Awesome Moments has ground almost to a halt. Almost. I can get out an illustration a day most days of the week. I’m only 5 illustrations away from completion, so I’m going to keep pushing forward, but while I’ve debated making a final super push of two or three illustrations a day (these only take me a couple hours to do), I’ve decided no. I’m going to give every picture my full attention, and if I try to force it I’ll be tempted to get sloppy.
The thing that has absorbed my attention this week has been trading cards. I’ve liked cards my whole life. I thought they were fun in the Amber Chronicles. I loved them in Digimon Season 3 (known as Tamers to us Digimon snobs). I didn’t really get into Yugioh or Magic the Gathering, but I wanted to.
Like in October of 2021, I have heaped projects on my plate. And like October of 2021, it is not working well. I don’t really know how I’m going to handle it just yet, however.
I am making John Michael Jones Gets a Life at a rate of one comic a week, which is a nice, slow, easy pace. Nevertheless, I have been a scant 2 weeks ahead this whole time, and this week, I’ve slipped to 1 week ahead. They are color comics, so they take a little more producing, and eventually, our heroes will be in a digital world, which will allow some shortcuts, but there it is.
Concerning to me, I’ve launched this before I’ve finished the draft. Which means I don’t know if I can land this ship. But I felt if I sat on it any longer, it would never get done, so…
Awesome Moments is my Bible Story book series. Awesome Moments 1 goes from Eden to Christ to the Parousia as briskly as possible to serve as the anchor for the rest of the series. I’ve ranged from doing two illustrations (each of these being two pages) per day, to one, to none.. I want to have it all done by the middle of the month so it can be thoroughly exorcised from my system, because I feel kids’ books are my best medium, but I haven’t been able to finish a draft. I think my gears are clogged, and won’t start turning again until I finish this book.
Also, while the publisher intends to Kickstart it in December, they’d like it a good deal sooner.
Jump the Shark is a platformer that’s a big dose of Sonic, a moderate dose of Megaman X, and whatever else I feel like mixing in to taste.
Strangely enough, the adoption of all these projects can be traced to one program: Clip Studio Paint.
I’ve spent the last week making hand-animated games for a game jam. Why not make an animated movie? Why not present my material as cartoons? Meaning what a child means by cartoons: animated shorts; as opposed to what an artist means: sequential art.
You gotta admit, this looks better than Peppa Pig:
My answer is complicated, which is why I’m putting it up here.
Which brings up a couple of thoughts. First is why am I making a Wren Valen book? How does that fit into my goals. Second is where I’m currently sitting with regard to kids’ books, comics, and vidya. We’ll start with the apologetic.
It’s a bit of a strange thing, you know. I devised Wren (it feels like) a million years ago. In another world. In a world where I had no problem writing a fantasy of a short sorceress in an airship fighting pirates with her magic.
Now, a million problems arise. My Right Winger, primary audience is going to wonder why I’m telling stories about magic amazons. The world is full of writers who want to make stories about magic amazons. We need more stories like John Michael, of boys being allowed to be the hero again. And I agree.
But I feel like drawing and writing Wren. So I’m drawing and writing Wren.
My target audience may view Wren through a gimlet eye. But their natural foes, the Social Justice types, won’t like her either. She’s a flawed character, not a perfect Mary Sue. She understands that Force Equals Mass times Acceleration. She doesn’t pick fights with gorillas. No, the Left will call me a sexist for writing a human female, and the awesome Right will roll their eyes at Cartoon Rey.
I might pick up some sales among the Ben Shapiro, “I’m totally Right Wing, you can tell because I defend last year’s Left” crowd. People who think women in the military is a Right Wing triumph. But I have no interest in playing to that crowd at all.
Mind you, I don’t care if left, right, or center buys and enjoys my books. My enemies aren’t the commies or the not sees. My enemies are the devils. Any human I encounter is at worst a peon of forces who want to devour him. I say let him read and enjoy my books! It may be a lifeline for him. Or at worst, I will have supplied him a few bright moments in a dark life. And that is still a worthwhile thing.
But, you know, I’m trying to build a business. It’s a bit silly to build a business around books and stories that my own best customers are likely to dislike.
It doesn’t much matter to me for a few reasons.
I’m taking a bit of a breather. I’ve spent four months on one project that I thought was sensible. Now I’m spending a month or two on a project because I feel like it. Got to recharge the batteries if I want to make the laudable stuff.
I mistrust my motives. It is good to write stories that have good messages, good heroes and villains in them. It is good to write stories that will sell. But my vocation as a story teller is to tell stories that are good not because they are profitable or morally upright, but because they take your mind off your troubles for a few minutes. Working on a story, then, that militates against the profit and moralizing motives feels like something I can and even should do, to be true to my vocation.
My wife will like it. And if I make a book that she likes, then the book was a success even if nobody buys it.
