- 6 days ago
Introducing Huntr from my new cartoon show Shanaenae White & the 7 Clones. Feedback appreciated, he’s been through a few designs. I wasn’t aware Grindr had changed his UI when I first drew him.
Huntr is the mayor of Castle City and best friends with Shanaenae White, the CEO of Kingdom.com, the last corporation on Earth. Huntr is all digital, he has no body. He just installs himself in a new phone everyday and can move from device to device wirelessly.
- 1 month ago
- 1 month ago
Since I didn’t make a tribute yesterday…
I’m not typically affected by the deaths of celebrities, but like a lot of people right now, the untimely passing of such a symbol of optimism has been very upsetting. :(
Thank you for sharing your talent with the world, Mr. Williams. We will miss you.
- 5 months ago
In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures—which permeate Western media—have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.
The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general—arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.