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It's time to believe in Gensokyo once more...

WotAPosterBelievePromo by Spaztique

Now that the full first draft of Wrath of the Amanojaku is finished, it's time for the rewrites!

And yes, you can read the whole dang first draft by checking the main development page! That's right! All of it! Much like how Diamond In The Rough was screened in its multi-hour entirety with scenes blanked out before it was uploaded in cut-up form to Youtube, you can actually read it from beginning to end, from the opening battle of Hopeless Masquerade to the final celebration of Seija's defeat. The only thing that's missing is the art, polishing the dialogue, and filling in the plot holes.

And that's where YOU come in!

Come join the WotA Development Crew (name pending) and help fill in those plot holes, polish the dialogue, and possibly even provide art for the 3000+ panels!

Dev Chat Rules:
  1. The Common Sense Rule: Don't be a jerk, don't post NSFW materials, don't harass people, don't be annoying, no illegal content, and so on. Anything that would commonly violate rules on other servers is the gist of Rule 1.
  2. The Criticism Non-Retaliation Rule: Don't be a jerk to someone who submits an idea you don't like, or if your idea doesn't get accepted. Criticism is fine, disagreeing is fine, but attacking others over not using your idea or having their idea accepted instead is not fine. Let others have their opinions, just as they give you room for yours. The goal of the chat is to make WotA better, so if your idea doesn't get in, it's nothing personal.
(Note: Those with a long-enough history of breaking either of those above rules may be refused from the WotA Development Crew chat. If in doubt, ask me first.)

Things to remember when joining:
  • This is a project chat, not a "hang out and have fun" chat: you're here to beta-read and co-edit. Yes, we'll likely take breaks and do stuff outside of the chat like play games and watch videos, but the sole purpose, first and foremost, is getting WotA done by either 2019-2020 and making it good. If you're going to join, you're joining because you want to help. Reading WotA is not necessarily a requirement (you can be brought up to speed and get context if you want), but there will be spoilers.
  • WotA is a PG comic! The worst words the comic uses is crap and hell, the youkai deaths are just them exploding into sparks, and there's no blood or gore. We cannot accept any suggestions that use any foul language beyond this or any scenes that use excess violence. 
  • How can we make the comic enjoyable for Touhou fans, but still also make it accessible to newcomers? How can we make WotA a good intro to Touhou for people who stumble upon it? This means non-Touhou editors will also get a special editing credit as an outsider to the series: their input is just as valuable.
  • Changing a line of dialogue is fine as long as the subtext/function of the line is still there. Look for ways to shorten/sweeten a line in a way that doesn't change the original intent.
  • Beware complexity addiction, keep additions to a bare minimum, aim to cut content more than add. Unlike DitR, WotA should have a very streamlined and accessible story: Reimu and co. have the main story, while there are five subplots divided by Aya, Cirno, Byakuren & Miko, Raiko, and the Grassroots Youkai. There are three distinct acts: Act 1 is Chapters 1-3, Act 2 is Chapters 4-7, and Act 3 is Chapters 8-10. Ideally, our goal is for readers not to get lost or confused. Each section should aim for a distinct feeling: Act 1 is the calm before the storm as Seija meddles with Gensokyo behind the scenes, Act 2 is the heroines scrambling to contain the incident, and Act 3 is the final battle against Seija. Let's try to keep this no more complex than it currently is.
  • Those who join and contribute will be credited in the final credits. My role is mainly director and head writer, but I'll make sure everyone who contributes gets credit where credit is due.

That's really all there is to it.

If you have Discord, here's the link to the server! Let's make this the best dang Walfas comic ever made!

So, Unknown-Nobody-XD115 and I are whipping up yet another Christmas sketch, and we could use some voices for a lot of the extras.

Here's a link to the script, and there'll be a list of the roles inside.

With the exception of the written-cast characters (Rinnosuke, Fortune Teller, Jun the Villager), roles are subject to change, so feel free to try out for any of them. If you're unsure if they're taken, just ask.

1. Due to collab rules, no WSW-banned members may audition.
2. Feel free to try out for any part: we can always use backups and understudies. Though, don't be upset if your voice isn't used: the final picks are between Unknown and I.
3. Please speak in clear English, and be ready for re-takes if need be (different emphasis, voice direction, etc).
4. Either send audio to me via DA Stash or through Discord. Any common format will work. (wav, mp3, ogg, flac, etc.)
5. The deadline is December 22nd January 31st. I should be done with the majority of the sketch by then.
So after 4 years of sticking to behind-the-scenes community work and tutoring, I have a new plan for 2019 based on a few conversations I've had with folks.

Here are the big plans I have for 2019.

1. A new sketch video every single month.

I've gotten way, waaay better and more efficient at animating then when I first started, and considering my friends and I made Utsuho Edition in only a week, I'm pretty sure we're gonna blow that out of the water with even more sketch stuff if it becomes a regular thing. This means a new video in January, February, March, and so on.

They probably won't follow a theme like my previous videos that were inspired by beats0me: instead, it'll follow more of the format of INDY Edition or the holiday specials, with runners and smaller sketches.

2. Finish Ao Usagi Tribute Show.

My original plan was to finish it in 2015 before my physical and emotional health went to shit. Well, I'm slightly better (at least good enough to work), I got all my appropriate software back up and running, and I'm gonna finish that series. Luckily, it only takes about three days to finish each episode, so it won't cut into regular sketch time. My goal is to finish this by Spring.

3. A new Walfas tutorial (that will also cover createX).

I've learned a whole lot since my original Walfas tutorial, and this new tutorial will cover everything the original didn't and more, including createX functions, how to write comics/videos, community etiquette, marketing, and more. My goal is to get it out within January so people can start making new content at the top of the year. I guess I overestimated myself yet again, so I'll try to see if I can get this done between March and April. Either way, I'll do my best.

Ideally, this new tutorial will equip aspiring animators will everything they need, from editors to ideas, to make great videos and comics from scratch. I'll be likely going around asking folks what could be useful in a comprehensive tutorial like this, so feel free to suggest stuff!

4. Splitting my Youtube Channels into different parts.

Most people only come to my Youtube channel for either my sketches, riffs (which I really want to do more of eventually), or music anyway, so I'm planning to split my channel into different parts: a production channel specifically devoted to Spaz & Co. Make Stuff LIVE!, and possibly a gaming channel (though, I'm thinking of just sticking my gaming videos on Twitch for now).

And since Spaz & Co. Make Stuff LIVE! will be its own channel and whatnot, I don't know whether or not I'll make a separate community-independent production Discord for that. At the moment, my stream voice chats are hosted within the Walfas Station Wagon, but I'm thinking a separate server will allow for folks not currently in the WSW who wish to contribute/hang out.

5. And, of course, finish Wrath of the Amanojaku.

Wrath of the Amanojaku is the follow-up project to my previous feature-length work Diamond In The Rough, but in reverse: instead of an abstract meta-story about "love my OC" fanfiction that can only be truly appreciated if you read Touhou self-insert fics, WotA is a straight-forward love letter to Touhou. And also unlike DitR, where I held regular screenings of the unfinished work and slowly published cut-up versions to Youtube in episodic-snippets (but also partly since Vegas can't handle rendering the whole thing), I don't plan on releasing WotA to the public until it's 100% done (well, at least widely to the public: there is an open beta for it available). There'll be a major announcement when we finally go gold, and there'll be a giant release party when it comes time to unleash it unto the public.

If you want to get an idea of the scale and scope of WotA, here's The Quick Version, a comically abridged version of the final comic. Hopefully, the final version will set the gold standard for all Walfas comics to come.

I'm going to get on all this in the first week of January. Until then, good luck to everyone working on Christmas videos/comics for December!
AtIPreviewCard1 by Spaztique

Written by Spaztique
Genre: Post-Apocalyptic Science Fiction, Romance Comedy
Rated PG-13 for mild sexual content, brief nudity, intense peril, and frightening imagery.

Synopsis: Welcome to the Post-Surface Era: Earth is now covered in perpetual hurricanes, raining down hot, toxic water, and the last of mankind lives in armored Biospheres, overseen by a sentient, omniscient AI and a population of robots and androids that outnumber the human survivors. With nothing outside of the Biospheres, man has developed a virtual utopia, the Aethersphere, to live in for the rest of their days. Unfortunately for our lovesick protagonist, Keito Kuronagi of Biosphere 54, a scheduled power outage means he'll be stuck in the real world for a week. In the Aethersphere, Keito is a suave, brave romantic, going on wild adventures while wooing AI-controlled women, but in the real world, he's a hopeless loner. Things take a wild turn when the local explorer and utter ditz Sachiko Tsurumoto invites him on a trip to recover a rare Surface Era relic before high tide returns and washes it away. With nothing to do in the Biosphere without power, and enticed by the offer to camp out in the ruins with a bunch of cute girls, Keito embarks on an adventure that's sure to beat out every virtual experience he's ever had...

Notes: This story feels like the culmination of every past NaNoWriMo, with all of my typical story themes wrapped up in a single project. Bleak setting with ungodly amounts of world-building and hopeful characters to contrast it? Check. Existentialist themes and topics about free will or the lack thereof? Check. Animesque character archetypes and goofy harem romance comedy? Double check! Oddly enough, in the development phase, it started out as a sequel to last year's hentai pastiche Virgin Killer Club!, with what would happen to the offspring of the last story's couple, but it has since evolved into a muted post-apocalyptic piece. Still, I consider it a spiritual successor to VKC: despite its bleak opening, it quickly becomes a heartwarming coming-of-age story. More importantly, unlike VKC and its extremely explicit sex scenes, this one's actually available to the public! And there's a reading link down below!

Unlike the previous years, leave your comments about the story and any typos you may spot in this journal post. I'll correct them when I can.

My goal is to finish the whole story, not just the 50k word deadline, by the end of November. Wish me luck!

Spaztique's Brief Guide to Alleviating Writer's Block

Disclaimer: Please don’t leave any thanks on this guide unless it has significantly helped you in your work. Anyone can merely read this guide, but it doesn’t matter unless the ideas in it help you in the long run.


Welp, you asked for it: according to this poll for National Novel Writing Month 2018, you folks wanted writer's block advice, slightly ahead of plotting advice. Luckily, writer's block and plotting tend to be closely related: because we don't know what to put next, we don't write, so it could be easy to say that the cure for one will be the cure for the other, right?

Well, maybe.

It's actually a little more complex than that.

It's rather ironic that one thing we all do when we have writer's block is to read yet another guide on writer's block, but I have designed this guide to encourage you to quit reading and start writing. If at any point in reading this guide you feel the urge to start writing, then simply stop reading this guide and WRITE! The goal of this guide is to get you to put words on paper, not distract you from the work you should be doing, or to give you false reassurance. Ideally, you shouldn't reach the end of the guide: you should quit midway through, struck with the missing pieces to whatever is holding you back, and decide, "Yeah, I'm done putting off my work. Time to get to it!"

One last disclaimer: this isn't about "curing" writer's block, but alleviating it. I'm infamous for my procrastination, but when I actually do briefly get started, this is everything that's gotten me through it. I write stuff like this down so I can come back to it later, knowing what's worked before, and hopefully others with the same problem can use it, too. Others can attests across various media that the many forms of writer's block will always make their return, but there are ways of subduing it for the time being.

Now, let's see how far you get through this guide without putting it down and starting your work.

Resistance: Putting a face on Writer's Block

All this week, I had to animate a sketch for the 2018 Walfas Halloween Spooktacular. I knew what I had to animate, how to do it, and every single step I had to do to get it done. Unfortunately, days passed, and I just couldn't make myself sit down to actually do it. Finally, with less than three days before the deadline, I managed to at least get most of it done, but how? If writer's block (or in this case, animator's block) were simply about not knowing what to do next, how come I couldn't animate something where I knew literally every single step? And I think the same can be said of writers who outline everything, but then don't write.

Stephen Pressfield, writer of The Legend of Bagger Vance and The War of Art, had a name for this phenomenon: resistance.

According to Pressfield, resistance occurs whenever you do anything that comes from your higher self, which wants distant rewards and uses your gifts for the betterment of mankind, than your lower ego, which is for immediate self-gratification. Such ventures that elicit resistance include...
  • Getting started on any form of art or performance: writing, painting, drawing, acting, public speaking, etc. Pressfield gives this humorous anecdote: Hitler wanted to be an artist, but it was far easier for him to start a dictatorship, conquer Europe, and kill millions than it was for him to stare down a single blank canvas.
  • Starting any sort of business venture, for profit or non-profit.
  • Starting any form of self-help regiment, diet, spiritual enlightenment, or any exercises for the shaping of the abdominal muscles.
What can we know about "resistance?":
  • Resistance is a force that can be felt, but not seen or touched. It seems to be coming from the work we wish to do, but is really coming from within us. If you feel resistance coming from something, it's a good indicator that we need to break past it and actually do the work.
  • Resistance uses rationalization to trick us into believing it. It uses procrastination to say, "Oh, we can get to it later!" It uses lack of energy to say, "Oh, you're too tired/stressed to do it now. Do it later!" It uses our lack of momentum or inspiration to say, "Oh, you're not inspired enough! You don't feel like it yet! Do it later when you feel better!" It uses our hunger, our isolation, our lack of progress, anything it can get our hands on. It might even trick us into thinking that if we outline enough, seek enough support, or read enough guides (hint: if at any point you feel you're ready to start writing, stop reading this right now and WRITE), then we'll be ready "later." However, "later" never comes, and resistance keeps coming back, again and again. To paraphrase Pressfield, if you believe in resistance's lies, you deserve everything you get. Ironically, we can also use rationalization to battle resistance, as we'll see later.
  • Resistance is implacable: it cannot be permanently defeated, but only subdued. There are plenty of performing artists who still get writer's block, stage fright, and so on, even far into their careers. Even personally, whenever I stop making stuff, you can be damn sure resistance had a winning streak. If you beat resistance today, you can be sure resistance will be back tomorrow, and the day after, and the day after. Resistance plays for keeps: it has one job and one job only, to keep us from doing our work, no matter what. Its aim isn't to wound, but to kill: resistance doesn't intend to slow our project, but to never get it done at all. This is also why once we reach the end of a project, resistance goes into overdrive, because it knows it's about to lose.
  • Resistance elicits jealousy and drama. When we actually do succeed, it means we've conquered resistance, and to those who haven't, there's nothing more frustrating to them than seeing somebody else living their own unlived lives. It's yet another thing that resistance can use to rationalize its existence: "Don't do that! You'll make people jealous!" Alternatively, why work so hard on something past the threat of resistance when you can easily gain recognition starting trouble? To resistance, why wait for the distant excitement of being successful when you could go for the immediate excitement of stirring up trouble? In a way, we create "shadow works of art" that draw us away from our real art: we create personas of victimhood when we could be acting, we build up our problems like masterwork tales instead of writing, we manage gossip circles and orchestrate conspiracies when we could be running legit businesses. In other words, resistance often finds lower replacements for our higher callings in the forms of personal drama and problems. 

