Category Archives: Journal

This is me rambling about me, mostly. Current stuff: home, family, my head’s on fire… that kind of thing. This also includes everything imported from LiveJournal.

Tagon’s Extreme Napping, Howard’s Extreme Angst

Two weeks ago I was at the Out of Excuses Workshop and Retreat*, and I tried something I’ve never tried before at a writing retreat–I worked on comics.

That went pretty well. I cranked out eight days of inks while listening to seminars from Dan Wells, Brandon Sanderson, and Mary Robinette Kowal.

I also tried working on the calendar art. That went less well. The art is on much larger pages, but there are no inclined drafting tables at Woodthrush Woods, and the light just wasn’t good enough for my poor old eyes.

That said, here’s the finished version of the piece I was working on:Maxim 40 bw Teaser

 

It never got to this point at the retreat, though. It did get to the point that I was using strong language in public spaces.

I wasn’t even able to get the foreground finished–the poor hover-table was just an elliptical squiggle and a couple of boxes that only I knew were destined to become a tall drink and a handgun. I did finish Tagon and his Hammock of Extreme Napping, but I wasn’t happy with some of the lines. I could tell that I was making bad decisions about where to put the ink, so I needed to stop.

It was really frustrating, and by the end of that session my eyes hurt and I was convinced the piece was ruined forever.

Fortunately I was also aware of the fact that I’ve rescued hopelessly ruined art before, so I packed the piece home, where I was able to go to work on the background in the warm, bright light of our front room, standing at the drafting table that has seen 8 years of Schlock Mercenary slide across its surface.

I’m happy with the result. Randy Tayler (my brother, who has been following the comic since before anybody else) said it’s one of the best things I’ve ever drawn. I’m inclined to agree. I guess the lesson here is that even the very best projects often hit a spot where they look hopeless, and success as an artist depends on being able to push past that spot.

Once Travis colors it (and I cannot wait to see what THAT looks like) this will be the April 2015 page in the 2015 Schlock Mercenary Monthly Calendar. Pre-orders for that will open tomorrow at 8am Mountain Time, at the same time we open pre-orders for Massively Parallel, “Munitions Canister 2” slipcases, and the re-print of “Munitions Canister 1” slipcases.

We haven’t released two Schlock Mercenary books in one year since 2006, and back then the two books we did had a total of 180 pages between them. This year we will have released 416 pages of of Schlock Mercenary once Massively Parallel joins Longshoreman of the Apocalypse, and while the 2015 calendar isn’t quite the same thing, I’m going to count it as another 24 pages, because that’ll bring us up to 440.

And speaking of comics, I really need to sit down and draw some.


 

*Note: We’re doing the Out of Excuses thing again next year, only it’ll be on a cruise ship.

 

 

 

 

 

Breaking the Borderlands

“Honey, I have a shotgun for you.”

I sent this message, and then I dropped the shotgun in question on the floor of the cave and awaited a reaction.

My 19-year-old daughter and I were wandering through the Zaford’s stash cave during the Clan War mission of Borderlands 2, so it’s totally okay for me to be giving my teenager a shotgun by throwing it on the floor of a cave. Video game shotguns can take a lot of abuse.

The color-code on this shotgun was orange, which meant it was from among the very rarest and most powerful class of items. When you see an orange item, you jump on it, so of course Kiki snatched it up, pulled up her inventory screen, and then messaged me back.

“Oh, Daddy. I love it.”

KikiGotAShotgun“Kiki” is my daughter’s online nickname, and by happy coincidence this particular weapon had flavor text associated with it : “Kiki got a shotgun.” When the player reloads the weapon, she will throw it, but instead of tumbling away and exploding like some other magical Borderlands video-game guns, this one will point itself at the nearest enemy and fly towards it, firing as it goes. The flavor text encourages you to imagine what it would look like if a witch on a broom had a shotgun. Oh, and when it flies away a new copy of the gun materializes in your hands, beamed there from your storage deck because video game science fiction is a lot like magic.

But that’s not really the salient point.

