Pwked! 9: Dendrocide

This is a repost from the Pwked site.

When you read this, I’ll be on holiday, so I thought a holiday-themed comic would be appropriate. What’s this ‘holiday’ you talk about? Do you mean ‘vacation’? No. Vacation is something that happens to poo when you take a laxative.

I’m in Lanzarote, one of those sunny little islands where Brits go to sunbathe and Germans go to stare rudely at the sunbathing Brits. It’s an awesome place to visit, the tip of a volcano that popped its head out of the ocean and decided that it’s better up here. We’ve got a car and a couple of pairs of sunglasses, so we should be having fun playing “spot the leathery-skinned, sun damaged pensioner” by the time this comic releases.

This is the very first Pwked comic that isn’t a parody of something or other, and is perhaps a milestone in the series. Or perhaps not. But expect a few more of these along the way. Releasing a parody comic within the “golden hour”, as I like to call it, is quite a challenge, and I certainly have some respect for those those who produce comics like clockwork, every week.

Most of this comic was produced whilst watching The Walking Dead TV series, which fucking rocks, and as a direct result of watching that I now desperately want to make a zombie comic. So expect one of those at some point in the future.

Until next time, vamos a la playa!

 

What Mass Effect 3′s Extended Cut should (but probably shouldn’t) include

Well, there are approximately 69,342 articles and forum threads about how shit everyone thought the Mass Effect 3 ending was, so I won’t go on about it for too long before I cut to the chase.

Bioware’s Mass Effect helmer, Casey Hudson, recently revealed the Extended Cut free DLC pack, which should really be called the ‘We Know We Fucked Up’ pack.

I wasn’t quite howling at the moon and foaming at the mouth in rage at the ending though, as many fanboys and fangirls were. In fact, I out and out loved most of it. Like the following:

  • Star Child. Come on, Star Child was a nice touch. A little boy who recurs in Shepard’s dreams only to turn out to be an avatar of the Reapers? That’s bloody awesome. His name sounds like he just climbed out of a David Bowie song and he’s also the only child to have ever appeared in a Mass Effect game, ever. So give him a damn break, fanboys. You were a child once.
  • Destruction of the mass relays. Yes, I liked this. I want more sequels to Mass Effect, and this is the set-up for them. Imagine Bioware trying to tie together every variable from every person’s ending throughout the Mass Effect games and giving the next trilogy a tangible beginning. Shepard united the galaxy. Now it’s someone else’s opportunity to lead the rebuilding effort. The collected fleets of the galactic community are stranded at Earth. Let’s have a new hero with a similarly appropriate name, say, Mason, who leads the effort to rebuild the mass relays whilst struggling to keep at bay the interspecies tensions on the collected fleets. If that idea doesn’t make your nipples stand up and sing Disney songs in glorious harmony, you might as well just get the hell out. Right now.
  • Mexican standoff between Shepard, Illusive Man and Anderson. The Illusive Man has become a bonkers cyborg and hypnotises Anderson and Shepard into playing Russian Roulette with each other. How anyone can find fault with this scene is beyond me. I think perhaps the sour taste people have once the game finishes retrospectively taints this part in their minds. If you didn’t like it, get the hell out of my blog.

Of course, there were elements I didn’t like. Like the fact that my crew defected like traitorous, abandoning bastards, fucking off without a care in the universe as Shepard made the ultimate sacrifice. My crew members were on Earth when I left for the Citadel. Why the fuck are they suddenly on the Normandy?! Deserting bastards! You know what, Ashley? I don’t love you at all. I said I did because I thought you might show me your tits. And you didn’t even deliver in that department, you frigid bitch. You kept your damn bra on the entire time. I should have shagged Liara instead.

Still, despite me enjoying the ending on the whole, I do have some suggestions for additions Bioware should definitely make. All of them. Even the silly ones. Let’s assume that renegade Shepard is male and paragon Shepard is female.