There’s no rule that I have to produce this draft next. I’m currently planning to make several draft books in a row, and then pick one to produce as a final book. This Wren book is the first of those drafts. Maybe, after I draft a Hat Trick book and a John Michael Jones book and a Jump the Shark book, I’ll decide, “yeah, let’s go ahead and produce Wren first.” But maybe I won’t.
So that’s my apologetic for seeing this draft through.
Comics, Games, and Books for Children
This kids’ book format is a very compressed way to tell a story. Get in. Load a thousand words into each picture, and then maybe fifty or a hundred words along the side.
I love it. I’ve done novels, but I’m weak on them. I don’t spend enough time on the descriptions. The sights, the smells. I just dive straight into dialogue and action. Making picture books makes up for my weaknesses by leaning on my strengths.
Of course, comics are even moreso right? Right? Well. I’m not sure. It feels like it takes me forever to get through a story drawing it as a comic. I spend too much time and ink drawing the same picture over and over again.
Why not just make my “comics” as picture books, and let other, more patient men turn them into comics if they like? Seems a good plan to me.
But what will I do with Bunny Trail Junction, then? Shutter it?
Maybe. Or maybe I’ll post my storyboards there. Post them like they are a webcomic. Build an audience for each book before I even make the book.
Vidya, vidya, vidya. Vidya is prime, right? If I make a story in a game engine, I can record it as a video, post it as a comic, even make it as a kids’ book.
No. That’s the wrong approach. And here is why: the heart of my stories is the characters and plots. The heart of a game is the player and his choices. If I try to make my game dev a vehicle for my stories, I will gimp my gameplay and my stories. Better to make the stories as books, maybe post the storyboards in lieu of a webcomic, maybe read them on Youtube. Then, in my copious “spare time”, go ahead and tinker with game development. But as a hobby. If a game starts working out, then, sure, steal liberally from my books so that the books and games cross-promote.
Every now and then I think about Dr. Seuss as some sort of rival. Oh, I’m not trying to compete with his rhymes. And I doubt I’ll ever see hide nor hair of his fame. But there are some things I dislike about the man, and one of them is his pride. It took him forever to embrace making kids’ books. He later saw it as a true and worthy calling, but at first he intended to make serious art for serious people.
Trying to center my work on vidya is the same sort of hubris. I have a hundred fun stories in me. I should walk the shortest road between where I am, and where people can get at them. And I should have always been walking that path.
And are they children’s stories after all?
The Wren stories were not originally aimed at children. But they don’t have anything I wouldn’t give to a kid.
My cartoony style will be off-putting to serious men wanting serious stories. But at the end of the day, at least in the case of this Wren book, I’m making the books I want to make, and I hope some kids may like them and maybe even some adults may like them.
Here’s my historical Wren imagery, plus the brainstorming for the redesign, with the additional work I did after I more or less settled in on a design.
I also went back to my pixel art last night and implemented the new design, as well as updated some of the pixel character designs. The new Wren design is down in the bottom left. It works very well indeed in this format.
My two or three month long flirtation with HD art is grinding to what may be a close. It looks nice, and is more marketable. But. I have two issues with it.
1. I am making a comic about John Michael getting sucked into a video game.
Using pixel art helps sell that it’s a video game. John Michael is, in many ways, the anti-Scott Pilgrim, and deserves much of the same marketing style for the same reasons.
My other option to get a video gamey look is low poly, but I’m less confident in how well I can go from construction to print. Not that I haven’t considered it:
2. I am considering whether I haven’t made a wrong turn in putting vidya as prime.
While there are many video games I want to make, and they are unique and would add something useful to the world, they are not as unique as or as useful as the stories I want to tell. And the fastest, most useful way to tell them is children’s books. Let other people make them into comics and games if they want.
I can make a good kids’ book in about a month. Two months, given time for editing promotion and release. And yet, since 2019, I’ve only made 4, even though this is the best, most useful thing I can do. And most of those were in the first year. I made 3 books in ’19, 1 book in 2020, 4 comic compilations in 2021, and that’s it.
I think I need to try and put out at least two or three kids’ books every year. 4 if I can. Make the games a hobby instead of a primary goal.
And if the games are a hobby, they may as well be pixel art.
2 months building a comic and tinkering with an attached game, for production in the Mad Christian Mondays newsletter. My tolerance for a project maxes out at 2 months. I find one month is optimal.
Worse still, I’ve been trying to develop a comic/game for Mad Christian Mondays since December. It’s only the current iteration that has had 2 months of effort put into it. The project as a whole is closer to four.
It isn’t right. With medication, it is possible, but even with medication, I am better served having multiple projects that I switch between. I need to harness my ADHD, and reserve fighting it for critical moments.
I lost a week at the end of March to the burnout. On a whim, I joined Ludum Dare 50 just to try and clear my mind. And my mind has been cleared. John Michael Jones needs to be set aside for a month or two. Which doesn’t mean I can’t launch the comic and run it — I have more than a month’s worth of work built up. Only that it needs to go on the back burner for a while.