See, ultra-rare items show up in chests or loot drops with such tiny frequency that the average player might not see one at all during 20 hours of play. Most players spend dozens of hours grinding their characters up to high levels, and then gang-raiding boss monsters over and over in hopes of an orange drop. And even then, unless they’re doing this during the level-capped “Ultimate Vault Hunter” playthrough, the item is going to be several levels lower than they are. A low-level rare item doesn’t do much good against high-level enemies.

It is unusual, then, for someone to hand another player an ultra-rare item that is leveled perfectly for their character.

I’ve done it dozens of times, because I’m a filthy cheater.

See, from one perspective, the Borderlands games are all about finding new weapons, shields, grenades, and artifacts so your character can face higher-level enemies as you move through the game. Play runs like this: navigate through the level until there’s a fight, have the fight, then stop for five minutes and compare the loot drops to the things already in your inventory. In single player mode this is kind of fun for a while, but in multiplayer mode it quickly gets boring.

From my perspective, the Borderlands games are about teaming up with my kids to kill things in an imaginary world of endless violence, experimenting with play styles and team strategies while laughing at the things our characters say as they interact. Stopping every five minutes for loot comparison crimps the mirth. So I got my hands on an editing tool for our save files, and solved the problem.

The editor has a button that will bring all the items in my inventory up to my level, which means the super-cool stuff I found back during my level 10 slog is still super-cool when I’m level 35. It will let me duplicate items (I did not give Kiki my only copy of that shotgun), and I can even create items in my inventory—items that would exist legally in the game, but which I’ve not yet come across.

Better still, the editor will let me clone elements from one character’s save file and build a brand new character at whatever level or game stage I want, so that I can, for instance, jump online with my daughter and join her level 25 quest without grinding for eight hours to create a level 25 character first.

The Borderlands games do not have a difficulty setting. If they’re too difficult, you are expected to practice more, or grind for hours in order to find more effective weapons, and usually the player must do both. There are hard-core players who have done exactly this, and who have hundreds of hours of hard-fought game play invested in a single character who has lots of cool tools.

And I expect that some of those players resent the fact that people like me exist. I have a dozen different characters, and they ALL have cool tools, and while I also have over a hundred hours logged in the game, I certainly haven’t “earned” the collection of rare and ultra-rare items these characters field.

So what? When my daughter said “oh Daddy. I love this!” I felt like I had TOTALLY earned that moment. I also earned the four hours she and I and my youngest son got to spend together one Saturday, engaged in a quest that would have been eight levels too high for her, except I leveled a copy of her character and inventory from 25 to 32.

Kiki is coming home from school in a couple of weeks, and I suspect there will be lots of Borderlands mayhem spread across the screens in my house. There will be laughing and shrieking and cheering, and maybe we’ll pause for some loot comparison when something cool drops out of a boss piñata,  but whatever happens I’m looking forward to it, and I’ll have the editing tool handy in order to make sure that we all get to play the game we love.

(Dear “Rick’s Games Stuff”: thank you for creating Gibbed’s Borderlands 2 Save Editor, because family time beats the loot-laden snot out of frustration.)

 

Ten Years: Ask Me Anything

On Tuesday the 23rd I’ll be doing an AMA (Ask Me Anything) in r/fantasy over on Reddit. Why? Because I’ve been self-employed for ten years now.

2004, September 20th, a Monday… that was my last day at Novell. Tuesday the 21st was my first day cartooning full-time.

And here we are in 2014. I think that the right day for celebrating a decade of Schlock Mercenary as my day job is the 21st, because while quitting was satisfying, I’d rather celebrate the beginning of the next thing than the ending of the previous thing. That said, here’s what I wrote ten years ago on September 20th:

In the face of this new-found freedom, I’m going to spend the next 90 days pretending to be a full-time cartoonist. It may be little more than a sabbatical, or perhaps a pilgrimage-at-the-drawing-table. Then again, it may be a pretense that dictates the shape of reality. I’m not unemployed. I’m SELF-employed. Pretend that with me, please.