1. Dystopia
Renegade Shepard chooses to control the Reapers. Let’s have him turn the entire globe into a giant North Korea. Hard labour camps spring up, Reapers sit dormant like giant watchtowers. Like something out of George Orwell’s 1984, the population is oppressed, enslaved. Shepard was willing to do whatever it took to save the galaxy. Now he’s willing to do whatever it takes to rebuild, and the people suffer for it. Although his body was killed on the Crucible when activating the control mechanism, his image lives on, like Big Brother, as a symbol for the unity of mankind and all alien races, under a totalitarian government reliant on indoctrination.

2. Utopia
Paragon Shepard chooses to control the Reapers. The Reapers leave Earth, but later return. Shepard has re-purposed the Reapers into benign guardians of peace, and they begin to assist with the mammoth task of rebuilding Earth and its sister planets, with the intention of then moving on to reconstruct the mass relays. Reapers become symbols of strength and unity, and many sleep on Earth’s surface, giant living landscapes ripe for exploration. One is transformed into a flying theme park, with rollercoasters running through the interior and outside. Another uses its vast intellect and experience to become a Guru, answering timeless questions about religion and science. Shepard is remembered as the woman who tamed these vast, immortal beasts and had them live in harmony with the denizens of the galaxy.

3. Nomads
Renegade Shepard chooses to destroy the Reapers. Earth is completely destroyed in the process, mainly because Shepard couldn’t be arsed raising his Effective Military Strength by doing sidequests for people. All that is left is what remains of the collected fleets of the galactic community, which won’t be as many as they could have been had Shepard not been such a lazy bastard. The remains of the galactic community then decide to depart Earth, looking for a new home. We’re left with a Battlestar Galactica-style community, or perhaps similar to Mass Effect’s own Quarian Migrant Fleet, with ships floating through space looking for a way to a new home. A government is formed aboard the vessels. Trade prospers. We’re left watching the space gypsies depart the Sol system, on a journey into the great beyond. And perhaps to steal some lead flashings from somebody’s roof to throw in their transit van and go and flog at the local scrappies.

4. Scavengers
Paragon Shepard chooses to destroy the Reapers. Earth survives, but is still heavily damaged by the Reaper attack. With much of Earth’s resources spent on the war, rebuilding efforts look to the stranded fleets and the damaged Reaper tech to repair and recreate what was destroyed. Patchwork cities pop up, utilising salvaged Reaper parts and capital ship shells for their structures and technology. A golden age rises from the post-apocalyptic ashes of civilisation. Earth regains some of its youthful abandon, becoming a crazy multi-cultural mishmash of different species and scrapyard technology. Shepard is, as ever, an inspiration to her people, and they eagerly follow her example, living on despite everything on a colourful future-Earth.

5. Assimilation
Renegade Shepard chooses synthesis, uniting organic and synthetic life into one DNA. As a Borg-like hive mind, all species now have a unified direction and goal, and every synthetic-organic being directs their attention to the uplift and assimilation of lesser beings into the hive mind. An unstoppable force, the hive soon swallows Earth, making it the grand hub for all organic-synthetic life, before setting off on an infinite journey to assimilate the rest of the known universe.

6. Transhumanity
Paragon Shepard chooses synthesis, combining all organic and synthetic life into its ultimate evolution. These new synthetic-organic species are able to experience love and hatred like any organic, whilst also able to tap into a boundless intellect and an infinite source of knowledge, and as a result civilisation on Earth booms like never before. With the ability to tap into a unified consciousness, individuals are enlightened to a profound love and empathy for all people, and a previously unattainable peace is achieved. Cities rise again from the rubble, filled with impossibly complex structures that resemble microcircuitry, pulsating with an organic light. A philosophical renaissance begins, where efforts previously directed towards warfare are instead concentrated towards the attainment of cultural and spiritual enlightenment.

Or how about this one:

7. Dragon Age
A lazy Shepard decides to destroy the Reapers, and in the process destroy all synthetic life, such as the Geth. Earth is devastated, but not destroyed. The residents of the collected fleets of the galactic community descend upon a ruined Earth and begin to adapt to the environment, as nature slowly takes over and cities are overgrown with plants, trees and wildlife. Thousands of years pass as species adapt and intermingle. They evolve and interbreed. They rebuild in wood and stone. With an emphasis on spiritualism over destroyed and obsolete technology, biotics learn previously unknown techniques and abilities, such as the manipulation of individual molecules and friction to create fire and ice. Soon, people forget the word ‘biotic’ altogether. Magic is born.