So, how does one conquer "resistance"? Pressfield's answer is what he calls "turning pro," i.e. to have a professional mindset when it comes to whatever venture you're trying to start or continue. Pressfield defines turning pro as thus:
  • Above all else, and probably the most important, the professional shows up to work every day on a strict schedule, even when they don't feel like it, even when they don't want to, because that showing up will breed motivation, inspiration, and progress. Resistance rarely shows up when we're at school or doing professional jobs, because there are more tangible, real-world consequences. At our jobs, we get a salary, but when it comes to our own personal work, we don't get money, per se, but rather a salary in willpower, growth, determination, and so on. Starting work may be hard, and sometimes the task feels impossible, but once you do, you'll find the motivation comes after you start. Psychologist David D. Burns, in his bestselling book on depression Feeling Good, backs this idea up with cognitive science, saying that motivation follows after action, rather than before. If you do nothing, you have no results, no drive, and this makes you feel like a failure, which drives you into more inaction, which feeds resistance like an all-you-can-eat buffet. But if you take that first step, then another, and another, you have results (or at least progress), and this feeds your drive, and you start to feel good, and this leads to more actions, which chokes resistance, forcing it to recover and find more excuses to get you to stop doing your work. Do not wait until you "feel like it": waiting until you "feel like it" is resistance's trump card. If you're waiting for the muses to strike you, then let me clear this up for you: the muses don't come to you, but rather you go to them. Resistance loves to say, "See these muses? Wait for them to come to you first!," but this is a lie to keep you from doing to work. To quote British playwright Somerset Maugham, "I write only when inspiration strikes. Fortunately, it strikes every morning at nine o'clock sharp!" This is why the Pomodoro Technique is so popular: if you set a timer and tell yourself, "I'll only work for X minutes, and then I can stop," you'll often find yourself working for much longer now that you've gained momentum. But what about craft? Read the next part...
  • The professional is prepared. We must be prepared to handle resistance, setbacks, and to master our craft. Once we know resistance is waiting or us before we sit down to type, we can break through that initial wall and write. Then, we have our craft, knowing how to write and what to put where and when, which lowers our likelihood of mistakes, and even then, we can always go back to edit: according to Pressfield, the Greeks considered being possessed by the muses as a form of madness, and to make art, we have to go a little crazy sometimes. Learning craft is easy: there are innumerable writing guides and mentors out there who can help you. However, your battle against resistance is yours and yours alone.
  • The professional understands work is more important than rewards. Resistance loves to focus on rewards, consequences, the immediate stuff, but the pro knows that even our best efforts can end in failure. As the classic Hindu proverb goes, "We are entitled to our labor, but never the fruits of our labor." Pressfield gives a tale about his work on the disastrous first screenplay King Kong Lives: despite it being a hideous failure, he at least beat resistance and gotten his work produced, and his buddy told him, "You may have taken some punches, but at least you're in the ring instead of watching from the sidelines." This would later pave the way for his far better works. The allure of fame and fortune is really resistance in disguise: that the only reason you're doing the work is for something to bring immediate gratification. As I've always said, and as Pressfield says in The War of Art, success is a byproduct of work, never the end result: focus on doing your best, never "being" the best. Pressfield explains this later by explaining "hierarchical thinking" vs. "territorial thinking." Hierarchical thinking thinks everyone and everything is ranked, and that some people are better than others, while territorial thinking thinks that we should focus on doing our best in a particular area and mastering it. In the animal kingdom, hierarchical thinking sees things in terms of apex predators, prey, the food chain, while territorial thinking sees things in terms of adaptation, masters of their domain. In the human kingdom, hierarchical thinking sees things in terms of rank, social status, wealth, power, while territorial thinking sees things in terms of experience, hours put in, quality work produced. Does it make more sense to say, "Stephen King is famous because he climbed a social writing hierarchy and got good marketing executives," or, "Stephen King is famous because he wrote tons of books, honed his craft, has a unique style, and developed original ideas"? Does it make more sense to say, "Arnold Schwarzenegger became a famous body builder by winning contests and having good publicity," or, "Arnold Schwarzenegger became a famous body builder because he put in hours, days, weeks, months at the gym and literally compared working out to sex"? Doing the work leads to the results, and never the other way around. Sure, people have tried to polish turds and use publicity to turn nobodies into celebrities, from Paris Hilton to Kevin Federline to certain-real-estate-turned-political-figures-who-shall-not-be-named, but this kind of success never lasts, at least not without serious problems.
  • The professional is patient. Remember: resistance wants immediate gratification, which is why it so badly wants to stop you from working. Work has no short-term rewards until you see the work itself as the reward. The professional sees their work like sowing crops: it's a lot of backbreaking work for something that might not amount to anything, and you can only hope your efforts leads to a bountiful harvest in the distant future, but for now, the only reward is telling yourself, "At least I did my work." Again, we are entitled to our labor, but never the fruits of our labor.
So, to summarize...
  • Professionals don't wait for inspiration: they go to it, but first they must battle past the resistance guarding it.
  • Professionals are ready to both get past resistance and handle the task that resistance was guarding.
  • Professionals know putting in the work is more important than what comes out of the work, and that gaining experience and making progress is far better than rewards.
  • Professionals put off immediate rewards for long-term gratification.

Many of us know how to write, but don't write. Worse, what drives us crazy is that there are those we think of as terrible writers who get published and have their works made into movies. So, what's the big difference? Facing resistance: the smartest writer in the world will never leave any more on the world while facing down the dragon of resistance without the sword to slay it, while some random idiot can easily take the boon because they brought a dragon-slaying shotgun.

So, are you ready to slay the dragon of resistance? Then put this guide down and start writing.
"But I don't feel like it."
That's resistance talking. Fuck resistance. Start now, and the ideas will come.
"But I still don't know what to put."
Put anything down! Get moving! I wrote this for NaNoWriMo, and your goal is a wordcount, not quality!
"But what if I do want to write for quality?"
A "good first draft" is an oxymoron: all stories eventually need to be edited or improved.

Now WRITE!!! Tell resistance to go fuck itself! If you "don't feel like it," that's exactly what resistance feels like! The goal is more important than resistance!

You can do it! Just START!

Stop preparing! Start before you're ready! Learn as you go! Just START NOW!

Close this guide, open up your word processor, and just WRITE!!!




You're still here? Then looks like resistance won out.

But in that case, let's see if I can at least equip you with a better sword...

Craft: Okay, so I can sit down to write, but now what?

So, I said being prepared was important, so I might as well give you a few techniques for getting unstuck.

In writing, there are various fields of the craft, and areas where you may get stuck in. I'll rank these by order of how much people showed interest in the poll that prompted this:
  • Plot: The arrangement of ideas and events.
  • Inspiration: Where to get and organize potential ideas.
  • Setting/World-Building: The world of the story.
  • Characters: Who's in the story.
  • Theme: What is the story about in terms of ideas? This is also where you'll find conflict.
If we boil down a story to its basics, a story is about a character doing something, stopped by something, and what they do to overcome that to get to the goal. As the old storytelling axiom goes, "Get a protagonist up in a tree, throw rocks at 'em, and see how they get down." Of course, some stories can be more subdued or bizarre than others, but that's the basic gist. Plot is what happens, setting is where it happens, character is who it happens to, theme is why it happens, and inspiration is how you get the ideas for all of that.

The techniques I offer are both used by myself and others. Although some techniques may work for you, others may not, just as I don't use every technique on the list, either. Just do what you can to get past the previously mentioned resistance and get words on the page.

Plot Block - Getting unstuck from plot.

Writing beginnings are easy: a character's life is thrown out of balance, and they embark on the journey to fix that balance with either a conscious goal (stop the bad guy, destroy the asteroid, etc.) or an unconscious goal (maturity, calmness, etc.) as the spine. Writing endings are easy: wrap up the subplots as the protagonist takes one final climatic action that resolves the plot, for better or for worse. But then there's the infamous "act 2 problem": how do we connect the two?

I've already talked about outlining in the NaNoWriMo 2018 prep guide, but not everyone outlines, and even when you do outline, what do you put in the scenes that you did outline? That's what this section is for. Here are some techniques that both I and others have used to overcome plotting problems:

  • The Magic "But": A classic scene technique, even endorsed by the writers of South Park, is the magic "But": "Character or characters do X, but suddenly Y happens, therefore..." Improv teacher Keith Johnstone also calls this "tilting the platform." Basically, if you have a scene you think is going where nowhere, introduce either a new piece of information or an action that would radically upset the status quo. It can be as simple as bringing up an opinion someone disagrees with or an important character leaving while two others characters remain in the scene alone, wildly varying the dynamics, or as explosive as a sudden character death or a major revelation (or both). Even NaNoWriMo's Chris Baty offers the suggestion of killing off characters to advance the plot: it radically upsets the balance and forces everyone else to react accordingly, thus giving you plenty of new scenes.
  • Know how to end the scene: As an addition to the previous one, just knowing how to end a scene is enough: it can end on a character revelation, a character action, or both. For example, two characters get into a conversation, one of them says something pretty important in either or a good or a bad way, and you got what you need to coast down to a final line to cap the scene. Bam! Onto the next one. Or, two characters get into a conversation, and then one does something based on what they had heard, and you got what you need to coast down to the final line to cap the scene. Bam! Onto the next one. Once you get the feel for the final moments, what improv teachers call "finding the button to the scene," you can coast down to a final line.
  • Write anything, even if it sucks. "But wait," you might be saying, "I want to write quality work!" Hear me out. As I said before, there's no such thing as a perfect first draft. Writing teacher Natalie Goldberg, most famous for her freewriting guide Writing Down The Bones, offers the following technique: for a select amount of time, just write anything, as quickly as you can, no filter, no censoring, giving yourself permission to write whatever. Once your timer goes off, then you can go back and edit for a little while, all before starting again. This way, you can come up with ideas you didn't previously think of consciously, as well as draw inspiration from what you wrote, and you can edit down this stuff for later. Speaking of which...
  • Don't go back and edit: keep moving forward. You can always edit later, but traversing into new territory is the hard part. Keep writing new scenes, keep venturing into the unknown, just keep writing!
  • Know your goalposts, whatever they may be. If you outline your stories, you know where your scenes are building to. If not, you should at least have some vague ideas of major scenes in your head. My own 2017 NaNoWriMo novel, Virgin Killer Club!, wasn't outlined by plot points, but rather by sex scenes: every scene built up to the main character banging one of the heroines. Rudimentary? Yes. Did it work? Hell yes: I finished by Day 22, and even after NaNoWriMo, it's what kept me going forward, building wordcounts that win individual NaNoWriMos with each chapter. Maybe your work is connected by fight scene set-pieces, or by dance-offs, or by cooking contests. Whatever it is, know what needs to be done to lead up to it.
  • Know what your climax requires, then build scenes around it. As writing teacher Robert McKee once put it, once you have your climax, you should work backwards so that every scene leading up to it supports it. Similar to the goalpost idea, once you know how the story ends, you should have an idea of where to go, right? If not, try this: write down everything your characters need to do for the climax to work, then go back and make individual scenes setting up the actions the characters will later take during the climax. You should have enough scenes to carry quite a bit of Act 2 by itself.

Is this enough for to start writing? If so, go back to your manuscript and WRITE!!!


Still here? Okay. Onto the next topic.

Inspiration Block - Coming up with new ideas.

Luckily, this one's pretty easy to fix...
  • First of all, NEVER LET BRAINSTORMING POSTPONE YOUR WORK. Sooner or later, you need to stop coming up with new ideas and actually sit down to write the damn thing. Only use these are jumping-off points. Remember what I said about resistance: its aim is to trick you from doing your work, such as telling you, "You're not inspired enough to start. Just make some more outlines, come up with more ideas, and you'll be ready later!" Later's not coming: sure, a good list of ideas can be a good launchpad, but a launchpad is no good if you never launch.
  • Creative Wishlists. This one is pretty simple: write everything you want in your story, then write everything you don't want. If what you don't want pops up in the story, delete it and write something more fun. Alternatively, look at your favorite works, and then dissect what you liked and didn't like about them.
  • Mindmapping. Similar to wishlists, a mindmap is a visual outline where ideas are connected to parent ideas. I personally use Freemind, an open source mindmap tool. From this, you can expand your ideas into sub-categories and so on.
  • Beware censoring "bad" ideas. You'll find plenty of inspiration in the ideas you don't use, because all those "what if's" lead to new, better ideas. When you brainstorm, don't censor anything: capture ideas like you're casting a wide net for fish. Even if you catch a tire or a boot in your net, those things can later be recycled.
  • What makes you happy? And what pisses you off? Where your passions lie, so do your ideas. Emotion makes for good story material, because the vast majority of us share the same need for truth, justice, goodwill, and other positive values, while shunning deceit, corruption, selfishness, and other negative values. A good satire takes what we hate and holds it up in such a way where we laugh. A good pastiche takes what we like and holds it up in a way where we pump our fists in celebration.
    • One major caveat: This doesn't necessarily mean making a rant piece or a love letter, but rather these are just things to harvest ideas for fictional stories. If you're solely doing it to rant or to worship, beware: you (or rather, resistance) may get a kick out of the initial high from the immediate gratification, but if the story is any good, the initial high will wear off, and with it, the inspiration to keep it going. If you want the work to breath, you'll have to set your immediate emotions aside and let the work grow on its own merits.
  • Orchestrate your writing: Get a music playlist of what sort of tone you want your story to have, and then write to that playlist. If you don't know what to pick, use an internet radio like Pandora and filter out the songs you don't want until you get a personalized list.
Now, is that enough? If so, WRITE!!!


Otherwise, let's talk about setting.

Setting Block - When you don't know the story world.

Much of what can be fixed with setting can be fixed under plot or inspiration...
  • Know the dimensions of setting. When, where, history, and culture. If you don't know what goes on in your setting, take a minute to think of what's going on...
    • When in history does the story take place, if at all, and how long do we stay? Days? Hours? Years?
    • Where in the world does the story take place, and if the location is made up, if it has a real-world parallel or parallels.
    • What happened in our setting that's relevant to the story?
    • What's the culture like? Is this a place with high or low levels of conflict? 
  • Alternatively, make it up as you go. Like with plot, you can always go back and make it make sense, or once you introduce something, you keep it going for the rest of the story. As an audience, we'll accept it: you're the storyteller, after all, and you made this world.
  • Look at real-world parallels. History tends to repeat, and as Joseph Campbell observed, many cultures share the same ideas and characteristics. If there are certain events that happen in your story, look at what similar events happened in history to draw ideas. Alternatively, if your setting has a specific culture, look at similar real world cultures as well.

Okay? Are you good to write yet? If not, remember what I said: resistance loves to tell you that you're "not ready," but right now, if you've read this far, you're more prepared than most writers. Trust in yourself, and WRITE!


Okay then. Onto characters.

Character Block - When you don't know what your characters should do.

Characters and plot are interconnected. In order to have a plot, you need characters to act them out. However, getting from Point A to Point B may be easy on paper, but not when writing actual real people. Well, here's your ways around that...
  • Think like the character. In a way, writers are improvisational actors. When you write a character, especially from first person, you're improvising as that character. When you write a character, get in their head and ask yourself, in-character, "What should I do, say, or think next?" Get into their heads. Then, jump into the other character's heads. You'll be a one-person improv show, jumping from character to character, acting out everything in slow motion. Unlike real theater, you don't have to worry about a live audience, so you have time to think like your characters and choose a next line or action.
    • In addition, if you're writing a first-person story, try briefly writing it from the perspectives of the other characters. It'll give you tons of insights you may not have previously seen before.
  • Just like with setting, you can make up backstory as you go. I have always shunned the idea of backstory as a requirement. Sure, backstory can be useful, but only if you use it, and I don't use it. I like making up backstory as I go. You may not like this idea, but in NaNoWriMo, where wordcount is key, making up backstory on the fly is a great way to flesh out characters on short notice (and, of course, add words to the wordcount). You can always go back and fix this later.
  • Know your characters' motivations. What do they most want out of life? Or to be more concise, what do they want in the story? How did they react to the inciting incident, the first major event that upset the balance for the rest of the cast? Give them a goal, and you got their actions and reactions for the rest of the story.
  • Know your characters' arcs. I don't mean a classical character arc where they overcome a weakness, but just knowing where in the story are they personally. Sure, they can have a classical arc, but you can also have tragic arcs, steadfast arcs (they remain the same, but fight harder for their ideals), or any combination. Just as you outline your main character's arc, do the same for the rest of the cast, and it'll give you plenty of scene ideas and character-related bio stuff.
Now are you ready? At this very moment, you could go to your manuscript and start typing away (or writing longhand if you prefer). By now, you should have more than enough to get started.


Seriously? Okay. Next topic.

Theme and Conflict Block - Why am I writing this?