The game of pretend has turned out pretty well thus far. I look forward to the perpetuation of the pretense for another decade and beyond…

 

Salt Lake Comic Con ’14: “Wonderful, notwithstanding…”

SLCC14-BadgeSalt Lake Comic Con is a great show.

It has some problems, and some of them are big and painful, but the good outweighed the bad for me this time around. I still think the registration issue is something the top brass need to fall on their swords for (last I heard they were blaming subordinates rather than admitting their own egregious failings in the matter) and the convention center itself is not nearly as pleasant a place as the San Diego, Phoenix, or Indianapolis convention centers with which I’m familiar, but at the end of the show there were happy crowds, happy vendors, and I had an energized sort of exhaustion that said “this was worth it” rather than “I don’t know why we do these things.”

If I point out problems, it’s because I want the show to be better, but I can now state with confidence that it’s a really good show.

My panels were a blast, and had good crowds. The panel discussions weren’t quite as erudite or deep as the panels at literary-focused genre events like LTUE, LDStorymakers, or the GenCon Writer’s Symposium, but those are events for writers, and the SLCC panels were, for the most part, events for fans (some of whom are writers, but they’re a small minority.) The important thing for this show is that the panels were fun–at least the ones I was involved in. I did catch a little mumbling from attendees coming out of one panel or another along the lines of “I was hoping it would be about…” or “I wish they’d covered…” but I think that’s as much an issue of setting the audience’s expectations as it is about delivering the goods.

Sandra had good panels as well, and that’s important to me. As a micro-publisher, editor, designer, and writer, she has at least as many important things to bring to a discussion as I do, and at Salt Lake Comic Con she got to bring ’em, and she came back from her events at least as energized as I did.

Some key differences between SLCC ’14 and SLCC ’13:

  • The aisles got wider
  • The Expo Hall’s hours got shorter
  • The Expo Hall’s hours didn’t get changed at the last minute
  • Security was managed professionally

This meant that the crowds flowed well, even when the show was full, and that vendors like me could have a reasonable 9-hour work day, allowing us to keep that game face on without needing to chew helpless, innocent attendees’ faces off when the last layer of battered veneer of our humanity finally sloughed away. It also meant that I was able to spend time with fellow professionals after floor hours. I had a delightful dinner with fellow cartoonists, including Pat Bagley, Dave Kellett, and Jake Parker, and was able to have a decompression dinner Saturday night with Brandon Sanderson, Dan Wells, Sandra, and Brian McClellan (who was a great booth-mate.)

Oh, and we made decent money. Return-wise, the first SLCC was the worst large show I have ever done. The second barely broke even. This one, though, made twice as much for us as the first two put together. Finally I can look at the event with confidence and start planning my year around doing it regularly.

Admittedly, I don’t know what the average attendee’s experience was. I think most folks at the show were there to stand in line for celebrity signings or photo-ops, and that’s way outside my area of interest. The fans who showed up at my booth were happy, and they were fun to talk to.

How big was it, really? Here’s what it looked like empty, as seen from the Green Room:

Looking south from the Green Room
Looking south from the Green Room
Looking west from the Green Room
Looking west from the Green Room

These pictures obviously don’t do the crowds justice. From my booth, which was in the southwest corner of the south wing, it took about 15 minutes to get to booths or events on the west end of the west wing… unless I flashed my exhibitor’s badge and slipped out and back in through the loading docks.

Here are the big hurdles that Salt Lake Comic Con needs to clear for their next event:

  • Get everybody into the hall within 3 hours on Thursday. Issue badges via mail, and open the on-site registration on Tuesday and Wednesday.
  • Attendee names on badges, at least for the adults, the vendors, and the professionals.
  • Roll out carpet. This will reduce noise, reduce fatigue, and class the event up a LOT. (AFAIK, right now the Salt Palace does not own enough carpet to do this.)
  • Lock in the panel schedule 60 days in advance.
  • Print a meaningful map, and hang better signage in the Expo Hall

But the show was wonderful, notwithstanding the problems I’ve described. Sandra and I have already begun planning how best to exhibit and attend the “Fan Experience” version of this event in April.