Many species die out, whilst some are graced with mutations that make them thrive on Earth’s surface. The Volus, for example, manage to interbreed to the point where they are able to survive in Earth’s atmosphere (I know that this is impossible, as they’re ammonia-based lifeforms, but GET OUT OF MY BLOG), at which point they move underground and become the ancestors of Dwarves. Turians, meanwhile, intermingle with Quarians to become the Qunari. Humans interbreed with Asari so much that Asari begin to birth males as well as females, who beget the ancestors of Elves. The Vorcha have a particularly successful evolution, their colonies of shape-forming micro-organisms transforming them into giant, fire-breathing flying lizards that would one day be called dragons. Earth’s continents are renamed to things like Thedas and Ferelden, and lo and behold DRAGON AGE IS SET ON FAR FUCKING FUTURE EARTH, BABY! How about that for tying up story threads?

It’s not all Paragon and Renegade (and laziness) when it comes to choices in Mass Effect, however. There are plenty of other decisions the player makes, the outcomes of which deserve to be explored in extra bonus scenes. Like these:

1. Paramour
For the Shepard who just couldn’t stay faithful to one girl/boy throughout the series, we’re treated to a lusty Benny Hill-style underwear party, preferably in fast-motion with a hectic piano/saxophone medley. Picture a male Shepard who loved up the Consort in her giant lava lamp, jumped under a naked Ashley on all-fours, screwed, hammered, nailed and drilled Jack in the Normandy’s toolbox, received a lap dance from Kelly Chambers, had a peek at Miranda’s lacy lingerie, plugged Diana Allers after an interview, got to see how anatomically similar to humans Liara was, and generally spent an unreasonable amount of time leaning back and forward and back and forward and back and forward whilst sat in front of a scantily clad Asari dancer in a nightclub. Surely his carnal antics deserve some recognition! Let’s have a parade of Mass Effect babes rolling in mud and oil, slowly eating bananas, and being frantically chased around in circles in fast-motion by Shepard in his undies.

2. Sing-Along
There were several opportunities to dance in each Mass Effect game. Shepard had a remarkable amount of time for activities like this, despite immediate threats to the safety of the entire galaxy. For all those Shepards who took the opportunity to dance whenever possible, let’s have a smash hit musical set-piece. Portal got away with it, so why not Mass Effect? Picture the entire cast in a line-up, belting out a cheerful happy ending song, pulling off an incredibly choreographed piece of dancing, whilst little bird-sized Reapers of all colours gently land on their shoulders. The Krogan are doing a wide-legged, knee-slapping chant like the New Zealand rugby team. The Geth are doing the robot to the techno backing track. Asari dancers add vocal support whilst gyrating in their sexy way. Meanwhile, in memory of Professor Mordin, a troop of Salarian singers pour out a roof-shattering chorus.

3. Partaaaay!
Shepard could be an alcoholic if he chose to be, drinking to such an excess that he had to be prodded awake several hours later by various unimpressed associates. Aria’s reaction as he turned up on her couch in Mass Effect 3 was particularly scathing. Well, for the booze-hound Shepard, let’s have a Hangover-style photo montage as the credits roll, with various crazy antics that Shepard got up to and completely forgot. Let’s have him riding on a Krogan’s back, getting a tattoo of Ambassador Udina, shooting various people in the foot, punching reporters, mooning Admiral Hackett through the holocommunicator, driving a convertible car filled with topless Asari prostitutes, running through the Quarian fleet in a Geth costume, getting married to a varren, burning graffiti onto a planet’s surface with a capital ship laser, dancing in front of the refugee war memorial, poking Batarians in all four of their eyes at once, releasing frogs onto the Salarian homeworld, leaving marbles all over the floor in the Normandy cockpit so Joker slips and breaks his legs, and pooping in the shower in the womens’ restroom.

