I’ll be setting up shop at A.P.E. in San Francisco next weekend! I will have awesome-looking print issues of PROTEGE #1 and #2, stickers and postcards for sale, plus a special APE-exclusive comic as well. This will be my first time at A.P.E. and I’m looking forward to being a part of what I hear is a really cool con. Look for the Madjoint Productions table: 404B.
— Terence
PROTEGE #1 and #2 are both available for your downloading pleasure in PDF, CBZ and CBR formats… and you can name-your-own price to get ’em. I know the market value for digital books is still evolving (I’m selling PROTEGE at Graphicly for a buck/issue), and I like having having the freedom to leave it up to you guys to decide how much a downloaded version of this book is worth to you. And I know there are some things worth more than $, so trades from comic creators, fan art and promises to spread the word about PROTEGE are also accepted! Click over to The Depot to get your copies or send an email to protegecomic@gmail.com.
Comic book sound effects are funky things. Some writers embrace them in all their KER-CHOW glory, others ignore them altogether. I gave this weighty matter a lot of thought after many tweaks and re-designs of the sound effect on pg 9 — which I ultimately decided to go without.
Yeah, it’s not the greatest BRAOOOM I’ve ever seen. But regardless of the design, I felt like the text kept getting in the way of the art in this panel and didn’t add any impact to the image. As I’m learning, a big part of lettering is like sound in film — you’re doing a good job if viewers don’t notice. In film, if you wonder why the dialogue sounds so garbled or why there’s a random buzz in the background, the sound guy has failed. Same thing in comics if the reader wonders why a word balloon is hanging across a character’s face or a sound effect doesn’t fit within the layout of a panel.
To read an interesting post dissecting comic book sound effects by a dude much smarter than me, check out Martyn Pedler’s great article in Full Stop.