Also known as premise, theme is all of the story elements combined. If you made it this far, maybe part of the reason you're here is because you don't even know why you're writing what you're writing about. Well, let's get into why...
  • Define "what's to stop my character from getting what they want?": There are three levels of conflict: internal, interpersonal, and external. Internal is battling our own emotions and reactions (and in your case, fighting writer's block/resistance is internal conflict). Interpersonal is against other people, from close relatives to strangers. External conflict is everything else: society, nature, God, destiny, shortness of time, etc. All stories, no matter how benign, are about achieving a goal through conflict. In a scorched African Sahara, parched from a dry summer, the animals are all seeking water. Some wait for rain, others look for a watering hole, but the only watering hole is guarded by predators. This alone has enough material to make numerous nature documentaries from that tell the simple story of nature itself. If your story is a muted, quiet portrait of a normal person facing very little, there is still material for conflict: asking somebody out on a date is still a huge deal to a shy person who must face internal conflict, or to a social pariah facing interpersonal conflict, or a poor person asking out a rich person facing external conflict, or going further out, there could be a time limit as well. Once you figure out how to stop your character from getting what they want, you should be able to generate plenty of material needed for them to overcome it.
  • Defining the forces of antagonism. Life is not merely black and white, good and evil. We also need to account for the middle ground and the levels of evil. Look at your stories in terms of good, bad, neutral, and evil. What's at stake in your story? Mark whatever is good as "good." From this, you have what's bad, and what's in-between is neutral, while evil can be defined as what's bad, but masquerades as good. This will help generate a ton of ideas of where you can take the plot, characters, and conflict.
    • For example, in a typical crime story, you have truth and justice as the "good," lies an injustice as "bad," white lies and unfairness as "neutral" (while not entirely good, most people tolerate it), and at the far end, you have legal crime, tyranny, and purposeful disinformation masquerading as truth as "evil." From this, you can have just heroes, injust criminals, unfair politicians and bureaucrats impeding the case, and a ruthless crime ring antagonist that can pay off any of its crimes.
    • Or for a typical love story, you have love as "good," hate as "bad," indifference as "neutral," and you can have false love or self-hate as "evil." From this, we have the protagonists striving for love, avoiding hate, frustrated by indifference, and doing whatever they can to avoid a lover that pretends to be loving, but really isn't, or being themselves unworthy of love even when somebody is finally able to accept them.
    • Westerns and folks tales often run on these values at stake: order and peace being good, disorder and chaos being bad, stagnation and blindly accepting the status quo as neutral, and using chaos to create order as evil. Look at Blazing Saddles: we have a good sheriff, indifferent townspeople of Rock Ridge, lawless bandits as bad, and the corrupt attorney general who uses the bandits to drive people out of the town for his own purposes as evil. In the finale, Sheriff Bart and his unlikely band of misfits, Jim "The Waco Kid, Fastest Gun in the World" and cabaret performer Lili von Shtupp, rally the indifferent townsfolk to settle their differences and join the side of good, all while attorney general Hedey Hedley Lamar rallies his own bandits, resulting in a final battle so explosive that it literally spills out of the movie set and into the Hollywood studio it's being filmed at. So, if you think this theme stuff is "boring," just watch that clip...
Much of the rest about theme I've covered in plot: once you got your climax, you can work backwards, and what your characters do will support or negate your theme.

Now write...



Well, I guess here are the last bits I can tell you...

Still blocked? Try these:

This is the last bit of advice I can give you. After this, you're on your own.
  • Schedule your free time instead of work time. Dr. Niel Fiore, who studies procrastination, recommends blotting out your "guilt-free play" time instead of your work schedule. This way, you don't have to worry about work getting in the way of your fun time, or live under the illusion that work means more work and no time to have fun.
  • Again, use the pomodoro technique. If you're not going to schedule when you write, at least tell yourself, "I'm only going to write for 5/10/15 minutes, then take a break." Set a timer, then go. You'll find that you end up writing more than you thought.
  • Stay healthy. Exercise to keep your metabolism going and blood flowing. Have a healthy diet to keep your body and brain functioning right. If you know how to meditate, do it, and if not, learn (Eckhart Tolle has a lot of great ideas that simplify meditation, so look him up on Youtube). Get plenty of sleep: don't fool yourself into thinking you'll get more work done by staying awake longer. Don't drink caffeine eight hours before bed: this will give your body enough time to metabolise it so you can sleep. A working body means a working mind, and vice versa.
  • Go deeper and figure out what's holding you back. Study cognitive therapy, figure out what limiting beliefs and ideas are holding you back, what hidden fears you need to uncover, and resolve them so you can overcome resistance.
  • Most importantly, STOP READING THIS AND START WRITING! Right now, you can mouse over to the X button, close this window, and start writing. You could put down nonsense words in your manuscript, and it'd be better than "waiting for inspiration" or thinking you have to keep "preparing." You're ready now. You can do it now. The only thing holding you back is resistance, tricking you with fear, with self-doubt that you're not good enough "yet," with obligations you didn't have until you thought about writing, with all sorts of rationalizations that make no sense. I'm writing this right now having not eaten since I started typing it, but I won't fool myself into thinking, "I'm too hungry to write. I'm too tired to write." I'm just writing, and so can you. We all know the phrase, "Just do it," but we keep forgetting why we do: resistance and the lies it tells us, and if we slip up for one second, resistance conquers us for the day and we lose our word quota. As Stephen Pressfield says, when we fight resistance, we're in a fight to the death. This is war, and war is hell, baby.

You can do it. Unfortunately, I too know that while everyone else can believe in you, you yourself may be an agnostic when it comes to believing in yourself. But from here on out, this is your fight. Pick up the sword, slay resistance, get that word quota, finish your story.

You know what to do.


Good luck to all National Novel Writing Month participants, and to all struggling writers out there,
Remember when I used to do horror game streams? Well, time to return to doing that! Come get the stuffing scared out of you on Halloween Night!

Event List

8:00 PM - Spooky's House of Jumpscares Jumpscare Mansion w/ Live Crowd

Over 1000 levels of spooky horror in this low-rez 3d rogue-lite comedy-horror game! Wanna be part of the live studio audience and got a mic? Ask Spaz and join the sharescreen channel to get in on the reactions!

9:00 PM: Alan Wake Blind Run

Join Alan Wake on his adventure through small-town America to save his wife, recover a mysterious manuscript, and battle dark forces in this Stephen King-esque thriller!


Game gifted by KawaiiWolfOphi. Travel back to the birth of animated cartoons to uncover unspeakable horrors!

Head over to my Twitch and RSVP to get a reminder for the events!

See you folks there!
As you may have seen the last couple years, I do a vote on which project I should pick for National Novel Writing Month. This year, I found a premise I liked so much I decided to pick it ASAP.

Though, now I want some more info to prepare for it when November comes.

Here's where you come in: below is a link to a survey that will ask you questions about my upcoming story, Across The Isolation. It's split into two parts: story content, and tone. The story content questions are optional, but preferred. The tone questions are required.

Once you finish it, you can also leave comments or questions in the comment section here.

It's October, an that means National Novel Writing Month is one month away!

And to get you ready for it, it's time once again for...

NaNOctober - National Novel Writing Month Prep!

What is National Novel Writing Month?

Started by Chris Baty in 1999, it's a month where you write a 50k word story. Whether you finish it or not doesn't matter, nor whether or not it's good: just as long as you hit 50k. This means 1.6k words every single day for 30 days, but there will be off-days where you'll miss your quota, and on-days where you'll overshoot.

NaNoWriMo is not a race or a contest! It's a marathon! You're not competing with anyone but your own procrastination. You're free to race with folks to 50k if you want, but that's not the point: the goal is to just finish.

Prizes for winning include...
  • The fact you can say, "Hey, I wrote a 50k+ word story!"
  • A bunch of coupons and discounts on writing-related stuff, like writing software, a personal print of your finished story (if you do finish the whole thing, that is), etc.

Why should I do it?

  1. It's fun and challenging.
  2. You'll be amused and surprised by the story you'll come up with.
  3. It'll get you tons of writing experience.
  4. It'll get you tons of time management experience, too.
  5. Did I mention it's fun?
  6. You can share story ideas with friends and vice versa!
  7. For a month, you get to have the novelist experience!
  8. Seriously, you'll have a friggin' blast!

What are the rules?

  1. You may only start drafting on the midnight of November 1st, and you must reach the 50k word minimum before 11:59:59 on November 30th, local time.
  2. No early starts: you cannot draft any portion of the story prior to the 30-day writing period. However, planning and outlining is perfectly okay. (That's why I'm writing this post!)
  3. You don't have to finish the story: just reach a minimum of 50k words. It can be a finished 50k~ word story, or first 50k words of a longer story, but just as long as you hit 50k, you win.
  4. You can write about anything. Genre does not matter. Content does not matter. Fanfiction and metafiction is okay. If you think it's a novel, it counts. Although the main focus is fiction, NaNo-Rebels are writers who do other categories that bend the rules: non-fiction, short story collections, essays, and memoirs, but as long as if you hit 50k, it works!

How do I do it?

Here's how:
  1. Register yourself on the NaNoWriMo website and set up your novel. Pick your genre, upload a cover, and get ready for November 1st.
  2. Once November begins, write away. Every day, update your word counter on the NaNoWriMo website. Use the word count function of your word processor to find out how much you've written.
  3. Once you hit 50k words, there'll be a verification box on the site. Copy-paste the text of your novel into the box. It will count the words. If you've hit 50k, you win!

So, how do I prepare?

Whether you've never written before or are a seasoned pro with multiple NaNo wins, here's what you can do!

1. Supplies!

Here's what you'll need:
  • Some way to take notes: either a notebook, a phone, or a tablet.
  • Preferably a cloud-drive document system like Google Drive.
  • If you have a Bluetooth compatible device and internet, a wireless keyboard for writing on the go. This one is a HUGE lifesaver for those regularly stuck at work or on the go.
  • Caffeine.
  • Some way to track time: it can be as simple as a phone timer to a fully detailed planner.
  • Music to get you in the right mood, so start making an inspiration playlist.
  • A group of friends to write with and share ideas with.
  • Grit, determination, and a can-do spirit of never giving up.

2. Study!

If you've taken a class in literature and actually paid attention, you may have all you need, but for those that need the extra push, here's a list of recommended reading:
  • No Plot? No Problem! by Chris Baty. The original NaNoWriMo handbook, which covers how to write as much as possible in as short time as possible. It covers how to keep your plot going forward, how to schedule time throughout the month, how to come up with a premise that'll keep you going, and so on.
  • Story by Robert McKee. The gold standard of story guides, it covers every imaginable story structure and style under the sun. It covers plot construction, character and cast design, how to develop theme, genre conventions, common pitfalls in story writing, and much, much, MUCH more.
  • The Anatomy of Story by John Truby. Similar to Story, covering every major writing topic, but focuses more on character arcs as the center of the story. It comes with several nifty exercises that'll help you develop your premise, plot, characters, and beyond.
  • The Writer's Journey by Christopher Vogler. Want to study The Hero's Journey structure and character archetypes, but don't have enough time to read Joseph Campbell's comparative mythology writings? Used as a blueprint in the renaissance of Disney, Vogler's writings on The Hero's Journey simplifies everything in an easy-to-understand and digestible format anyone can understand.
  • The Breakout Novelist by Donald Maass. The Breakout Novelist is a combination of publisher Donald Maass's previous works, The 'Writing The Breakout Novel' Workbook and The Fire In Fiction. It's full of exercises to get you thinking more about what goes into your writing, as well as sharpen any weaknesses you may have. (And really, check out pretty much any guides by Donald Maass. They're all good. It's just this one encompasses a lot of his work.)
  • The 3 A.M. Epiphany and The 4 A.M. Breakthrough by Brian Kiteley. Writing professor Brian Kiteley offers a series of unconventional writing exercises and prompts to get you to break out of your typical writing habits and think more creatively about what goes into your writing.
  • Wonderbook by Jeff Vandermeer. Sci-fi writer Jeff Vandermeer gives us a unique book on world-building, prose, story structure, and character creation with unique illustrations, artwork, and even "devil's advocate" advice that goes against conventional storytelling wisdom. Definitely a must for sci-fi and fantasy writers.
  • Dan Harmon's Story Circle Guide. Before creating Rick & Morty and Community, Dan Harmon was the founder of internet TV site Channel 101, to which he had this super-nifty distillation of the Hero's Journey, but even more distilled than Vogler's writings above. It's available freely online, written for aspiring writers of Channel 101, but it serves as the backbone to all of Harmon's works. If you don't want to read it, there's also this nifty video version.
You may have noticed a lot of this covers story structure, characters, and theme, but not a lot on prose. Well, if you can talk, you can probably write, but if you need a style manual, there are way, waaay too many to recommend. Just go to a reference section of any book store or library and you'll find more than enough guides on actual prose writing.

If you got more book suggestions, suggest them in the comments below.

3. Brainstorm!

Chris Baty's recommended method involves the following:
  • Write down a list of your favorite story tropes. Do these!
  • Write down a list of your least favorite story tropes. Avoid these!
  • Follow these guidelines you've now written, and you won't get backed into a boring corner!
  • Then, for all subsequent ideas, write everything down! Get your ideas down on paper so you don't lose them! In the words of comedian Mitch Hedberg, "If I have a joke that I need to write down, but I can't find a pen, I just have to convince myself what I had wasn't funny."
  • Look at your favorite genres and think of story ideas in that! Or, stretch yourself and do a story in a genre you've never done, just to see what'll happen!

Want to develop settings? Remember the dimensions of setting:
  • When does the story take place? If it's in the past, research the culture of the time period. If it's in the future, see if you can write a parallel/contrast to now.
  • Where does the story take place? Different places and geographies, whether real or imagined, have different cultures. If it's real, do your research. If not, same as above: ask how these people would live in a place like this.
  • What is the inherent level of conflict in this setting? Compare a love story that take place in a big city vs. a small little town, or an action story on a battlefield vs. a small bank. Different locations have different possibilities for what can go down.
  • What is the history of this setting? How the past of this setting will affect the present and future of the story. Know what happened previously in this setting and how it colors the story world.

Want to develop characters? Remember the dimensions of character:
  • Characterization: The surface details, which often influence how the character behaves. These traits include...
    • Gender
    • Race
    • Hair and Eye Color
    • Physique and Body Weight
    • Health
    • Mannerisms and General Behaviors
    • Language
    • Conscious Motivations
    • ... and basically anything you can see without getting to know this person.
  • Deep Character: The inner world of the character, the stuff hidden in the character and only brought out during the conflict of the story. These traits include...
    • Unconscious Motivations
    • Hidden Fears and Desires
    • Secrets
    • Thoughts and Feelings
    • Past Memories, both good and bad.
    • ... and basically anything that controls the characters' underlying behavior.