The other suggestions I have are a little less silly. Well, sort of. Well, actually, not at all. These are the issues of showing the legacy of all of our characters, and what happened to them afterwards. Bear in mind, these characters’ stories are a reflection of my first playthrough, which was a renegade male Shepard. The other thing is, I know they’re stranded on Planet China but let’s assume they repair the Normandy or somehow otherwise rediscover some thread of civilisation.

1. Tali Zora Vas Garrus’ Willy?
So, assuming that Shepard caught them both getting a little frisky in the gun battery room, let’s see what happens to that relationship. Do they have little hideous Quarian-Turian hybrid babies (despite this being physically impossible due to DNA incompatibilities)? Perhaps they are persecuted for their illicit love, and are force to play out a Romeo and Juliet where they both end up committing suicide. And perhaps Garrus will have the courtesy to SHOW US HER DAMN FACE.

2. The Cripple & The Killbot
I think the most important and pressing question for the majority of people here is; does Edi have a vagina? I spent most of Mass Effect 3 pondering this question, so let’s get it answered. Hopefully Edi can then give birth to little cyborg babies and breast-feed them with those mammoth robo-jugs she has. That must be what they’re for, right?

3. Bun in the Oven
Stop boo-hooing if you had a tumble with Kaidan Alenko. This idea won’t work with him. So, how about either Ashley or Liara turns out to be pregnant? Soon, we have another little Shepard running about, making tough decisions, and telling people “I’ve broken better toys on my way to real toy shops.”

4. At Home With The Urdnots
This has to be in there somewhere. Let’s have a Krogan version of The Osbournes, as Urdnot Wrex and Urdnot Eve raise unruly children and have the most vicious, apocalyptic arguments. Wrex starts to lose his mojo and become domesticated as he is pussy-whipped under the iron rule of his wife. Eve insists that it is an equal relationship and ends up going out and becoming the breadwinner. As Wrex struggles to contain his inner angst at being relegated to house-husband, we get a fly-on-the-wall look at the fascinating and violent family lives of Krogan war veterans. Shame my Shepard kicked Wrex out of a window on the citadel.

5. Take Back Omega!
I’m not the first or only person to suggest this one by a long shot, but I did come up with it independently, honest! Aria banged on and on about Omega, describing all the nasty ways she would take it back from Cerberus. Well, let’s play this section. Give us control of Aria, and let’s use the collected might of the united mercenary gangs to kick the tits off those Cerberus bastards.

Alternatively, setting my suggestions aside, Bioware could do what a lot of fans seem to want to do and go for the Indoctrination Theory. This involves the entire final 10 minutes of the game being a dream concocted by the Reapers to get Shepard to do what they wanted. I wholeheartedly dislike this idea because ending anything on the “it was just a dream” riff is the cheapest, nastiest trick a writer can pull. As much as some fans want you to believe it, there is no solid evidence to suggest this was Bioware’s intention in the first place, other than fans wishfully reading the Indoctrination Theory into more or less every little detail in the lead-up to the ending, because they just don’t like the ending. “Look! That girder on the Citadel re-uses a texture from this girder on Earth! It must be a dream! Look! Anderson’s eyes flicked off to the side for 0.13 of a second. It’s a conspiracy! Look, the Star Child is smiling slightly! He’s tricking Shepard! How can Shepard breath in space? Why did Anderson get there first? Why don’t I have a plate full of tasty dinner RIGHT IN FUCKING FRONT OF ME, MOTHER?!?!”

In anything other than the almost guaranteed event that Bioware doesn’t use the Indoctrination Theory, however, I have one last suggestion.

0: Unity
Shepard gets a fourth option when confronted with the three choices by the Star Child. In essence, and put bluntly, this option will be a “Fuck You”. This is how it plays out:

Star Child: “You can choose to control the Reapers, destroy the Reapers or synthesise with the Reapers. What do you choose?”

Shepard: “None of the above.”

