.   I will tell you right now that if you stop reading this and make a villain for void then you are already fixing problems. 

Villains. Are. Interesting.They celebrate faults and demons that we are bed buddies with and deep down they write themselves because we have a skeleton in our closet that we want to write or express. I feel that there are a lot of people that write about someone's good traits or their character overcoming great challenges but have only done so after fabricating a canned Satan to fuck up their shit for almost no reason than to drive their plot.  Who does this benefit ? Your opponnent ? Your opponnent probably in their standard good guy response probably helped out your character and got a couple good pages in of them fighting. But is someone else pick up your shiny villains to use? No. Your opponnent ? God no. Am I guilty of this ? YES!  But I also played Villain, Supporting Character, and at times an underdog hero because I actually had people tell me they wanted Black to get on with it. Villains can't exactly stay the bad guy forever, sometimes they have to win to move forward too, and sometimes they get their day and maybe even DEVELOP.

  Which brings me to supporting characters- Supporting characters may not necessarily develop - but when have you not seen a comic where the VCPD doesn't get used, or Veronica Nightingale's flying city show up in the background, or hell if you've been here that long- Estrella De Muerte showing up in someone's deathmatch to collect someone's soul. Usually the starts of a supporting character is entrenched in the idea that the character you're going to make has a job or a place in this city and then realizing that you're the only ______ after a few fights in. It's not terribly hard to fill this role and to take advantage of it. But a lot of problems start to occur when your supposed community character is caught up in an in-group's vastly intermeshed storylines that only your own clique would be able to understand fully. When this happens it's better to plan for episodical stories that are self contained. Don't worry about continuation because someone who finds your one Restaurant Owner interesting will track down all the major events on void through your Restaurant Battles.

So in Short:

-Easy to identify with.
-Comes out on top.
- Normally very appealing if done right.
-Must ultimately grow and be affected by their oponnent's canon
- May change drastically in ways you did not comprehend.
- Is usually blank or bland because they usually start out "undeveloped"
- May end up being an "average" fighter

- Has an easy time fighting other heroes
- Is normally at an advantage when fighting in their own game
- Does not have to adhere to standard plot, and can develop humanistically
-  Extremely popular in fights
- Must explore various storytelling styles to keep fresh
- May not necessarily follow the Hero's journey.
- May have to have a sad ending - or develop into a hero themselves.

- Can be fully formed , fully realized characters from the get go
- Does not have to be relatable, does not need a reason to fight. They are fixed points
- Interacts well with both Villains and heroes,
- Can get away with having the same gimmick for fights
- Can even explore many KINDS of stories
- Best kind of character to be a brooding, anti-hero, badass lancer type.
- Will probably stick to episodical fights
- Their history is hard to trace as they are intertwined in other canons
- Will not get the limelight all the time

 But if you still insist that you have a story to tell, and that everyone should jump in and be your friend and have your OCs drink milkshakes in a restaurant while your brood your dark pasts together, then you need more help. AND I FUCKING LOVE HELPING.

« on: Jun 19, 2013, 07:59 AM »

[redacted] attended Rainbow Bread Institute of [redacted]
as a [redacted]. Remaining reclusive from most of his class mates [redacted]
was forced into action when the city of [redacted] faced a cataclysmic event by [redacted] he now classifies - or will pre eminently classify as a level [redacted] threat due to his self taught skill at war and strategy.

Today, he's the chief advisor for his school's Post Apocalypse survival club- which has now become the leading voice of his peers. Despite being taciturn, he manages to convey his plans well enough to execute them to a shocking degree.

In public [and especially during battle] he opts to wearing a mask in order to protect his identity from various entities that seem to pursue him. His classmates are closely trusted and in turn they defer to him for the most effective plan of action for which he seems to take a lot into account !

Mars dabbles extensively in war and millitary history. Taking from the teachings of Sun Tzu, Miyamoto Musashi, Hannibal and Dwight D. Eisenhower. With only a classroom and what few fighters he encounters, his biggest weakness in this case is his limited but extremely talented personnel of "SuperNats"   

revised version

Pages 3 OF 3 ?


Art Jams / VOID SHIPPING JAM [18+]
« on: Aug 04, 2011, 03:09 AM »

So heres a fun idea. Pair any dream [tri,quad,octo]couple(s) that you will never write in a comic or would ever make sense ever but you would secretly want to happen with all your heart.



The first rule is NO PORN. Tasteful erotica is fine. I cannot define what that Is but I can tell you when it ISN'T.

 if both owners of said respective pairing replicates the same ship. IT IS NOW VOID CANON. If Angie drew an Angie x Heimie ship and Heimie draws the same-

And yes this is Black x Gris.