Want to develop plots? Well, there'll be more on that, but first, let's look at all the different genres we can explore...
  • BASE GENRES: Genres by plot. These can be contained within a setting or medium.
    • Relationship Story: The catch-all for any story about the coming-together or falling apart of a relationship. Subgenres are divided by what kind of relationship.
      • Buddy Story: A platonic love story.
      • Love Story: Your classic romantic love story.
      • Love Tragedy: Two characters in a relationship fall apart.
      • Erotica: A love story with a focus on physical love.
        • Passion Tragedy: The spiral into sex spells doom for the characters.
        • Sex Comedy: The spiral into sex creates problems, but is solved in humorous fashion.
    • Horror Story: Characters must escape something, well, horrific. Subgenres divided by the source of horror.
      • Natural: The source of horror is something real. Examples include...
        • Serial Killer: A killer is trying to kill the characters.
        • Home Invasion: Criminals invade a house.
        • Animal Survival: An animal threatens the characters.
        • Nature Survival: Nature threatens the characters.
        • Torture Porn: The villains want to mutilate the cast, not quite killing them quickly.
      • Supernatural: The source of horror is something imagined. Examples include...
        • Ghost Story/Haunting: The literal supernatural threaten the character.
        • Possession: A ghost takes over a character.
        • Zombies: The undead threaten the characters.
        • Monsters: Any sort of creature threatens the characters.
        • Kaiju: GIANT creatures threaten the characters.
        • Aliens: Extraterrestrials threaten the characters.
        • Cosmic Horror: Incomprehensible creatures threaten the characters.
      • Super-Uncanny: The source of horror is unknown: whether the ghosts and monsters are real, or simply the character's imagination. Examples include...
        • Psychological Horror: Is it real, or is the character going crazy?
        • Faux Horror: Is it real, or is it simply characters using the horror for their own motives? (Ala Scooby Doo and the original House on Haunted Hill.)
    • Modern Epic: One individual takes on a larger system, often one that controls society.
    • War Story: A battle between two warring sides. Comes in two flavors...
      • Pro-War: Glorifies the heroism, adventure, and necessity of fighting.
      • Anti-War: Discourages the violence and questionable morality of fighting.
    • Maturation Plot: The coming-of-age-story: a character begins with an immature outlook on life, thinking their outlook is the correct one, only to get hit in the face with reality.
    • Morality Arc: A character changes their behavior. Comes in three versions:
      • Redemption Plot: A bad character becomes good (and is usually rewarded).
      • Punitive Plot: A good character becomes bad (and is usually punished).
      • Moral Dilemma Plot: A character takes a trip across the entire spectrum, turning bad to good to bad or good to bad to good, and experiencing the punishments and rewards of all sides.
    • Testing Plot: A character is tempted to give up their ideals in exchange for something else. Essentially a Morality Arc, but the plot comes from avoiding the choice.
    • Outlook Arc: A character changes their worldview. Comes in three versions:
      • Education Plot: A character's outlook shifts from bad to good.
      • Disillusionment Plot: A character's outlook shifts from good to bad.
      • Mindset Change Plot: A character's outlook shifts from good to bad in one area, but bad to good in another related area.
    • The Western/Folk Tale: A single character, usually an outsider, brings law and order to a lawless and/or chaotic land.
  • MEGA GENRES: Genres by focus and tone. Contains base genres within them and can be contained within a Supra-Genre.
    • Comedy: Takes apart the conventions of society and life to examine the stupid, the witty, or both. Subgenres grouped by what's the target for the jokes and how rough is it. These include...
      • Satire (ridicules society)
      • Parody (makes fun of society)
      • Pastiche (celebrates society)
      • Romantic Comedy (celebrates love)
      • Screwball (makes fun of love)
      • Farce (ridicules love)
      • Black Comedy (ridicules the dark, painful corners of life)
      • Wit (celebrates how people behave)
      • Comedy of Manners (makes fun out of people behave)
      • Cringe Comedy (ridicules how people behave)
      • Surreal Humor (celebrates the unexpected)
      • Shock Humor (ridicules the unexpected)
    • Crime: A story of a crime being committed, the crime being discovered, whether or not the heroes get away, and if justice is delivered. Subgenres grouped by perspective...
      • Murder Mystery: The master detective's POV.
      • The Caper: The master criminal's POV.
      • Detective Story: The cop's POV.
      • Gangster Story: The crook's POV.
      • Thriller: The victim's POV, often at the mercy of a powerful criminal who makes it personal.
      • Courtroom Drama: The justice system's POV; often the lawyer's or jury's.
      • Newspaper Story: The reporter's POV.
      • Espionage: The spy's POV.
      • Prison Drama: The inmate's POV.
      • Film Noir: POV of a protagonist with mixed qualities: part cop, part criminal, part victim, and maybe more.
    • Social Drama: Identifies a problem in society and looks for a way to cure it. Subgenres grouped by the problem at hand...
      • Domestic Drama: Focuses on problems within the home.
      • Political Drama: Focuses on political problems.
      • Gender Study: Focuses on the problems of being a man/woman in a culture with certain disadvantages on being a man/woman.
      • Eco-Drama: Focuses on saving the environment.
      • Medical Drama: Focuses on saving the physically ill.
      • Psycho-Drama: Focuses on saving the mentally ill.
      • Queer Drama: Focuses on the problems within gay or transgender culture and how it clashes with straight culture.
    • Action: Focuses on external conflict. LOTS of external conflict. Comes with two subgenres...
      • High Adventure: In addition to normal worldly conflict, there are also concepts like fate, destiny, and other supernatural forces at play.
      • Disaster/Survival: Nature provides much of the conflict.
  • SUPRA-GENRES: Genres of setting or medium. May contain the above genres within them.
    • Historical Fiction: Takes place in the past to look at human nature from a safe distance, reflecting back our current behaviors.
    • Biography: Focuses on the life of one person from real life.
    • Docu-drama: Recreates actual events, but told in dramatic fashion.
    • Mockumentary: A fictional documentary.
    • Musical: The major plot turning points finish on the character erupting into song.
    • Science Fiction: Uses technology as the crucible for character change.
    • Sports: Uses sports as the crucible for character change.
    • Fantasy: Uses magic as the crucible for character change.
    • Metafiction: Uses writing itself as the crucible for character change.
    • Animation: Uses the stylization of animation to distort reality. With novels, you can make them into Visual Novels.
    • Arthouse: The story itself is unconventional in its telling or structure.

4. Plan!

As said in the rules, you're free to outline your story early, and October's a good time to plot your course. Some folks write by the seat of their pants, but if you write with an outline, here's several ways to outline once you got your premise ready:
  • Three Act Structure: The old classic standby, Three Act Structure is versatile and covers your beginning, middle, and end.
    • Act 1 shows your character(s)' life being thrown out of balance and then vowing to fix things.
    • Act 2 is them trying everything they can before failing miserably in an apparent defeat.
    • Act 3 is their final act of desperation (and hopefully character development) that resolves everything.
    • You can then break down the acts into sub-acts, or sequences, and break those sequences down into scenes!
  • Plot Spine Paradigm: Instead of three structural units, why not 7? The Plot Spine Paradigm runs like this:
    • Opening: How life is at the beginning of the story. Should wildly contrast the ending.
    • Plot Point 1: Something to kickstart the character(s) journey into the story.
    • Pinch Point 1: The initial obstacle the character(s) faces while resolving the conflict.
    • Midpoint: A major moment of character development and apparent victory showing the character has what it takes to resolve the story.
    • Pinch Point 2: The apparent defeat of the character(s).
    • Plot Point 2: The final act of desperation (and hopefully character development) that resolves everything.
    • Ending: How life is at the ending of the story.
    • Ideally, write the Ending first, then the Opening, then the Midpoint, Plot Points, and finally Pinch Points.
  • Character Arc Paradigm: Structural units not your thing? Why not break down the plot by the main character's development itself?
    • Weakness and Need: Your main character suffers a weakness that affects both them and the people around them in a negative way, and they need to do something to overcome it. For example, let's say you have a reckless character: their behavior hurts them and they put others in danger. In this case, their need is for maturity and responsibility. From this, you preferably want the setting to play on this weakness as much as possible.
    • Problem and Desire: The inciting incident that throws your character's life out of balance, and what the main character's desire is from this initial problem.
    • Opponent: What's to get in the way of the main character stopping the problem and attaining the desire? This can be actual opponents, whether it's well-meaning people undermining the character's efforts or an actual villain threatening to stop the hero. It can also be an external force, from weather to society. Lastly, there's also internal conflict as well. Either way, name your opponents and how they beat the main character because of their weakness: you'll need this shortly.
    • Plan: How the main character will attain the desire, usually without foresight thanks to their weakness. Inversely, the opponents also have their own plans.
    • Battle: This will make up most of the rest of your story until the climax. Now that you have your main character's weakness, a desire, your opponents, the hero's plan, and the opponent(s)' plans, you should have all the ingredients you need for conflict. Start writing out scenes of the hero trying to beat the opponents with their plan, but failing because of the weakness, eventually culminating in the climax (which you preferably want to figure out first). They may succeed on occasion, but their desperation starts hurting others thanks to the weakness, eventually resulting in an apparent defeat.
    • Self-Revelation: Eventually, usually by the climax, the hero will realize what their weakness is, and will usually have to make a final choice between staying the same or changing. Of course, it can't be an obvious choice: they wouldn't have had that weakness if it didn't serve them in the first place, like a shy person who avoids people because they feel safer that way, or an angry person who credits their anger for their passion. Either way, their final choice determines whether or not they achieve the desire or not, or succumb to tragedy. Of course, the main character doesn't necessarily need to attain the desire: they can change and give up on the initial goal. And they can also attain the goal without changing: tragedies where the hero becomes the villain end this way, where the main character has no moral revelation. But again, as said with the other structures, this is the final act of desperation (and hopefully character development) that resolves everything.
    • New Equilibrium: How the character lives their life after the story, hopefully overcoming the weakness.
  • The Hero's Journey: Another old standby, these are the most common beats of myths from around the world. You don't need every step or even in this order, but here they are in detail:
    • The Ordinary World: Establishing the main character(s) and the world they live in.
    • Call To Adventure: The inciting incident. Something's wrong and the characters have to venture out to resolve it.
    • Refusal of the Call: At first, the main character(s) can't resolve the problem because they're not ready.
    • Meeting the Mentor: The character(s) meet a character who can prepare them for the journey.
    • Crossing the Threshold into the Special World: The character(s) must face special threshold guardians before crossing into a world unlike the Ordinary World. Luckily, they should be prepared by now.
    • Tests, Allies, and Enemies: Now inside the Special World, it's time the character(s) learn how things work. They'll meet new allies, fight new enemies, and use what they know to make it through, but they'll quickly learn the things that work in the Ordinary World do not work here.
    • Approaching The Innermost Cave: Like a room full of health packs and ammo in a video game, this is the main character(s)' last chance to get ready for the deepest section of the Ordinary World. If they have any doubts about why they went on this journey in the first place, it's time to put them aside once and for all.
    • Ordeal: The main character(s) faces their greatest fear, and even succumbs to it.
    • Seizing The Sword: Luckily, from their previous metaphorical/literal death, there is a rebirth, and the hero(es) emerges stronger than ever, often with a special reward that will help them for the remainder of the journey.
    • The Road Back: Now with the reward, the hero(es) must return to the Ordinary World, but they may also have the option to stay if need be.
    • Resurrection: The final confrontation, similar to the Ordeal, only now the hero(es) have both the abilities from the Ordinary World and The Special World. By this point, the hero(es) is no longer the same, but reborn as someone entirely new.
    • Return with the Elixir: Back in the Ordinary World, the hero(es) is now transformed, now better able to handle things in the Ordinary World.
  • The Story Circle: Dan Harmon's even simpler version of the Hero's Journey. It requires a little setup and understanding, but once it's ready, it's quite powerful.
    • Prepwork - The tops and bottom halves: Draw a circle. Then, draw a horizontal line through the middle. The top and bottom halves now represent the dualities of life: life and death, order and disorder, the conscious and the unconscious. Keep this in mind for later.
    • Prepwork - The left and right halves: Now draw a vertical line down the middle. Going clockwise, number the top 1, the top-right corner 2, the right 3, the bottom-right 4, the bottom 5, the bottom-left 6, the left 7, and the top right 8. These halves represent the journey: to the right, the descent into the unconscious desire of the character, from safety to danger, from order to disorder. To the left, their ascent out back to the normal world, but with new insights picked up from position 5.
    • 1. You: Introduce the protagonist and some sort of weakness they have their ordinary world. Once they get to 5, we should begin to understand why they have this weakness and what they think overcoming it will bring.
    • 2. Need: Something upsets the life of the protagonist, even more so than their normal everyday weakness, and now they decide to embark on a journey to restore balance. Again, this will play a large part in 5.
    • 3. Go: The character embarks upon the journey, meeting the forces of antagonism along the way. This is your "movie poster moment" where we get the full idea of what the character wants and what's to stop them, from dealing with a killer shark to meeting an enemy army to simply falling in love.
    • 4. Search: This is your "Road of Trials" phase, where the protagonist has fully crossed over into the bottom half. The metaphor Joseph Campbell used was "like food being broken up in the digestive tract": in this case, the hero can no longer rely on their status, phones, promotions, or eyeliner here, but adapt to the new forces of antagonism. It's sink or swim.
    • 5. Find: Your midpoint, the protagonist is actually starting to get the hang of things and learns or attains something absolutely vital for resolving the story. If you'll notice, 5 is on the opposite side one 1. This is the location where we learn more about why the protagonist wants what they want in 2, and often how it relates to their weakness in 1. They might even attain the desire from 2, but either way, this will lead to setbacks in 6. This step is often called "Meeting with the Goddess," though it doesn't necessarily need to be: the basic idea is if the protagonist was a child in a mother's arms in 1, this is them leaving the house and meeting a new mother-like figure who will give them new knowledge.
    • 6. Take: Think of this as yet another Road of Trials, only much more difficult. Now that the protagonist has reached 5 and attained new knowledge or gotten the goal at the bottom, they've awakened the maximum force of antagonism. This is where the hero is temporarily beaten by the villain, or the lovers break up, or bad guys capture someone important. However, having made it to 5, the protagonist takes this punch and is still ready to fight back in 7 and 8. If you'll notice, this one is opposite of 2: the character now has a new need for the finale.
    • 7. Return: The protagonist, using what they learned in the story so far, they are now more easily handle all of the challenges they had previously encountered before. This is often the "Magic Return Flight" part of a hero's journey, on the opposite side of 3.
    • 8. Change: The climax of your story. Using what they learned, this is where the protagonist is now the master of both worlds. They are now equipped to now defeat the bad guy, confess their love to love interest, and so on. With 4 being opposite of 8, it's no wonder all of the setups in 4 are finally paid off in 8.
    • Repeat: If you are writing for multiple characters, you can do the same with them as well.
There are dozens of other structures you can use, and you can even combine the best of each one's parts to average out your plot, but this should get some ideas flowing.

5. Other tips!

Naturally, your will get stuck during NaNoWriMo, so here are some useful tips for avoiding missing you quotas...
  • Write more than your quota! Just because the word quota every day is 1667 words doesn't mean you should stop around 1667. Preferably, you want to push past it enough so you don't have to worry about the deadline by the end of the month.
  • Never underestimate the power of a sudden plot revelation. A good plot reveal, a character confession, or a sudden death can bring fourth hundreds of new ideas. Even in improv theater, a classic technique for driving a boring scene into something interesting is to simply have a character say, "I have a confession to make," and then admitting something huge. Dropping a bombshell into the story is a surefire way to keep things going. (And don't worry if it doesn't make sense: it's NaNoWriMo, and part of the fun is just seeing where it goes. Plus, if you really like the story, edit it and work it into the plot later... or hell, go back and work it into the plot during NaNoWriMo and get some extra words out of it!)
  • Always, always, always be coming up with new ideas. If you're busy at work or school and in a spot where you can just brainstorm without it interrupting anything, take that opportunity. Even better, if you have a chance to jot it down in your notes, do that, too. That way, when you finally get back to your keyboard, you'll be ready to just type away, story fresh on your mind.
  • Join a writing group. Thankfully, most of you are part of some sort of chat group or have access to one, so have some way to bounce ideas off of others. Two heads are better than one, and more than two heads is even better, so if you're running dry on ideas, feel free to ask others for their input.
  • Remember to take care of yourself: As much as it's joked about, please take care of your health and sleep well during NaNoWriMo. Besides, you write better with a full night's rest and a full belly. If you want a meal on the go without sacrificing nutrition, consider protein meal bars: light, cheap, filling, and usually full of vitamins and nutrients.

That's all the help I can offer for now. I hope it helps you on your NaNoWriMo journey this year, and I wish you all best of luck hitting 50k words!

Lastly, if you're a NaNoWriMo veteran, feel free to share your tips below!

Happy Writing,
Once again, I need to clear up some confusion over what my definition of "good writing" is. Preferably, you'll want to actually hear it from the horse's mouth than somebody else: especially since those who muddle my definition of "good writing" tend to think I somehow hold new writers back, want to scare them away, or want to force them to write only "one way." But since I do support new writers and wish for their growth and self-confidence, and since National Novel Writing Month is only a month and a half away, use this post to help further your writing skills!

My definition of good writing is thus:

Anything that entertains and/or informs the audience as the writer intended is good writing.