Star Child: “What? But I–”

Shepard: “Star Child, how about you stuff your fist into your mouth and suck on it quietly whilst you listen to me, you chopsy little space-fucker. I’ve just had a revelation so massive it’s bible-worthy. I’ve realised that we don’t need you, or the power of the Crucible to defeat the Reapers. All we needed from the Crucible was a symbol to rally around. A centre-point for every race in the galaxy to gather at and decide collectively to work together. We are a galaxy united around a giant phallic weapon so big even God would think twice before dropping the soap in the shower. But the weapon isn’t what’s important. What’s important is that, together, as one single, united force, we can fuck you and the Reapers so, so hard you’ll have to cool your asses off on every ice planet from here to the edge of the damned galaxy as you run crying to your intergalactic mommies.

“So kindly take your Crucible, and your Reapers, and your ludicrous suggestion that destroying us will save us, and get ready to be royally, raucously, rectally reamed.”

Star Child: “You do realise that I’m–”

Shepard: “-that you’re a child and that was quite an inappropriate way to put it, yes, I’ve just realised that, yes.”

So that about covers that. Don’t forget to sound off in the comments section below if you agree/disagree/think I’m a tit.

 

 

 

And for the latest issue of Pwked, also Mass Effect themed, head straight over to Pwked! 8: Mass Effect Plot Template on the Pwked WordPress site. Or just click on the thumbnail to the left.

Until next time, get out.

The Making of Pwked! 7

Here’s a quick run-through of the laboriously slow method I used to make Pwked! 7: The Loss Of The Temper.

The production of this comic is a constant process of learning, and I think the one thing I’d really like to do above all else is to speed up the way I make them so I can fire out more comics, more often. This article is more a way for me to show interested people what goes into making it, as opposed to being any kind of tutorial, because you’d be mad to do it the idiotic way I do. Everything here is done in Photoshop CS2.

1. The Sketch

Probably the only part of my process that won’t change significantly in future. I start off with a basic 2-shade gradient in the background to set the tone of the comic. In this episode, little of the original colour was left by the time all the detail was added. I then sketch over the top. Sometimes the sketch isn’t as detailed as this one, looking more like I had a seizure with a pack of blue crayons jammed between my fingers and toes, but in this case, the comic largely remained the same as the initial sketch…

…barring the most obvious difference, which is the two missing panels at the bottom. I cut these for two reasons, the first of which is quite honestly because the comic was taking fucking decades to finish. Not all is lost, however, because I genuinely think the punchline still comes across in panel 4. I was apprehensive about doing a 6-panel special anyway, mainly because the purpose of this comic in the first place was to specifically tell a 4-part joke. If you’d genuinely like to see the full 6-panel strip in full, let me know in the comments below and I’ll consider giving it a crack.

2. Background

Not always where I start, but it does sometimes help to put the characters in context, especially when they’re interacting with parts of the environment like Pwk is here.

The background is mainly vector lines drawn with the autoshape tool in Photoshop, then merged together and cleaned up as a Raster layer. I then create a new layer underneath and just blob solid colour on with the basic brush tool.

The wall was done by using the polygonal lasso tool over each segment to create a selection and filling it with a basic two-shade gradient.

I then vectored in the line-work for each panel individually. Notice that I took the gradient walls and carpet from panel 1 to the now extinct panels 5 & 6, but not the solid colour from the chair, etc. When these two panels were part of the comic, the room was to be trashed, so most of the linework on the bottom 2 panels would be erased.

Panel 2 also got completely redone, mainly because the simple line-work looked like the village idiot in comparison to the other panels.

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In the image below, you can see how the gradients are added. Simple selection over the background area, followed by a fill. This part did change again once the characters were in place.

So, once the background had some basic detail, I lost interest and moved onto the characters.

3. Characters

Although I like using Photoshop, and have done for a couple of years, I’ve never used it for clean line-art like in Pwked. I always use the bog-standard brush tool for more or less everything, which I know in my heart of hearts is the wrong way to do this kind of artwork, and is the reason it takes several generations to get a comic finished. So, that tool is what I use to carefully produce the outline.