VOID Characters and Comics / Void Continuity Thread.
« on: Jun 08, 2010, 03:18 PM »
Post and discuss the current events happening in your characters' canon right now [plus points if its a news article]
 Unlike the timeline thread, this one focuses on more current events and what direction your fighter(s) are going. 



A man reported on the internet as Agent Black is currently on a megalomanic rampage to wipe out crime from the city- it is said that the psychopathic hitman was seen in several places at once while confined in jail by the VCPD.  The death toll has exceeded 200 people- all of whom were mid to high level affiliates to known crime organizations as well as big name companies that are now under suspicion of dealing in black market activity. Fighters have so far remained unharmed even though Battlecast has been airing clips for the passed week. But will his trail stop there ?

Police Chief Centipete has released Black today congratulating his efforts to clean up the city but warns him and others not to take the law into their own hands. Talks about a trial is questionable.


Art Jams / The Vidyas . . . Void Style
« on: Dec 27, 2009, 01:28 PM »
It's a Videogame tribute jam.
Draw videogame characters in your own style while staying true to their identifying "concepts"
No traces, no copies, we want to see you tackle this in your own style. References allowed, and please give copy right credit where it is due.
Bonus Level:
Do void characters as video game characters
Monday Mode
Render Void related stuff in a VIDEO GAME'S STYLE.

Megaman (c) Capcom

« on: Nov 26, 2009, 12:52 PM »
References consisting of stock images and visual drawing resources to draw/ inspire from. Be it visual aesthetic or technical detail. NSFWs must be tagged, they also must use a worksafe preview image or none at all

I shall start with an example post.
#BuildingReference     < tag your posts with these so that they might show up on the search engine.

 78 Strange Buildings.


Post whole links and archives, not just singular pictures. But if it is just singular pictures then it should be informative and useful. Ie, can I actually draw from this.



MALE *formerly Danger99Stock



DIRECTORIES OF STOCK (this one has so many links out to other stock providers that it's mindblowing)


 Drafted by Monday, Refined by Grammatical National Socialists and Sixtem.

While we observe stories in a linear fashion, storytelling itself is not a step by step process. You start a battle and immediately a million ideas come up. But, in the end, you must focus on one and drive it all the way - even if it forsakes other, greater ideas you may have. Personally, I visualize the best possible fight scene I can muster and work the situation towards it. This, in so many occasions, has seen incoherent success -- but success none the less. It's not a great example, but it's a true-blue testament to what has to go on in your head if you hope to kill someone with your creativity. 

The great thing about comics is that it's not just a collection of awesome drawings. It's a juxtaposition of narrative, visual aesthetic, design, and illustration of an idea that we register as one seamless, flowing moment.  In every comic is a core idea or concept that we can take from it after putting down the book.  Everything else is just cool fluff to make it more interesting.

In this cautionary tale of a forum post, I wish to summarize the basic component that often dodges the attention of the visually oriented:


I can't hope to put together a How To list for making a heartwrenching tale of a banana and his fork. I simply wish to share some things that will help DISTILL these core ideas to your work, even if no words are spoken and your comic is only three pages long. Keep this in mind every time you consider the elements you put into your story. 


In its purest form, what will your idea look like? What does it hope to achieve? If this answer is not obvious in two sentences, then the idea is too complicated and you will have a hell of a time making it carry itself effectively. 

When I say idea, I don't mean epic truths about the universe. To be honest, your core concept could be as trivial as a first bicycle, a break up, or something random a hobo said on the street. The point is, when someone's reading your work, it’s going to feel exactly like your idea.

Setup - Breakdown - Buildup - Rising Action - Climax (FIGHT SCENE, FUCK YEAH) - Contemplate it - Done. Everyone here should know what plot is. The main point of plot is to illustrate what's at stake, who's on the field, how it was won AND WHY. In short, this flow of events will carry a logical progression of this idea that will define the feeling for the audience the more they read.  Again, it can happen in three pages or three chapters, but what was started needs to be introduced and followed through to completion in the end.  If ninja hold no bearing for this romantic comedy, other than the fact that you just want to draw ninja, don't bother putting them in, damnit! Don't make useless dialogue unless it reveals character, exposes setting, or advances the plot. On that note, don't do anything BUT those three things until you can see a shiny, wondrous end to your story... and THEN you can start adding easter egg details to your comic, for all I care (which, at this point, I actually will).