Key phrases:


Whatever works, works. All writing techniques are fair game. We'll get to this in a sec.

... that entertains and/or informs the audience...

Some writing is meant to be non-fiction and only to meant to share information. Other forms of writing are purely junk food entertainment. Some are a marriage of both, entertaining the audience while provoking thoughts and ideas. You don't necessarily need either or: writing can still be good even if it's 100% informative or 100% entertaining.

... as the the writer intended...

As Yahtzee once put it, not all entertainment is purely "enjoyable," as some forms of entertainment use horror, disgust, dread, and anger for the emotional high. Stories that are entertaining for reasons the writer didn't intend fall under the category of "so bad, it's good." Of course, sometimes writers intentionally aim for campy, so in a sense, even corny, cheesy stories can be considered "good writing." Sure, there are high artistic forms of writing, such as your Citizen Kane and Moby Dick, but there's also mainstream popcorn fun like Starship Troopers and The Rocky Horror Picture Show. Even for non-fiction, there's a far line between All The President's Men and The Zombie Survival Guide, but we consider both to be "good writing."

The most important takeaway from this is there is no single way to write. Whatever choice you make as a writer is what defines you. Now, not every choice you make will work out, as the audience gets the final say, but as you hone your craft, you will develop an artistic originality that defines you. Everyone's style will be different, but whatever gives you your best voice will be your own path to "good writing."

But what about “bad writing”? Bad writing can be defined as the accumulation of things that get in the way of the writer’s ability to entertain and/or inform the audience. A few errors are forgivable, but that’s why I said “accumulation”: enough breaks in tone, style, continuity, structure, and character choices slowly destroy the entertainment value and/or credibility of the writing. However, much like the choices that go into good writing, the errors of bad writing are also on a case-by-case basis, so let’s save that for another time. (Or better yet, discover them yourself.)

(And since I know some smartass is gonna say, "But what goes into 'great' or 'outstanding' writing?," my response will be this: the same that goes into "good writing," but more of it.)

Now that we've defined "good writing," let's look at the taxonomy of "good writing." This isn't a definitive list, but it should give you an idea of the many, many, MANY choices that you, as a writer, have.

Media and Presentation

  • Is it visual, prose, or recorded audio? Is it mixed media?
  • Does it take place in real time or at the reader's pace?
  • Is it interactive?
  • If it is written, what are the word choices? Is it simple or verbose? Is it formal or informal? For more information of style, read Prose! A Guide To Actually Writing.

Subject, Inspiration, and Tone

  • Was the subject imagined or real?
  • Is it about people, places, or events?
  • Was it inspired by something positive or negative? An infuriating idea can be just as valid as a positive idea.
  • Is the purpose of the writing meant to entertain, inform, or a mix of both? And if so, at what ratio?
  • Is the tone light or dark? Optimistic or cynical?


  • Is it structured or freeform?
  • If it's a story, does it follow act structure? Scene structure? Does it follow its own beat system?
  • If it's a story, does it follow a structural paradigm? If so, which? For more information of structures, read The Shapes of Stories for a comparative look on common structures.
  • If there is no structure, what is holding the unity of the writing? Is it a unity of ideas? Of events? Or is it a dreamlike stream-of-consciousness?
  • Is there a genre? If so, what is it? Are there multiple genres?
  • Is there a structure to how the information is being unfolded? Are we told everything up front, or does the writer hold secrets from us until the end?
  • Is there a definitive ending/closure? And why?
  • How are plot holes and continuity errors handled? Are they on-purpose, or merely just mistakes?
  • Is the story trope-heavy or low-key? Does it indulge in cliches, play with tropes, or try to avoid them altogether?

Character Design (if applicable)

  • Are there defined characters roles (good guys and bad guys)? Is there a strong sense of morality, or are the characters morally grey?
  • Are there defined character archetypes (stock characters/personalities)? Is the cast organized or freeform?
  • Are the characters static or dynamic? Do they stay the same or do they arc?
  • How smart are the characters? Are the characters functionally genre savvy, or do they adhere to common tropes?
  • How are the characters designed and what holds them together?

This should give you an inkling of why we, as a society, equally love classics like Casablanca and 2001: A Space Odyssey, but also shelve them alongside mainstream hits like Star Wars, The Matrix, and Mad Max, and why we also indulge in stuff we deem "trashy" yet still watch like Eromanga Sensei and Sharknado. Sure, we knock the cheesy and campy stories, but we must not neglect the fact that mainstream audiences like a little literary junk food once in a while. At the same time, we cannot use this as an excuse to be lazy: they also like smart writing just as equally. Audiences want a well-balanced diet of BOTH meaty artistic stories and empty calorie junk food stories.

Some things to consider when you think about this idea of "good writing":
  • A structured story can work just as well as an unstructured story, and vice versa.
  • A story full of cliches and tropes can work just as well as one that plays everything straight, and vice versa.
  • A campy story can be just as good as a serious story, and vice versa.
  • Elaborate word choices like James Joyce are equally as valuable as the creative use of common words by Chuck Palahniuk, which are both equally valued as Earnest Hemingway's minimalist approach.
  • Society loves both serious stories, funny stories, and a mix of both. All genres are equally valued. Most characters are equally loved, and even tropes most people despise can be done right under the right circumstances.
This cannot be emphasized enough, and I'm going to keep emphasizing this from now on: there is no single path to "good writing," because every writer's choices will define their unique style. You must make your own style your own.

My choices will be vastly different from yours and others. I don't like fleshing out my characters' backstories, but my friends love to. I love sharpening the premise and structure, my friends prefer letting the characters do the structuring for them. I really like writing stories about finding hope in bleak worlds, but others write their own favorite subjects. Anyone who claims I'm going to force my own writing style on others is either wrong or just downright lying, because there is an infinite number of ways to write. The combinations and stylistic choices are endless, and it is what defines each and every one of us as a writer.

Lastly, there's the matter of drawing inspiration from others. Sure, you can borrow stylistic choices from other writers, but please understand why they made those choices before blindly following them. Copying somebody doesn't always lead to success, especially when you don't understand why it made the original successful in the first place. This is why finding your own writer's voice is a path you must undertake yourself: you have to discover what works for you and you alone, as well as question why it works so you can replicate it in the future, not to mention improve other areas in your writing.

So, if you ever worry about not being artsy enough to be a good writer, or worried that audiences only care about memes and cliche-heavy crap, have heart knowing that there is no single path to being a writer: your writing choices will define your unique style, and once you master what's right for you, you will find your niche/audience. Art is subjective, and one person's "good writing" is another's bad, but hopefully this will get you closer to the right audience saying, "Hey, I like how you wrote this."
Remember, you're allowed to make anything you want, pursue any project you desire, write in any which way you believe works best for you, and nobody can tell you otherwise.

Of course, not all things work out, but you're still free to pursue anything you want. For example, everything has a target audience and community demographics: you're free to pursue whatever you want, but just remember that some things are harder to market to people than others. In this case, you'll have to go the extra mile to find your niche audience. Just because something is harder to market doesn't mean you can't pursue it.

Sometimes you'll make something that doesn't fit the standards or rules of the group you're submitting to. In this case, you're still free to pursue whatever you want, but outside of that group. If you insist on getting your art into that group, it's like fitting a square peg in a round hole: it won't fit. Instead, find a square hole, i.e. find the group that will accept it. Just because some groups won't accept your art doesn't mean you can't pursue it on your own.

Sometimes you'll be on a group project and you'll have an idea that clashes with the group. In this case, you must understand that a group is the sum of the ideas of everyone in it, not just yours. Let the group project's ideas be that of the group's, and let yours be yours. You can still submit ideas, but the whole group gets the final say. Just because a group won't accept your ideas doesn't mean you can't pursue your own projects by yourself.

Sometimes people will critique your style of writing or direction. There are dozens of schools of writing, but they all lean towards the idea of how to entertain the audience. How you choose to entertain people will be different from others. Art is subjective: not everyone will agree on what's good or bad, what makes what work, or why. In this case, find what's best for you and do it. If your skills aren't up to snuff and people are constantly criticizing you, just practice, practice, practice. Look at those 1-year progression charts, and you'll see what experience can help you do.

You're free to do anything. Sure, not everyone's going to like it, but who are they to tell you what you can or can't do? Everything has a niche audience, everything had its place, and if there is none, you can make it! Critics can't stop you, groups can't stop you, admins can't stop you, nobody can stop you but yourself. You have a right to pursue whatever project you desire. Sure, there are moral limits (things that threaten people or are hideously NSFW to the point of disgusting the majority of people), but beyond that, nobody has a right to tell you what you can or cannot do. If anyone tries to tell you that an individual or group is holding them back from making whatever they want, or tries to scare you into thinking you can't do anything because of somebody else, they are wrong.

So, go out and do what you want. Unless what you're doing is breaking the rules, inciting violence/drama, or disgusts the general public, nobody is allowed to stop you.
Heading to California, which according to Tupac and Dr. Dre knows how to party, for AnimeExpo! And I'll be joining folks from both the Walfas Station Wagon and /r/Touhou! So get ready for all sorts of shenanigans from folks all across the Touhou community!

And as with every con I go to, I'll be posting on my Twitter and my Tumblr.

See y'all there!
So, I predicted earlier this year that we might be seeing a huge leap in Walfas comic production standards and techniques. Halfway through the year, that prediction is beginning to come true.

We are slowly working our way from "frame-by-frame medium shots of characters on a static background" and are working towards full-page comics with dynamic backgrounds. Although I'm still nowhere near done with Wrath of the Amanojaku, the future of full-page comics is already here, and the results look dang good!

As you saw in my previous status post, I talked about TheCurseWatcher's The Little Devil's Rock. Well, let's go a little more in-depth into its style and editing.

The Little Devil's Rock - 002 by TheCurseWatcher

Right out the gate, we have full-page editing, camera angles, over-the-shoulder shots, lighting, everything! And let's get to the fight scenes:

The Little Devil's Rock - 015 by TheCurseWatcher

What's this? Actual danmaku battles?! In a Touhou fic?! I know this sounds odd, but we seriously need more dynamic fight scenes like these ones! For once, we have someone who's actually making legit Touhou-style combat instead: minimal dialogue, the fights do all the talking themselves, and plenty of sweet, sweet bullet hell. If you haven't read it in full, you should totally check out The Little Devil's Rock: it's raising the bar on how we do Walfas comics.

But Curse isn't the only one taking the leap into full-page comics. Here's a sample from Unknown-Nobody-XD115's The Unknown Saga, edited in ComiPo, the program I'm currently using (and used for the Twilight of the Hakurei Reboot).

The Unknown Saga Page 002 by Unknown-Nobody-XD115

Once again, camera angles, lighting effects, shadows, the whole nine yards!

And there's more: even gervin51 is joining in on the new format:

[Walfas] 4koma ~ Where did you come from?! by gervin51

[Walfas] ~ Am I being underestimated? by gervin51

And not only that, he left a nifty tutorial so even you can join in on this new format: Walfas Tutorial ~ Proper Frame Panel Tutorial.

And let's not forget our favorite French party animal Hat-Warrior-999, memeing it up with this:

Touhou characters by Hat-Warrior-999

And, of course, here's my contribution to the full-page revolution: one of the first Walfas comics uploaded in .pdf format:

Twilight of the Hakurei 2018 Trailer by Spaztique

And although it's still in production, let's not forget: the DitR-killer itself, mother-friggin' Wrath of the Amanojaku... (And to all you Starcraft 2 fans out there, this is for you.)

WotaCh8FireandFireWIP 029 by Spaztique

WotaCh8FireAndFury by Spaztique

Edit: And now that ORT451 mentions it, here's him throwing his hat into the ring!
4koma: The Most Magical of Days by ORT451

But of course, even if your comic isn't in the new format, let's not forget that even the frame-by-frame comics have been evolving as well. Take a look at the complexity of the shots from the following artists:

From the classic TobiObito4ever, just look at the ridiculous level of detail of all of the props she uses:

Vinekoma- The Stuff of Nightmares by TobiObito4ever

Or how about awesomedude2011's 1-to-1 3d scale of Utsuho's Spell Card Attack?

Blazing star ''Fixed Star'' by awesomedude2011

Or heck, look at Hat's other props and the promo alone for 'em!

More cupcakes (props) by Hat-Warrior-999

And let's not forget, essentially one of the greatest custom sprite walfas animators, JaphethStuff.

Walfas - Just Donate by JaphethStuff

And check out Japheth's videos to see just how many customs he's got!

And one more from ORT451 (and check the link in the description to compare it to the 2013 version):

[Redo] Thief: The Touhou Project by ORT451

2018 is turning out to be a good year for Walfas, at least in terms of technological leaps. Walfas is evolving, and if you don't catch up, you might be left in the dust. But no worries: here's a resource kit I posted to help you get started!

If you got any more commendations for folks you think are raising the Walfas community's standards, post 'em below! These folks could use a little more recognition for their efforts in expanding our works.

Despite all the hardships and drama we've faced over the years, I'm still proud of all of you for keeping our community not only together, but growing and thriving. I believe Reimu can sum it up for us:

WotaCh8PreviewBetter by Spaztique
It's been long enough, and I do these yearly, so...

Ask Me Anything!

The only rules are...
  1. No questions that could put myself or others in danger: no obviously personal or private stuff.
  2. Troll questions will be given troll answers. Asshole questions will just be plain removed.
Beyond that, you may ask me anything: it can be music-related, food-related, ideas, opinions, philosophy, politics, religion, you-name-it! Ask as many as you'd like! There's no limit to your questions! (Well, within reason, but still...)

And you know what? Let's add something new: you can also ask my characters anything or ask the cast (specifically the actors playing the characters) of Wrath of the Amanojaku anything! So if you don't have a question for me personally, you can still ask the characters I work with!

Well? Ask away!
Just a minor thing I've been doing in the WSW voice chat (though I might run this elsewhere if requested), I'm running a weekly tabletop co-op RPG based on the Youkai & Yukkuris tabletop game by ChibioChen. It's a mod called...

Youkai & Yukkuris: LEGENDS!

Updated weekly with new mechanics every playthrough, Y&Y: Legends takes the original format of Y&Y, wherein you play an outsider dropped in Gensokyo and your goal is to survive, but adds a new twist: four players are all dropped into a random incident, Reimu and Marisa are out of commission, and it's up to a bunch of random humans to save the day!

Highlights so far include...
  • Unknown-Nobody-XD115, a tengu, riding ORT451, an oni, like a horse, charging into battle against the Lunarians while gunning down everyone with a Lunarian rifle.
  • Gii828 joins the Moriya Shrine and gets into a duel with makutadesrex as he tries to stop Marisa as she duels Sanae.
  • Nova and Makuta duel Koishi at the Moriya Shrine, nearly about to die, just as MD5Ray01 rushes in with Marisa, Satori, Orin, Parsee, Yamame, and Kisume in tow to save them and expose the Moriya Shrine Conspiracy.

Oh, and the comedy highlights...

  • Unknown Nobody successfully romances Junko.
  • Gii and Makuta roll a 20, looking for a way to the Moriya Shrine, and end up finding a random prospector selling canoes.
  • Nova gets into a drinking contest with Yuugi... and wins... and then brings her upstairs... and comes down with four less HP and sanity loss.

So, this Thursday at 9 PM Central in the WSW Voice Chat (unless requested elsewhere), see if you have what it takes to save Gensokyo and become a LEGEND!

I've always wanted to write something on what I think makes a good sketch video, so here's a quick write-up on how I've composed every sketch video I've ever done or taught others on how to do it.

1. The Basic Format

First, I start with the Intro: opening credits, title cards, and so on. Other times, I'll use a Cold Opening and then lead into the intro, though I prefer to keep the opening short unless it's a special circumstance (as seen with the backstory of Touhou Sketches: Utsuho Edition). Not to say you can't do longer cold openings: StevosStuff's sketch videos have some epic cold openings that set the tone for the rest of the video.

