NEW YEAR’S VOTING INCENTIVE IS LIVE!
I felt like the New Year and the new decade needed to start with a little bit of class, so … here goes! Vote for Puck on TWC to ring in the new decade with Phoebe. In … some sort of style.
VOTE TO SIP THE FINEST OF DISCOUNT SPARKLING WINES!
As for this comic…
Just as the Lorax speaks for the trees, I think Hannah speaks for the audience here.
Hungry now….
For cake?
mmmm …. cake …. ♪ (｡´＿●`)ﾉ┌iiii┐ヾ(´○＿`*) ♪
Let’s not be TOO hungry now…
@EG
I just ate LASANGA.
Seriously.
It was from Costco, and it was delicious.
Now, now, now. Just because some “Cartoon Cat” loves it, does not mean we “Real Cats” cannot.
And that is the BEST fan art yet.
Mannymojito captures Robin’s firm, yet malevolent, essence.
I do like this one. The vibe is just right.
♫♫ Matchmaker, Matchmaker!
Cut through the crap! ♫
Tell me hard truths,
Give me a slap…
Bravo!
What if the cake is a lie?
Then you get death instead.
Cake never lies.
I see their relationship in terms of Puck and Phoebe, except this Puck (Daphne) is successful in her shenanigans and this Phoebe (Hannah) is not naive or without a spark of evil.
And I wish I could edit my comment for that little slip of the wrong ‘their’
I just edited it. Now no one will ever know!
An interesting parallel. Hadn’t thought of it like that, but you’re onto something. My brain keeps calling up that dumb audio clip of George Lucas saying, “It’s like poetry. it rhymes.”
I foresee the possibility that Daffy and Hannah might wind up besties, for a two-cute for comfort experience.
This is possible. Very possible.
I called that with my McLovin statement.
I like that Hannah is the first person who can go head-to-head with Daphne. Puck comes close, but even she gets bested by our surly darling dog girl sometimes. Most times?
Someone needed to stop that menace!
I’m starting to question what that little girl has done to her daddies basement when she has mentioned about people who can’t survive her roller coaster. I’m thinking that the girl is hard core and not vanilla.
The hardest of cores. Trust me.
Wel, she definitely hasn’t been hiding her freak.
I think that little Hannah is a bit more forthcoming than her facade seems to foretell.
I think this could be the start of a beautiful friendship.
Beautiful, terrifying, something like that.
Or a terrifying, scary friendship. Either or.
Like 2 halves of a binary explosive… Look at me, getting all sappy here. Like nitroglycerin seeping from old dynamite.
Aaand Daphne’s back. Has she learned anything from her trip? Um . . . . yes? Learned better? Eh, actually, yes. (I know, I can’t believe I’m saying that either.) Also, has the monkey bear finished destroying Tracee’s car, and is it about to find out the grave (literally, quite possibly) error that is?
Yep. The Daphne can’t stay out of Daphne for too long. But small, definite changes do occur.
And it was Satan’s car that got wrecked. I’m not sure what Tracee drives, but it wouldn’t be a vintage Caddy.
A blind girl who sees everything. Hmm, wasn’t there someone like that in Ancient Greek legend? Actually, Hannah doesn’t need to see everything, just more than Daphne and Tyler.
There were a bunch of them, actually. Tiresias was probably the most famous. But like you noted “sees all” is really just a relative concept, and in this case seeing anything puts her ahead of Daphne.
Wow! Bluntness and tough love from Hannah was a surprise, but it appears to have snapped Daphne back into her old snarky self. Tyler may always be a wuss, but Daphne may actually benefit from this advice; she certainly knows how to bounce back when talking to her other self.
I don’t think this is tough love as much as honesty. And honesty can often be a good thing.
Indeed, honesty can be a good thing. ;p
Like this
Yeah! A feast of honesty here!
I’m not sure if I’m more interested to see this go really well, or see it go badly and devolve into some kind of giant brawl.
I think either would be fun and enjoyable (for me).
Well, we’ve seen giant brawls before in the comic, and we’ve been watching it go badly for the last while, so … maybe we’re in for a change.
Stubbornness and Pride would have been a horrible title for a Jane Austin novel.
Didn’t Wells eat the cake? And the next one. And the steak. . .
Can she help me with Breanna?
Welles ate all the cake and steak. And drank the whole cellar too. Then he became a giant transforming planet that consumed 80% of the known universe.
Thankfully, a slow-moving one.
It’s not seeing all it’s wanting a better quality soap opera to listen too.
Some people were just born to wear a crown.
This will not be her last leadership position.
(Nice poses in the 1st panel: Confident open arms vs bashful hands hiding. And the 3rd panel sneer — haha — she out-Daphne’s Daphne, but in the service of Good….. this time.)
She’s an interesting girl, this one.
Plot twist, they’re step sisters.
This isn’t Star Wars. Everyone isn’t secretly related.
I’m going to put a stop to all this nonsense…
I’LL EAT THE CAKE
Nom nom nom! 🙂
I’m glad someone did.
Dibs on the leftover icing!
I’m sure this is a question you see a lot, but why do you put different colored glows behind characters’ heads?
Yeah, that’s a thing I do. There is no ‘in-universe’ explanation. Rather, it’s just a design preference that I kind of grew into and like. In terms of my ‘aesthetic logic’, it serves a few purposes:
First, a lot of classic comics and cartoons will sometimes forgo backgrounds, especially in closeups, and just use color fields behind the characters. I wanted to consistently have real backgrounds in all shots but also get a sort of color field-like effect to provide some visual emphasis.
Second, the color gradient halos help to make the characters ‘pop’. In a classically animated cartoon, the characters pop due to the fact that the backgrounds are often painted and the characters are hard-line drawings with flat fills. But in my comic, the characters AND the backgrounds are hard-line drawings, so putting a soft transparency of color over the backgrounds makes them softer and makes the characters stand out.
Third, I just sorta like the way it looks, and I can use the colors to vary the comic’s appearance or work with the emotions of the scene. So red halos are usually anger or irritation (like with Daphne in panel four here); yellow can mean surprise; pink can sometimes indicate affection; blue and purple and green and orange are more neutral colors, but I try to have a set color range (warm or cold or whatever) for each comic.
That’s a long answer. But that’s my reasoning.