In writing, drawing, and cartooning, you make your universe and write your own rules. In this world, bananas and forks are sentient lovers, banana peels are not a vital organ, and the world is shaped like a cookie (you get the idea). With that said, it is still possible to make mistakes. Once these rules are set they have to be followed to the end. The only exception is if you intentionally break these rules and it is obvious to the reader that it was intentional.  In style and writing, these things have to be blatant and obvious -- subtlety can only be achieved after many, many layers of editing.


Don't ask me how to do editing short of harboring a multiple personality disorder that is courteous enough to type you a three page review on your computer after you find yourself waking up in some random woman's (or her brother's) bedroom. After which, burn half of your comics, straight pen everything, and turn in a piece of shit you did in two hours that will still be better than your first try. Case in point, always do a once-over with your work to make sure that no last minute fuckups bite you in the  ass this late in the game.  What you want to aim for when you read your final draft is that you want it to be smooth, each frame plugging in the right sequence of ideas at just the right pacing.If you stop and get distracted with a detail that you didn't intend, then by all means cut out a square and redraw that panel. Do whatever it takes to make sure that these sorts of things go off as smoothly as possible even if it means redrawing one page three times or coming up with multiple endings for a comic.

In closing, while it may take us 4 weeks to produce what people will only enjoy for 10 minutes, comics are just one of those great rewards that give back as much as you put in. Should you do a comic a night before it is due, its gonna show in the thumbnails and I'm not even gonna look at it, thats the truth. However, if you take 3 weeks to do 3 pages, it will no doubt be worth looking at
-- except that I will be pissed that that was only 3 pages and now you left me wanting more. So take time in your works, do 10 pages an hour or 1 page a week, but by the time you've hit hour 100 on your process, this thing is already better than 90 percent of what I see from beginning artists.

Questions, complaints, confessions, and death threats, say them here. At this point in the game I only wish to start a dialogue about storytelling and good narrative.

Art Jams / Pixel Jam
« on: Oct 04, 2008, 10:10 AM »
Draw in Mspaint. Work as small as you can, and then enlarge the final how you like (preferrably in a program that will do it cleanly without compression lines and blurs like you see here). Think about how each pixel is gonna affect the picture.

Art Jams / Noir Jam
« on: Sep 03, 2008, 05:02 PM »
Side A. Two colours tonal ranges allowed. (In this case, white is a colour)


Side B. Less than Three colours. Used flatly.

Use all colours positively as well as negatively.

<white counts as a colour in this case>

VOID Characters and Comics / The Awesome Battle Thread.
« on: Feb 22, 2007, 11:11 PM »
So as an excuse to be lazy and not Click around the whole site . . .
List your favorite battles on void and discuss them too :o

I'll start, In no particular order  except for being easy to remember:

1. Crazy Sam Saga (All existing battles this man did was GOLD, my favorite would have to be his fight with GriFFin. My only regret was not being around to vote for that battle :D )

2. Basil SDT Saga

3. Coral's BR entry

4. Charlie Saga (This man was a SEX MACHINE, my favorite one would have to be his battle with Fushigi)

5. Mrs. Robinson vs. Magician W scarmatch (TOTAL INSANITY)

6. Skye vs. Mize  (awesome art throughout)

7. Bacardi Epic (this was how the old school fighting was done)

8. Violent Kei Vs. Daisuke Watanabe (This was how YOU GOT PWND)

9. Angie Gabrino Vs. Mooo

10. And on that Note . .. Violent Kei's BB with Mooo

11. And James' Warsaw Burning Saga- and the battle that happened afterwards >_9

12. Speaking of people who fought me, I still say I like reading Macabre's entry when I fought him. The gestures were so fresh and caught Black's action spot on

13. ClobberFist vs. GVSR !!!!

14. Ayumi Vs. Seel QoV   (I wish Ayumi would battle more ; _;)

15. Polar pal vs. Von mustache guy . . . uhm person. . . .  yeah Heimie rocked this


Ok Im tired. . .

GO FOR BROKE! / Monday's old ass thread.
« on: Jan 13, 2007, 02:20 AM »
New Stuff:  PENCILS !

Also ...

N0C; issue 1 v.06
Done in 11x17 bristol, pencils, rulers, etc probably the closest thing to a professional approach i've done this century.
I understand that the last part is rushed; and that the story thus far seems to be bogged down in tweens with little resolution, so it goes without saying that I should ask-

-what's working
- whats missing? (aside the conclusion since I had to rush to turn this in as a school assignment)
- would you like to see this in grey tone or stark black and white ?
- I have the whole of december to do post production fixes and complete this story to fit a self contained arc(Pulpo) so I'll make it a point to check back here often to see what needs fixing and what needs fixing


Kerberos Unit <3

Firstpage prototype for mercenary mode.

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