The bulk of a sketch video is made up of random sketches and running sketches. Random sketches are standalone and can easily be enjoyed out of context. Running sketches come in two sub-categories: narrative runners and gag runners. Narrative runners build an overarching story into the sketch video, while gag runners are several installments of the same sketch spread throughout the video. For the 2017 Walfas Christmas Video, you have Unknown-Nobody-XD115's Christmas Calamity as the main narrative runner and Gii828's Christmas Tree sketch as a two-part runner, while Makise-Homura's Top 10 Gift Ideas and my own Holiday French sketches are gag runners.

Of course, gag runners are not to be confused with running gags (though gag runners, by their nature, include running gags), and its cousin, the callback. Running gags are gags that can be seen multiple times throughout the same video, while a callback is a joke that references a previous joke. Going back to the 2017 Walfas Christmas video, running gags included Jun The Villager's abuse and Rinnosuke eating everything in the main sketch, Chen messing up her Christmas across multiple different sketches, and Parsee getting screwed over, while the Aki Sisters showing up at the audition after the gag from the first bit is a callback. In Chicago-style improv theater, it's natural to end a show with a large series of callbacks. In the 2015 Christmas Video, there was a double callback: the runner I was animating for crystalgreatsword and IShingoYabuki references a previous sketch by Ceej39 where Mr. Kirisame calls Reimu a freeloading liberal, and Ceej's sketch after that features another callback to the runner where Nazrin pops out and steals something ("CUZ I'M NAZRIN!"). Another example is from Touhou Sketches: Utsuho Edition: nearly all of the final sketches contain callbacks to previous sketches, from Crowception (which in itself is a reference to TobiObito4ever's Put A Bird On It sketch) to Aya's pronunciation of "nu-cu-lear" and Kaguya in space.

Lastly, there are the Credits, which you put all of the music and voice actors (though be sure to include credits in your video description as well, especially if you've messed up in the final render as I've done before). After the credits, you may opt to include a stinger, a short bonus sketch. This can be a standalone sketch, but I've found the best stingers are callbacks to previous sketches. It can be a runner or a random sketch: as long as it leaves the audience satisfied for sticking around.

2. Video Structure

Sketches themselves need variety in their length and intensity. The rule of thumb is that narrative runners can run longer than random sketches, and it always helps to have several short sketches to break the pacing. If you have a long sketch, especially a slower sketch, it helps to spice things up with short-and-gag-heavy sketches. One of the common criticisms I got with Touhou Sketches: INDY Edition is that many of the sketches were a bit too long, so even though it was more technically competent than Touhou Sketches: Yuyuko Edition, Yuyuko Edition still had better pacing. Look at the two videos, and notice how the sketches of Yuyuko Edition are varied: some sketches are only a few seconds, others 30 seconds, others a few minutes, whereas INDY Edition's sketches were all at least a minute.

Of course, the opposite is also true: if you have a series of random sketches, you may punctuate it with a longer sketch. It is technically possible to have two long sketches back to back if several sketches built up to it, and the following sketch is a runner. For example, a common pattern would be a 10-second sketch, a 15-second sketch, another 10-second sketch, a 45-second sketch, and then a minute-long Narrative Runner, which then transitions back to a 10-second sketch.

Here are a few examples of sketch structures. Here's your typical sketch video:

  • Intro
  • Gag Runner Part 1
  • Random Sketches
  • Gag Runner Part 2
  • Random Sketches
  • Gag Runner Part 3 w/ Final Punchline
  • Credits

This is a pretty safe structure that's been tried, tested, and trusted over decades. Most sketch videos follow this format, and even shows like Monty Python's Flying Circus run on this format. This structure is your basic workhorse. You don't necessarily need the Gag Runner to deliver the final punchline, but it certainly helps.

But there's also the more advanced structure that uses a narrative runner as its "center." It looks like this:

  • Intro
  • Narrative Runner Part 1
  • Random Sketches
  • Gag Runner Part 1
  • Random Sketches
  • Narrative Runner Part 2
  • Random Sketches
  • Gag Runner Part 2
  • Random Sketches
  • Narrative Runner Part 3
  • Random Sketches
  • Gag Runner Part 3
  • Random Sketches
  • Narrative Runner Ending
  • Credits
  • Stinger

Of course, you can also mix it up with something like this:

  • Narrative Runner Part 1
  • Gag Runner Part 1
  • Random Sketches
  • Narrative Runner Part 2
  • Gag Runner Part 2
  • Random Sketches
  • Narrative Runner Part 3
  • Gag Runner Part 3
  • Random Sketches
  • Narrative Runner Ending

You might be wondering at this point, "Wait: do we have to end the video with the end of the narrative runner?" As I said before with ending with a Gag Runner, you don't, but you better make sure your final sketch punctuates the video. It's easier to end with a narrative runner because it ends with closure and usually a good final gag to wrap everything up. Although INDY Edition's weakness was sketch length variety, the main runner was its greatest strength, and the ending gave birth to the phrase "Master Spark solves EVERYTHING!," which capped the video.

You might also be wondering, "Is it possible to do a video without a runner?" Yes, though running gags and callbacks definitely help add variety and satisfaction to the overall experience. Even on shows like Saturday Night Live or MadTV, recurring sketches and characters carry the same feel as a "runner" over multiple episodes, so not even they are immune to it. Though, if you wish to go runner-less, it's perfectly acceptable and doable.

Of course, the above patterns are but two of an infinite number of combinations. Typical improv theater has a format called The Harold, developed by theater teacher Del Close, which runs like this:

  • Opening (which sets the tone for the rest of the narrative runners)
  • Narrative Runner A Part 1
  • Narrative Runner B Part 1
  • Narrative Runner C Part 1
  • Random Sketch(es)
  • Narrative Runner A Part 2
  • Narrative Runner B Part 2
  • Narrative Runner C Part 2
  • Random Sketch(es)
  • Runout: All of the Narrative Runners start to mix with eachother for the remainder of the sketches, and callbacks run aplenty. Though, you can do one more sets of Narrative Runners before doing the Runout.

As you can see here, this one is made up entirely of narrative runners, outnumbering the random sketches. This should help cement the idea that there is no limit to the structures: it's really up to you in the end. Sure, you still have to worry about pacing and variety, but beyond that, the sky's the limit. If you're daring enough, you can even do it freeform, but remember: structuring your sketches makes it more comfortable for the audience, since there's a defined pacing of the content, and they'll be able to feel when the next runner or random sketch is coming. Only go freeform if you want to mess with people's expectations, not because you think it'll be easier.

In action, here's what it looks like for A Very Walfas Christmas 2017:

  1. Narrative Runner A Part 1 (2 minutes)
  2. Random Sketch (10 seconds)
  3. Gag Runner A Part 1 (15 seconds)
  4. Random Sketch (10 seconds)
  5. Random Sketch (25 seconds)
  6. Random Sketch (15 seconds)
  7. Gag Runner B Part 1 (15 seconds)
  8. Random Sketch (40 seconds)
  9. Random Sketch (15 seconds)
  10. Random Sketch (40 seconds)
  11. Narrative Runner A Part 2 (30 seconds)
  12. Gag Runner B Part 2 (20 seconds)
  13. Narrative Runner B Part 1 (45 seconds)
  14. Random Sketch (15 seconds)
  15. Random Sketch (20 seconds)
  16. Gag Runner B Part 2 (15 seconds)
  17. Gag Runner A Part 3 (15 seconds)
  18. Random Sketch (20 seconds)
  19. Random Sketch (10 seconds)
  20. Narrative Runner A Part 3 (50 seconds)
  21. Random Sketch (15 seconds)
  22. Gag Runner A Part 3 (10 seconds)
  23. Narrative Runner B Part 2 (50 seconds)
  24. Gag Runner B Part 3 (15 seconds)
  25. Random Sketch (20 seconds)
  26. Gag Runner A Part 4 (10 seconds)
  27. Random Sketch (1 minute, 15 seconds)
  28. Narrative Runner A Part 4 (1 minute, 15 seconds)
  29. Gag Runner A Part 5 (15 seconds)
  30. Random Sketch (10 seconds)
  31. Random Sketch (50 seconds)
  32. Random Sketch (45 seconds)
  33. Gag Runner A Part 6/Ending (20 seconds)
  34. Narrative Runner A Part 5 (2 minutes)
  35. Stinger Referencing Sketch #27

As you can see, first of all, it's nowhere near as neat as the outlines I gave above, but let's take a closer look and dissect this. From a far-out view, the video looks like this:

  • Narrative Runner A
  • Sketches
  • Gag Runners A & B
  • Narrative Runner A
  • Narrative Runner B
  • Sketches
  • Gag Runners A & B
  • Narrative Runner A
  • Sketches
  • Gag Runners A & B
  • Narrative Runner B
  • Narrative Runner A
  • Sketches
  • Gag Runner A
  • Narrative Runner A

Now this looks much cleaner: the structure of the sketches are symmetrical.

And speaking of symmetry, when we add up the time, it looks like this:
Random Sketches: Est. 7 Minutes, 20 seconds
Narrative Runners: Est. 7 Minutes, 10 Seconds
Gag Runners: Est 2 Minutes, 30 Seconds

If we look at these times, an interesting phenomenon happens: although the narrative runners are roughly as long as the random sketches combined, they don't feel as long thanks to pacing, and while the gag runners are short, they're memorable for being spread out all over the video.

Now let's look at another example by somebody else: good ol' asdfmovie by TomSka!

Here's asdfmovie #1, which proves you don't necessarily need a runner (at least to start with):

  1. Cold Opening Sketch (10 seconds)
  2. Random Sketch (12 seconds)
  3. Random Sketch (3 seconds)
  4. Random Sketch (10 seconds)
  5. Random Sketch (5 seconds)
  6. Random Sketch (3 seconds)
  7. Random Sketch (10 seconds)
  8. Random Sketch (3 seconds)
  9. Random Sketch (20 seconds)
  10. Stinger (8 seconds)

Notice the alternating length in scenes, and how the final sketch is the longest.

Now for asdfmovie #2, which is more structured:

  1. Cold Opening Sketch (5 seconds)
  2. Gag Runner A Part 1 (8 seconds)
  3. Random Sketch (5 seconds)
  4. Random Sketch (8 seconds)
  5. Random Sketch w/ Callback to asdfMovie #1 Sketch 8. (5 seconds)
  6. Random Sketch (10 seconds)
  7. Random Sketch (5 seconds)
  8. Random Sketch (4 seconds)
  9. Gag Runner A Part 2 (8 seconds)
  10. Random Sketch (4 seconds)
  11. Random Sketch (3 seconds)
  12. Random Sketch (12 seconds)
  13. Gag Runner A Part 3 (10 seconds)
  14. Gag Runner A Part 4 w/ Callback to asdfMovie#1 Sketch 10 (4 seconds)
  15. Stinger (8 seconds)

Remember that classic sketch structure I talked about before? Here it is in action. Also, notice how the lengths of the final sketches: Part 3 of the "I Like Trains" Runner is a fakeout and slower-paced than all of the others, leading into Part 4 and its fast-paced and explosive climax. And as you'll see, the rest of the asdfmovie Series has a runner at the center of most of the videos (the Salad Puncher in Part 3, Mine Turtle in Part 5, the Muffin in Part 7, the Skateboarding Cow in part 8, the singing sheep in Part 10), and each video with a Gag Runner ends on said Gag Runner (with the exception of 3, which ends on a Callback to Part #2). asdfmovie, as a whole, is a great example of how to use callbacks, running gags, and runners, and I'd highly recommend giving it a rewatch knowing what you know now about sketch video structure.

3. Your choices as a sketch video maker.

Lately, I've been emphasizing more that my guides are mainly to give people more choices, since some folks seem to think I believe whatever I write guides on are the "only one true way" to do things. They're not: these are just my observations and what's worked for me, my friends, and fellow writers. So, here are things to consider when writing a sketch video:
  • Do you use a cold opening with a sketch to set the tone for the video, or just use a quick title card?
  • Will you focus on a Narrative Runner or a Gag Runner? Or will you use both? Or neither?
  • How will you structure the sketches? Will it fit a certain pattern or follow a certain theme? Or is it freeform?
  • What sketches can you reference near the end for a good callback?
  • What gags can be made into running gags without feeling forced?
  • Is there enough variety in the pacing of the scenes? If not, should a longer sketch be cut apart and turned into a runner?
  • Does the video need a stinger? If so, will it be standalone or a callback?

In addition, here are some tips for learning sketch structure:

  • Watch classic sketch shows like Monty Python's Flying Circus or The Kentucky Fried Movie.
  • Look at online sketch videos with the above information in mind, and try to spot the runners, running gags, and callbacks.
  • Watch a sketch video or show and log down the lengths of each scene and what category they fall under. It'll give you can idea of the structure.
  • And, of course, just do it! If you got a program to make stuff in, make a short little sketch video. It doesn't have to be epic in length: if you have twelve ten-second sketches, you have a two-minute video. Again, look to asdfmovie, which is a short video about short sketches, but is seen as a classic across the internet.

I hope this guide helps those of you out there wanting to make sketch videos of your own, as well as give a view of how I see sketch video structure.

Happy sketching,

So, got tagged by Gii828, so here's his questions:

1. If you were on death row, what would your last meal be?
Alcohol and pot brownies. Should make the experience more bearable.

2. Which two characters from any universe, real or fake, would you like to see in a deathmatch with each other?
Dunno, but the first thing that comes to mind is Ragna the Bloodedge from BlazBlue vs. Vash The Stampede from Trigun.

3. What is your favorite music artist/band?
Would you folks be surprised to find I'm an unironic Linkin Park fan? Seen them in concert four times, and each one was amazing. It sucks what happened to Chester Bennington. I hope they either continue with a new singer who can do him justice like with AC/DC or Drowning Pool, or they start a new band ala New Order.

4. Besides Suika or Yuugi, who would be the Touhou character you would be least likely to pick up the bar tab for?
Yuyuko. She'd probably clean out the kitchen.

5. Had you known it wasn't related to Touhou, would you have bought a shirt similar to Hecatia's "Welcome to Hell" shirt?
Nope. I'm a very plain-clothes kinda guy.

6. If you had control over water, fire, earth or air, which one would you choose?
Water, assuming I can make it. I'd never get thirsty, never have to worry about bathing, I can put out fires, and so on.

7. Would you rather see two hours into your own future or two hours into everyone else's future?
My own, only because I know I'd probably be helpless in using other people's futures to their advantage. Plus, I'm more likely to actually do things with my own future, and if other people are involved, it predicts their futures as well.

8. What would be the crime you would most likely commit? (Note: "nothing" is not an answer)
Speeding. I've gotten a speeding ticket before in some pretty unfortunate circumstances (sandwiched in by a tailgater who what speeding).

9. If one sport had to be wiped off the face of the earth forever, what would it be?
Pro Golf, only because apparently it's a huge time-sink among the rich and politicians from doing more productive stuff, and I'm willing to bet more stuff would get done if it wasn't around. Putt putt can stay, though.

10. What is your favorite genre of movie to watch?
Action-adventure, of course!

11. What is your favorite walfas video, if any?
This is a tough one. Picking something I had no hand, it's gotta be castlepokemetroid's Rinnosuke's Hardware Store. Well-animated, great music, showcases every character, funny, it's got it all. Though, for collabs, I want to say Ceej39's adaptation of The Greatest Story Never Told: Ceej took a pretty standard comic of mine and turned it into gold with his top-notch direction and great additional sight gags.

12. If you had to revive a dead celebrity, who would it be?
Chester Bennington. See Question 3.

I'm not tagging anyone, but feel free to tag me if you want: as much as I made fun of tag questions in the past, I wanna get around to doing these more nowadays.
If you've paid attention behind the scenes, you've probably heard me talk a lot about the mechanics of Diamond In The Rough and its antithesis Wrath of the Amanojaku. I've also been really emphasizing lately there is no single way to write: that everyone will develop their own style and series of techniques. Of course, some folks love to say, "Write like Spaztique says or he'll come to get you!," but that completely ignores the disclaimer at the start of my guides saying, "Hey, I don't have all of the answers, this is just me adding my two cents."