I’m inevitably unhappy with the first draft, and end up shaving bits off the lines with the eraser tool, but once the basic line-work is in place, I get back onto the colouring in the same way I did for the furniture, solid colour, and standard brush tool. I produce at twice the intended display resolution, which tends to correct a lot of wobbly lines when I size down to 50%, but as you can see, up close, it’s not perfect by any stretch:

At this stage, for no particular reason other than that I have an attention span of a Jack Russell puppy, I decided to add a few speech bubbles and dialogue.

4. Bubbles and Lettering

This one’s a fairly straightforward method that I enjoy doing because it looks good and doesn’t take me until the second coming of the Messiah to finish. The bubbles I do entirely using solid white auto-shapes, usually elliptical. The Khem Val bubbles in this strip were done by laying various-sided polygonal autoshapes on top of each other and then merging into a single Raster object. The swishy bits (what the hell are they called?) that lead to the characters were drawn in by hand and then shaved down to look neat with the eraser tool.

The lettering I always do in whatever the darkest shade of grey I is that I use in outlining any of the characters. Up to this stage I have never used solid black, because it utterly dominates the picture. This may change in future depending on whether I stick with the coloured outlines or not.

The font I use for my lettering is LetterOMatic, which is available for free online with a quick search. Khem Val’s speech is written in “Aurek Besh Hand”, which came also free in a pack of Star Wars fonts (again, Google is your friend).

Notice that these bubbles are solid white. Recently, I’ve used translucent bubbles at 75% opacity, but they’re solid in this strip simply because they didn’t quite look right.

5. Lighting/Shading

Then I move onto adding lighting. This is an artistic technique that’s older than that white-haired fellow you see hobbling in the same direction every morning on your way to work. You simply decide where the light is coming from, which in this case is a monitor, and then highlight the character accordingly. As demonstrated below:

Note also that I keep open a finished comic in the background, mainly for reference, to make sure I don’t accidentally substitute the eyes for a pair of bollocks or make some other similar radical change.

I do like to get one section completely finished, which is what I then went on to do. I added lighting to the rest of the scene, using the same set of rules. Notice the shadow cast by Pwk onto the back wall, which I thought was a particularly effective touch:

In that image, you’ll notice I’m using the blur tool. After flattening the background into one layer, I just brush over it a few times with the blur tool to give it the soft focus, which tends to make the foreground pop. There is a built-in auto-blur filter on Photoshop but the manual method is my preference.

The lightsaber was also a delightful thing to make. The blade itself is incredibly simple to make. Simply draw a straight, pure white line for the centre of the beam, and then using a 30% opacity orange brush, layered the outer colour on top, leaving the central beam mostly intact. the effect is a coloured glow, which is the same technique I used for the lasers and the healing spell.

6: Wotsits and Doodahs

The only other remaining bit I’ve yet to touch on is the detail elsewhere, such as the HUD. The HUD was a rewarding process, utilising auto-shapes and Photoshop’s Layer Styles to affectionately affect an effective effect, effectively.

First of all, I started off with a basic rectangle and added a white outer glow using Layer Styles.

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Then I added in the rest of the basic shapes, flattening them into the same layer (not the same layer as the first rectangle).

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Then I applied the same glow settings to that flattened shape. Click the image to see full-size, where you’ll see the settings I used.

I then utilised the inner glow, but made it a darker shade of blue, before filling in the likes of the portrait windows with solid shapes of the same darker blue shade.

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However, typical of me, I changed my mind halfway and decided to completely reverse the colour scheme, putting the darker glow on the outside and the lighter one on the inside. The almost-finished article looked like this:

The tile bars and map were all nicked from screenshots taken in-game. I would have doodled them myself, but quite frankly I was losing the will to live at this point and just needed to finish the damn thing before I went all Sith on some poor innocent.

The portraits for the little blue windows were eventually stolen from other comics I’ve done and shrunk down to size.

7. Rinse and Repeat and Rinse and Repeat and Rinse and Repeat

Yeah, this is the stage where my enthusiasm was waning and I yearned for a different, less time-consuming method of making these things. All of the techniques above were put into play for the production of the rest of the comic, which. took. a. long. time.

But, perseverance pays, and before long, I had a finished piece. Voila:

Well, that’s that. Now get out.

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