So, I want to talk about the myriad ways of writing heroes and villains.

This post came about from, as I said at the start, comparing and contrasting two of my feature-length projects, the self-insert-fic-deconstruction Diamond In The Rough and the celebration-of-all-things-Touhou comic Wrath of the Amanojaku. In one, the characters fall into a dark-grey territory where it's no longer clear who's really the villains or the heroes, and in the other, there is a clear villain and clear heroes. In the fics I've either critiqued in the past or helped folks out with, they've spanned from anti-heroes and anti-villains to straight-up heroes to straight-up villains. I'm not going to tell you "what makes a good hero" or "what makes a good villain", because that falls on your ability to plot. As I've said before, a good plot brings out the best in even the most poorly-written characters, and a bad plot destroys good characters.

Rather, this post is about your options for creating heroes and villains.

Your options for villains.

First, obviously, what is their motivation? Some of what we deem "villains" are just normal people. An antagonist does not need to be a twirly-mustached Snidely Whiplash type whose hobbies include tying damsels in distress to railroad tracks and armed robbery: it can be as simple as a rival love interest in a romance comedy, a rival in a sport movie, or even two friends competing over the same goal. Of course, you can do Snidely Whiplash types if the story calls for it: otherwise, we wouldn't have "obvious villain" villains like Harry Potter's Voldemort, Lord of the Rings' Sauron, or, to some extent, Hans Gruber from Die Hard. The pitfall of writing an "obvious villain" villain is that it's too easy to fall into the trap of not fleshing out their motives, other than, "They're evil! Why do I need an explanation?" And sometimes, this can be done well: if a villain does it merely for what appears to be the sheer thrill of it, like The Joker from The Dark Knight, or simply out of animal instincts, like the shark from Jaws, it can be quite scary.

How do they achieve their motivation in a way that makes them villainous? A common writing adage is that villains could often be heroes if they just went about achieving their goals different. Most war stories or battles of wide-scale conflict often have both sides saying they're fighting for peace, but one side believes in freedom and the rights of all, while the other believes in power and crushing those who get in their way. Both sides have the same resources, same setting, same really everything, but their ideologies split them between heroes and villains. Compare Star Wars' rebels (peace and freedom) to the Empire (power and oppression), Transformers' Autobots (peace and freedom) to the Decepticons (power and oppression), or even Command and Conquer's GDI (peace and freedom) to NOD (power and oppression). Historically, that's been that appeal of WW2 fiction, at least the European Theater: you had the Allies (peace and freedom) vs. the Nazis (power and oppression). Interestingly, the Pacific Theater, and the war stories it derives, focus on another dynamic: what if both parties both say they're fighting for peace and freedom, and both parties also use some pretty underhanded tactics? As a result, stories of the Japan-US conflict of WW2 tend to be more pessimistic, dark, and sober (Letters from Iwo Jima, Flags of Our Fathers, Tora! Tora! Tora!, etc.) than their gun-ho adventurous European counterparts (The Longest Day, the original Medal of Honor and Call of Duty games, and even Saving Private Ryan has a "quest-like" feel to it).

Continuing with this idea of motivation, let's look at this on a smaller scale with individual characters. Watchmen is a great example of how not every hero is heroic (such as the cold and tenacious Rorschach, who's not above torturing his enemies) and not every villain is villainous (the big bad's main goal is to end the Cold War and bring world peace). Of course, it's also great to have a hero who loves doing good, fighting an enemy who's obviously evil: look at any Marvel movie, or the campaigns of Starcraft 2, which feature truly heroic characters saving the universe for nightmarish villains. Plus, as I said in the first point, not every antagonist needs to go out of their way to be bad: most sports stories have teams fairly competing, and the only real conflict is, "Side A wants to win, but so does Side B." In the first three Rocky movies, Rocky challenges his opponents to a fair fight: Apollo Creed is obviously just an ordinary boxer who plays by the rules, as is Clubber Lang (if slightly more aggressive), and Rocky is just another match to them, but the conflict stems from how Rocky is hopelessly outmatched and must train like crazy just to survive, let alone win. The Rocky series took a turn for the campy when in Rocky IV, we're introduced to Ivan Drago, who doesn't play by the rules, even outright killing Apollo Creed in the ring, and rather than being a conventional sports movie, it becomes revenge story amid Cold War-era politics. Of course, this doesn't stop people from liking Drago: iMockery even made a game in homage to Ivan Drago's over-the-top character. So, there you have it: even if the plot doesn't work, an entertaining villain is still an entertaining villain.

Do they actually know they're villainous? To quote my favorite writing teacher Robert McKee, "Most villains don't even know what they're doing is bad, but it's often the people who believe they are completely good who end up being the most evil." As mentioned in the previous point, a villain can be a hero if they just changed their ways, but why change them if they already think they're "good" to begin with? Every evil empire thinks, "Well, we have to oppress people. Freedom is dangerous in the hands of idiots. Power means order, after all!" The person who yells at us in line, the car that honks at us for not running a red light, the cook who gets mad at you when they got your order wrong, all these people see themselves as in the right. Heck, I'm sure we can all remember a time we ourselves thought we were in the right, only to look back and think, "Crap, I really acted a jerk to that person." Everyone, no matter how good, acts in their own self-interest; not in a "selfish" kind of way, but I mean we view morality from our own point of view, do things to ensure our own survival, and so on. To put this into perspective, altruism, kindness, and humility in themselves are forms of self-interest: we put the interests of others before our own because we believe it'll be better for us in the long run, and that selfishness, bullying, and greed will hurt us rather than help us. However, not everyone believes that: some folks really do think that lying, cheating, hurting others to get ahead, taking advantage of others, and being a jerk is acceptable because "that's the way of the world." They justify doing horrible things by saying, "Well, everyone else is doing it, so I might as well do it, too!" So we end up with cynical characters like Tyler Durden from Fight Club, who decides the only way to defeat the corrupt exploitative establishment is to replace it with his own corrupt exploitative establishment. The same can be said of tragic anti-heroes such as William Foster from Falling Down, Paul Kersey from Death Wish, or Travis Bickle from Taxi Driver, who are so fed up with the corruption of society that they decide to fight back just as brutally. To them, it's an eye for an eye, and their rampages feel perfectly justified. In the minds of many villains, they don't really see themselves as villains: they see themselves as "anti-heroes," justifying their hideous, reprehensible actions by saying the ends justify the means. Of course, we'll cover real anti-heroes (and not just self-glorifying villains) later in this.

But sometimes villains know they're doing evil. Then comes the next question, do they care that what they're doing is wrong? In the case where it's a simple rivalry, you don't really need this question, but if the villain really is doing some bad stuff to get what they want, how do they feel about it? Are they like Mr. Freeze from Batman, who only commits crimes so he can find a cure for his dying wife, and it's obvious his life of crime is merely out of desperation? Or are they like The Joker, who sees it all as one big joke? To Vincent from Collateral, murdering people is just a job. Freddy Krueger from Nightmare on Elm Street and Pennywise from IT both have an absolute blast torturing kids. On the comedic side of things, Dr. Evil from Austin Powers literally attended "evil medical school" for his title, and when his #2 man "Number Two" calls him out for the fact his evil schemes make less money than their business front, Dr. Evil simply kills him in cold blood. The Grinch of How the Grinch Stole Christmas gleefully steals all the Who's Christmas stuff to end their yearly Christmas racket, reveling in how they'll react once they find out he stole Christmas (of course, the fact the Who's still celebrate Christmas anyway gives him a change of heart, which I'll cover shortly). The same can be said of the Blue Meanies from Yellow Submarine, who gleefully destroy all the joy and goodness of Pepperland simply because they like being mean, and it's up to the Beatles to save everyone through the power of music (and, like the Grinch, they have a change of heart). While not every villain needs to be a "card-carrying villain," they are possible and often very, very enjoyable.

Lastly, do they have a moral limit? In a classic scene in Scarface (which, with a violence and language warning, you can see here), just when it seems like Tony Montana couldn't hit a moral rock bottom after stealing, lying, abusing drugs, and insulting his wife for "having a womb so polluted she can't even had a child," he's called to do another assassination by his drug dealer. Everything seems normal until the target gets into a car with his wife and children. Tony relents, but is forced to follow the car, knowing that if he refuses, his dealer will obviously kill him right back. The assassin driving with arms a bomb planted under the targets car, and Tony tells him, "You don't have the guts to look them in the eye when you kill them!" In that moment, we recall all the other previous scenes with how close he was to his family, his sister, and how just only a few minutes ago, despite insulting his wife before she left him, he wanted to have kids of his own. The other assassins tell him to do his job, but instead of destroying the car, Tony Montana shoots them, leaving the target and his kids to drive off safely. Unfortunately, this action leads to his eventual demise when said dealer sends an army to assassinate Tony (but not before taking as many of them with him as possible), but for a moment, we remember that Tony, despite being a mafia kingpin, has a conscience, unlike his fellow criminal masterminds.

Many stories have moments like this where the seemingly bad character realizes maybe what they're doing isn't worth it: the Grinch's heart growing three sizes after witnessing the Who's aren't as materialistic as he thought they were and celebrating Christmas anyway, the cynical capitalist Oscar Schindler of Schindler's List witnessing the extermination of the Jews firsthand and deciding from there to save as many as he can, even Darth Vader of Star Wars, who was willing to commit genocide for decades, finally put his foot down when the Emperor threatened to kill his son. If a villain can eventually reach his limit and put his foot down, the results are often memorable and moving.

But not every villain has a moral limit: some remain defiant to the end. In the finale of Star Trek (2009), the crew of the Enterprise offer to show the villainous Nero, who had already committed genocide and many other crimes, mercy and save him when it's clear he won't survive. Spock questions why they'd save him, and Kirk says showing compassion would probably work on a Romulan. Instead, Nero replies he'd rather suffer in agony than accept help from the Enterprise. Knowing there is literally nothing in the universe that will ever change Nero's mind at this point, Kirk simply replies, "You got it," and not only leaves him to die, but fires everything they have left at his already-imploding ship: a truly badass moment as the Enterprise give the villain a death he both wants and deserves. Many James Bond villains go out in similar ways: it looks like they have Bond on the ropes, taunt him for not understanding how the world "really" works and how he's such a naive optimist, only for Bond to outsmart his enemies, kill them, and save the world. In some cases, the villain simply does not have a moral limit: the shark in Jaws just wants to eat, the Terminator just wants to kill his target, and in the case of comic horror, the villains aren't even aware the humans exist, or at least don't even consider them to be alive, such as the titular Hellstar of Hellstar Remina, or in a more comedic example, the humans in Sausage Party.

So, these are just some of your choices you have to work with. And, as always, it's not black or white: this runs along a sliding scale for each variable. In summary, think of these as sliders:
  • Is the villain's motivation concrete, abstract, or unknown? Another way of putting it, is it simple, complex, or hidden?
  • Is the villain moral, immoral, or amoral? Another way of putting it, do they want to do the right thing, are they willingly doing bad things, or do they change their morality depending on the situation? What are their methods of achieving what they want?
  • Does the villain willingly and knowingly do bad things? Do they know they're a villain, or do they think they're good and oblivious to their wrongdoings?
  • If they know they're villainous, do they feel bad about it, neutral, or good about it?
  • Does the villain have a moral limit? And if so, what is it?

From this, we can make a template to analyze villains. Compare the villains below:

Villain A:
Has complex motivation: wants to save the world and bring world peace.
Is Amoral: has an "ends justify the means" attitude and commits atrocities knowing it'll be worth it in the end.
Knowingly does bad things, feels only slightly bad about them.
Does have a moral limit, but avoids crossing it.

Villain B:
Has simple motivation: destroy their enemies.
Is Immoral: knowingly lies, cheats, steals, and stabs people in the back to get what they want.
Does not see themselves as a villain, but an all-loving anti-hero fighting "the true villains."
Has no moral limit.

Villain C:
Has simple motivation: to beat out their competition.
Is Moral: will not cheat, lie, or steal. Uses only the power of hard work and determination.
Does not see themselves as a villain, mainly for not doing anything villainous.
Obviously has moral limits.

Villain D:
Has no known motivation, but appears to be destroying/eating everything it comes into contact with.
Is Amoral: does not operate on human logic. Simply uses brute force.
Does not see themselves as a villain.
Has no moral limit.

Wildly different antagonists, huh? Villain A would be your classic "anti-villain" archetype, who's heart might be in the right place, but the way they go about it turns them into a villainous person. It's easier to sympathize with Villain A than Villain B, the self-righteous hypocrite villain like Borderlands 2's Handsome Jack or the less-funny Voldemort from Harry Potter. Then you have the honest rival, who'd be your Apollo Creed from Rocky, Iceman from Top Gun, or Miles Edgeworth from Phoenix Wright: Ace Attorney. Villain D is the animalistic antagonist, ranging from the Xenomorph from Alien to the cosmic horrors of H.P. Lovecraft's works.

Again, these variables are not exhaustive, so I'm sure you can find more.

Your options for heroes.

Many of the choices for villains are similar for heroes, but due to narrative focus, i.e. more screentime, some choices will be different.

First, what is their level of motivation for getting what they want? Some heroes want to jump right into the fray, such as most shonen protagonists, or like any hero of the Star Wars franchise: Anakin, Luke, and Rey all want to jump head-first into adventure and already have minoring adventuring experience beforehand, almost practicing for the real deal. Harry Potter jumps at his chance to go to Hogwarts, Bill & Ted see their time-traveling adventure as a godsend for their history assignment, Shirou of Fate/Stay Night dives in headfirst when he finds out he has no choice but to fight in the Holy Grail War, Neo of The Matrix is sick of his boring life and joins the Zion rebels to fight the Machines, and in a darker example, Ishmael jumps at the chance to go on a whaling adventure in Moby Dick, in a time where sea creatures were considered kaiju. In some cases, the hero just rolls with it because they don't have a choice: Gordon Freeman of Half Life finds himself at ground zero for intergalactic disaster, and has no choice but to pick up a crowbar and fight for survival, as is the case for the hero of Doom. In Hitchhikers Guide to the Galaxy, Arthur Dent is minding his own business when his house gets demolished to make way for a new highway, and just when things can't get any worse, it turns out Earth is going to be demolished for an intergalactic highway, so Arthur hitches a ride with Ford Prefect through space because he has no choice. Some heroes want to go on the journey, but not every hero does.

Naturally, this ties into the next question: what is their goal? This is pretty basic storytelling stuff. Do they want a physical goal or an internal goal? Physical goals include stuff like win the contest, get the love interest, defeat the villain, and so on. Internal goals include stuff like maturity/growth, peace of mind, coping with a past upset, and so on. Of course, neither is mutually exclusive: as I've written about in the past, many journeys require characters to achieve the internal goal before getting the external goal, and in some cases, the external goal to achieve in the internal (though, this materialist twist on things is less common). And again, not every story needs both: sometimes you can only have an external goal if the characters' arcs are solidified, or an internal goal if the story is more laid back. To illustrate this, I offer two examples:

First, a serious example. In Mr. Holland's Opus, Mr. Holland wants to be a famous composer, so he decides he's going to be a music teacher: he's got all summers and evenings off and decent pay, so of course he'll have time to write, right? Turns out the school wants him to host some after-school stuff, tutor kids, and to spend more time at work. Not only that, his wife is pregnant, and when the son is born, it turns out he's deaf. Now Mr. Holland has to balance his family life and work life, and the story progresses over multiple decades as he focuses more on getting closer to his deaf son and saving the school's music program than writing his opus. Finally, the school shuts down the music program, Mr. Holland is about to retire, and he never finished his opus. However, just as he's about to leave, he's led to the school auditorium, where all of the students he influenced fill the crowd, and his son and wife wait in the crowd, and he gives one final performance before all of them. So, despite not getting to fulfill his dreams to become a rich and famous composer, he got something more important: the love of the people he most cares about and who care about him.

Second, a not-so-serious example: in Kingpin, Roy Munson is a former champion bowler who gets screwed over by rival Ernie McCracken, resulting in the loss of his hand and the end of his career. Cut to several years later: Roy now has a prosthetic hand, living in a rundown apartment where he's forced to have sex with the hideous and ill-tempered landlady to pay the rent, clearly having given up on life. The rest of the plot follows him as he tries to climb out of the gutter (pun only slightly intended) and get revenge on Ernie in the latest tournament, joined by Ishmael, a young Amish man learning how to bowl to save his family via tournament prize money, and Claudia, a woman escaped a relationship with an abusive bowler herself. Things go well for a while, as Roy nearly beats Ernie after all these years, but Ernie still wins, much to Roy's horror, and Ernie seems to get off scot-free for his crimes. But despite losing, Roy's efforts pay off: Roy gets an endorsement from Trojan for his nickname "Rubber Man" for his prosthetic rubber hand, and Ishmael is forgiven for secretly bowling after Roy and Claudia explain the whole thing. In the end, Roy donates his money to Ishmael's family to save his farm, and he and Claudia drive off into the sunset. He didn't get the money, but at least he got a new chance at life.

Both films are classic examples that not every goal can be achieved, but the journey to maturity is often more important.

Of course, how do they go about getting what they want? Same case with the villains, and here lies the sliding scale of heroes to anti-heroes. True heroes are paragons (read: high examples) of morality and goodness. They don't cheat, lie, steal, or hurt others. On one end of the scale, we got the truly heroic heroes who refuse to kill people (ala The Lone Ranger, Batman), who use their powers to make the world a better place (despite his snarky exterior, like Tony Stark, aka Iron Man), and use their influence to unite people (Jim Raynor from Starcraft, the titular Harry Potter, Optimus Prime from Transformers). Going down the scale, you got the classic anti-hero, i.e. a hero with not-so-heroic traits: Tony Stark has all of the classic heroic qualities, from his ideals to use his technology for peace, willingness to sacrifice himself to save humanity, and never giving up in the face of adversity, but he's also rude, ill-tempered, doesn't play well with others, cynical, and when he's not battling alcoholism, he's facing anxiety attacks. The same can be said of Star Wars' Han Solo or Dameron Poe: both loose cannons who don't play by the rules, but also willing to set that aside to save the galaxy. Deadpool is a self-aware example: he describes himself as "a bad guy who beats up the worse guys," and is willing to murder villains with no remorse (and plenty of quips), but is still a compassionate and protective person past all his snark and comedic sociopathy. Some heroes aren't above lying or trickery to save the day: they can be as harmless as Axel Foley from Beverly Hills Cop or the Doctor of Doctor Who, or the Chaotic Neutral of Jack Sparrow of Pirates of the Caribbean. Going further down the line, we have the previously-mention tragic heroes, who do pretty terrible things to worse people. At the furthest end of the spectrum, you have the villain protagonist, who blurs the line between hero and villain: folks like Light from Death Note or Captain Walker from Spec Ops: The Line. At this point, the only thing that makes them a "hero" is that they're the protagonist, but looked at objectively, they're really just villains in denial.

And lastly, is there a moral line the heroes are willing to cross to get what they want? On Nickelodeon, there have been numerous episodes on every series dedicated to this: the episode of Rocko's Modern Life where Rocko becomes a megalomaniac boss, one episode where Doug pawns off somebody's stuff (albeit unknowingly) for extra cash, an episode of Aaah! Real Monsters! where Ickis decides to exploit people's phobias than be naturally scary like his school is teaching him to do, and so on. Of course, in the end, they're always punished for it (most famously with Ickis having to clean the bathroom floors with a toothbrush). The majority of heroes won't stay over the morally ambiguous line forever, often always having a "WHAT AM I DOING?!," reaction before stepping back. But when they stay over the line, they often become villains, and such moments are both heartbreaking but oh-so-amazing: Harvey Dent's transformation into Two-Face in Batman, or Sephiroth in Final Fantasy VII transforming from the stoic badass leader into the maniacal harbinger of doom.

Again, this list is not exhaustive, but it should give you an idea of your choices when it comes to heroes. In short:

  • What is their willingness to go along with the story? Do they want to go on an adventure, don't want, or don't care either way?
  • What is their goal? Is it internal, external, or both?
  • Are they moral, immoral, or amoral? What do they do to get what they want?
  • Is there a moral line they're willing to cross to get what they want?

Compare and contrast these heroes. The template is a little simpler, as answering one will answer another:

Hero A:
Wants to save the world, is completely willing to go on the journey.
Tries to be Moral, but can be Amoral. Does the right thing for the most part, but is willing to compromise their values if desperate.
Does have a moral limit, only crosses it out of desperation, feels regretful if doing so.

Hero B:
Wants to save the world, doesn't have a choice, but goes through with it anyway.
Is Moral: will not lie, cheat, or do anything to compromise their values.
Does have a moral limit and will not cross it.

Hero C:
Just wants to get stronger, uses external goal as a crucible for change.
Is Moral: will not cheat, lie, or steal. Uses only the power of hard work and determination.
Obviously has moral limits.

Hero D:
Wants to destroy their enemies at any cost.
Is Immoral: Uses the tactics of the very people they're fighting, simply because the villains will "do it first."
Has no moral limits, willing to do hideous things in the name of "good."
Hero A would be your classic hero typical of a Hero's Journey arc. They want to do good, but certain traits hold them back until they finish their character arc. Hero B is the reluctant hero: they don't want to go on the journey, but since they have to, they're going to play the hero to the best of their ability. Hero C is the foil to Villain C: two rivals in fair competition. Hero D is the "Hero in name only": depending on the story, they can either be "the bad guy who beats of the worse guys," such as Michael Corleone from The Godfather or Tony Montana from Scarface, or just a plain villain protagonist.

I'm going to keep repeating this: this list is not exhaustive. The lesson here is that there are several choices that go into making a hero or a villain, all on sliding scales. The next time you're wondering what makes a "good" hero or a "good" villain, remember that each one of these heroes and villains have been pulled off correctly. There are 100% good heroes, 100% evil villains, villains with good intentions, heroes with bad intentions, heroes with complex motivations, heroes with no motivation, villains with complex motivations, villains with no motivation, and so on and so forth.

And remember, there is no "one" way to write anything,

P.S. Actually, take a stab at who those villains/heroes in the examples are based on, and if you're right, you get a llama badge! Hint: the examples are all in this blog post.
I've been wanting to do this for February, so I might as well do it before the month ends.

From the creator of "Spec Ops: The- HOLY SHIT, A GAZELLE!!!," it's...

Doki Doki Literature Club - You Pick The Route!


For those unfamiliar, Doki Doki Literature Club is a cute, fluffy, goofy visual novel with a surprising amount of heart and complexity: so much so that it's earned numerous awards. Now YOU can see what all the fuss is about!

And better yet, YOU get to pick which girl I romance!

The story's simple: your best friend Sayori gets you into a poetry-writing club, and it's full of your typical anime love interest archetypes...
  • Sayori: Your goofy clumsy best friend! However, she appears to be harboring sadder feelings inside, and her route focuses on getting her out of her depression!
  • Natsuki: The tsundere, of course, who specializes in baking. Her route goes into her home life, and you become her Prince Charming.
  • Yuri: The yandere, but she's fine. I know they say, "Don't stick you @#$& in crazy," but she's actually a fairly complex character, and her route is actually pretty steamy. I won't spoil much: you'll just have to see it for yourself...

And there's Monika, who doesn't have a route, but she's my favorite character for not being 100% batshit crazy (at least in comparison to everyone else), for poking at the fourth wall a lot, and offering helpful hints and insights throughout the game. And by breaking the fourth wall, I mean she's practically aware this is a dating sim and basically indulges in the cliches. BUT THEY DIDN'T GIVE HER A FRIGGIN ROUTE!!! WHYYYYY?!?!?! But oh well: just think of her as my "co-host" for this stream.

Anyway, you guys get to pick which girl I romance this time around: I've already beaten all three routes numerous times, but I just wanna show the game off. If you want cute and heartwarming, pick Sayori. If you want funny, pick Natsuki. If you want sexy, pick Yuri.

Stream time is 8:00 PM Central on Friday, 2/23/18, on my Twitch channel.

Trust me when I say you do NOT wanna miss this!

We'll be waiting!,
-Spaztique and Monika

In case you haven't heard on some of the chats I frequent, I'm working on a manga adaptation of my National Novel Writing Month 2017 entry Virgin Killer Club!, the tongue-in-cheek affectionate parody of eroge visual novels. For more information of this story, click here. My goal was to write a moderately cleaner version of the original story that could easily pass for broadcast. All of the content's been drastically toned down, the love scenes are safe enough to watch on network TV, and the plot's been nicely cleaned up! Unlike the purely R18 original VKC, the manga version is more PG-13 (or at least R15 using doujinshi ratings: safe for high-schoolers, not so much for anyone younger).

However, after talking it over with dA senior members and volunteers and showing them what I had so far, it might be better to err on the side of caution and move the comic off-site.

Luckily, since VKC isn't pornographic (the love scenes never show anything explicit at all and are done for comedy and to advance the plot, not titillation), and there are content tools to ensure nobody can see anything NSFW unless logged in, we've reached a comprise, and I should be able to safely link it to at least get the word out.


The Virgin Killer Club! Manga Tumblr Page!

To ensure the safety of dA users, there's a three-tiered system in play: first, none of the NSFW material is accessible from the main page itself. Second, you need a Tumblr account to even get to the NSFW pages in the first place! Third, I plan to take the link down once we start getting close to uploading anything even remotely NSFW, so you better follow while the gettin's good, otherwise you'll just have to google it.

Here's a preview of what to expect... (Note: To preserve that authentic manga feel, it reads right-to-left.)

VKCEpisode1Clean 017 by Spaztique

VKCEpisode1Clean 023 by Spaztique

VKCEpisode1CleanPart2 027 by Spaztique

As you can see, it's actually a straight-forward harem romance comedy. Though, not to say it can also get pretty dark...

VKCEpisode1CleanPart2 012 by Spaztique

VKCEpisode1CleanPart2 029 by Spaztique

VKCEpisode1CleanPart3 006 by Spaztique

So, if you want to see more, follow the VKC Manga Tumblr! Uploads will begin on February 21, and links will be taken down within a month or so of that.
As animation for the (hideously belated) Christmas video wraps up (at the home stretch as of 1/19/18, hoping this video isn't a month late), I'd like to briefly talk to you folks about the upcoming feature-length comic I'm working on...

DDCWotaLogo by Spaztique
If you're unfamiliar with this project, it's a retelling of Double Dealing Character with several elements of Symposium of Post-Mysticism, Impossible Spell Card, Hopeless Masquerade, Urban Legend In Limbo, and even a flashback to Mountain of Faith (explaining why Marisa B was so overpowered). Expect MinusT-style danmaku dogfights, gobs of references, and a celebration of everything we love about Touhou. (Basically, everything encapsulated in this page.)

As I said before, this project is the true anti-Diamond In The Rough: While DitR was a dark look at Touhou self-insert fics, saying your OC is nothing more than a pawn to forces beyond its comprehension, WotA is a brighter look at vanilla Touhou, saying even a pawn can win the battle. In DitR, there are no clear heroes or villains: the "good guys" do horrible things, and the "bad guys" are trying to save Gensokyo in the long run. Here, the story starts out with anti-villains wanting to save Gensokyo and the main characters being petty and bickering with each other, but there eventually comes a point where it's very clear there are heroes and villains. (Or rather, a villain.) In DitR, all of the factions were merely out for themselves, emphasizing the unpredictable nature of Gensokyo's youkai and why it's not a good idea for you (the OC writer) to automatically trust them: especially considering Yukari's plan to prolong the balance in the youkai's favor indefinitely. In WotA, a running theme is that the youkai need the humans as much as the humans need the youkai to protect them, and that all of this "youkai vs. humans" stuff was made up (and I'm planning to have Yukari imply she is the one who wrote DitR to scare outsiders who want to go native). So, if you hated DitR for the reasons above, you're probably going to really love this.

But that's not how DDC: WotA has changed how I do Walfas.

As many of you have heard in the chat, I'm using the program ComiPo, essentially a 3d manga consumer version of Walfas (though you have to wait for it to go on sale because it's not normally cheap). I've posted previews of what I've been doing in the WSW chat and some related Touhou chats, but I feel like I should let the DA folks know what I've been up to as well. (Especially considering certain folks love saying I don't do Walfas anymore, even though I've still been tutoring folks for the years they've said this.)

To give you an idea of the level of detail ComiPo is capable of, here's a few pics from a test comic I've been working on in my non-animating time, based on Sumireko's final stage (though, this comic doesn't spoil really anything) and the movie Being John Malkovich:

BeingSumirekoPreview 002 by Spaztique

You might be wondering, "Where'd you get those 3d backgrounds?" Those were all made in ComiPo using textures and 3d objects.

But it's not just backgrounds you can do. See the desk? Here's one panel from the next page. (And btw, you can render individual panels, too. That's how I rendered the DDC Logo above. And yeah, that was made in ComiPo, too.)

BeingSumirekoPreviewFrame by Spaztique

That's rights. I was able to render the desk and chairs in 3d with ComiPo using the 3d primitives props. When I said ComiPo would be a Walfas game changer, I friggin' meant it.

But it also does Walfas backgrounds, too. Check this out from the latter half of the comic (and here's the other scene it's based on to compare, and if you played AoCF and watch that entire clip, you'll know why I'm doing this parody).

BeingSumirekoPreview 012 by Spaztique

So, how does this translate to DDC: Wrath of the Amanojaku?

Well, that comic you see above is an effects test for DDC: WotA. I'm doing test runs to experiment with my new workflow using ComiPo, so that when the time comes, I'll have a whole toolkit of techniques to use for DDC: WotA.

If you've been following production status of DDC: WotA, then you've probably seen the preview versions of each chapter. Let's use page 5-52 as an example. The context here: the heroines have just shot down Sekibanki, but she's not giving up any answers to what's going on. The youkai not participating the rebellion, which includes Kogasa, show up to help, and Kogasa quickly identifies Sekibanki, who tries to basically tell Kogasa, "Shut up, you don't know me!"

DDC Part5 052 by Spaztique

So, how does this translate to Walfas?

Using rsgmaker's createX and PNG Exporter, I can individually capture each character. I can add shadows within createX or ComiPo. The result looks like this:

DDCCh5FirstLookPreBackground by Spaztique

The cool thing about this is I can easily swap out character sprites or backgrounds if I ever make a mistake, without ever having to recreate the entire picture. I even plan on recoloring Kogasa's eyes in future edits, and I don't have to worry about editing the whole picture: just individual sprites.

Using a temp background, I can show the next step: adding backgrounds and color correction. Although this isn't the final product (the background needs work), it should give you an idea of the level of detail I'm going for... (Oh, and btw, I'm eventually gonna need background artists when I start acquiring props, so think of this as your proof of concept.)

DDCCh5FirstLookPostProduction by Spaztique

The cool thing about doing Walfas stuff this way is I never have to worry about opening create.swf and then be short on what dialogue to give the characters: I can just write out the entire script in ComiPo first and never have to worry about wasting time on a scene where I have to go back and delete the frames. Each of these pages took roughly 45 minutes, when making a comic with this level of detail the old-fashioned way would take over an hour. Plus, it has that nice comic format that's rarely employed with Walfas stuff.

I'm still looking for a freeware alternative to ComiPo, and doing this in Gimp or Photoshop has always been tedious and time consuming. But for now, it's become my main editing tool of choice, and when I get back to making comics with the regularity I used to, you can bet it'll be done with twice the speed, efficiency, and quality as before.

Either way, I'm hoping these kinds of comic make it big in 2018. If all goes as planned, DDC: WotA is going to break new ground for what's possible with Walfas, not to mention its message about hope for the future, the importance of friends and community, and never giving up in the face of hopelessness. It should be the ultimate antidote for all the drama the Walfas community has faced over the years.

But before I can do that, it's time to finish that video.