Ludum Dare 50. Waterlogged. It’s nothing special. But, for something thrown together by two guys over three days, it is something decidedly okay.
As I push John Michael on to the back burner, I want to note a couple of things for the record:
Right now, the game engine uses HD, hand-drawn vector art. But the comic will put John & friends into a digital world. I half plan to use the HD art game engine for the game world, but a part of me wants to use either pixel art or low-poly 3D art, to really sell that the world is different.
Here are two vector drawings of characters. The first uses a technique where I draw with a tablet and try to imitate my pen and brush inking, then convert this raster image into a rough vector approximation, color, and assemble it. The second, I draw the image in Inkscape directly. The first is slightly closer to how I like my art to look; the second is significantly easier to tweak. If I am making vector game art, I need to pick a lane and stick to it. But I like them both.
But, so long as I am working on a different project, I don’t need to make that choice right away. And, after all, I may decide upon mulling it over to stick to pixel art for the game world/game engine. Who knows at this point? All I know is I need to let it simmer for a month or two.
What should I do this month? Well, a few ideas occur to me.
Could spend a month trying to learn a language. I am currently tinkering with Toki Pona, and I have tinkered with Japanese for years. Sure, if I go all in on Japanese for a month, I won’t suddenly know the language. But I will be better at it than I was before.
Always wanted to make a stenotype minigame to teach myself stenotype. It would be a useful product, and would benefit my various life goals.
It’s been a few months since I worked on Hat Trick. Some Hat Trick comics, stopping once a week to ink a John Michael Jones comic, might be a good plan.
The Therian Virtual Pet is wildly different from the John Michael Jones stuff. But therians play into that story, so if I started work on it, I would come back to John Michael Jones in a couple months having worked on something different, but still having made progress.
My wife occasionally reminds me that she would enjoy more adventures of Wren Valen the Flying Privateer.
There is something that I also want to note down. When I did the Ludum Dare challenge, I initially published Waterlogged as a Windows game because I already had experience doing so, and I didn’t want to get stuck in unfamiliar territory right before the competition ended.
But once I had done that, I re-published it as an HTML5 game that can be played in the browser. And it worked so smoothly and so well I was caught off guard. I think I may want to publish more things this way. Make comics that are animations in game engines, and publish them to itch.io.
It’s not any one specific project at the moment. It’s just a thought that needs further thinking.
So, today I’m going to point the Mad⳩ team (let the reader understand), to this (the logicmonkey.media) blog.
When I started writing posts entitled “Captain’s Log…” the idea was I’d make a blog post twice a week. On Monday, I would lay out what I aimed to do that week, as well as the larger, but far less committed-to plan. On Friday, I would review whether the week had gone according to my plan, so I could adjust accordingly.
In practice, this has devolved into one post once a week serving both roles. On Monday or Tuesday most weeks, I review the previous week and lay out the next one. However, if you click the Captain’s Log Link on the sidebar, sometimes I post a summary at the end of the week and sometimes I even post updates throughout the week.
Historically, this has been kept on logicmonkey.media/blog, where I blog about whatever I feel like. However, as of late October, I have been transferring my notes into an Obsidian Vault, including my weekly logs. See LBT 31 Obsidian Aside.
Monday: 12 hours poured into writing the business plan.
4 hours poured into writing the plan. At this time, I decided it was well to transfer my Kids’ Pulp Formula into my Obsidian Vault, because the plan called for weekly writings of books in accordance with the formula.
1 hour doing that.
4 hours reading and recording my notes on An Evaluation of Claims to the Charismatic Gifts by Douglas Judisch, so I could get the copy I borrowed from my pastor back to him on Wednesday.
Wednesday: 8 hours spent either worldbuilding for Last Legend, or analyzing the question: can I make reusable graphics for comics, books, and games.
In the past I have explored working in pixel art for games and printing it. And it is workable, but Piqha really cry out for a hand-drawn look.
Eventually, I settled on a pipeline for turning handmade ink drawings into vector graphics, then turning them back into raster graphics in Godot (the game engine) and coloring them in code. Here is the proof of concept, using graphics I had lying around.
Thursday: I had a nice dinner with my family because it’s Thanksgiving in my country.
I spent 2 hours on the business plan and finished all save the financial projections.
I spent 2 hours working on the worldbuilding and story for Last Legend.
Saturday was entirely consumed by work on my mother’s farm in her absence, and Sunday I rest, yo! Although somewhere in there, I did the preliminary work on the print layouts I expect to use going forward.
Today, my first and highest priority objective is finishing the financial projections for my Business Plan, and then formatting it properly to file with the appropriate agencies. I expect to be finished today. But I am willing to work on it tomorrow as well if necessary.
My intention is to hit the ground running on December 1st on producing the Last Legend Easter Egg Hunt game. I have December and January set aside for this game.
My aim is to have a hand-drawn piqha walking in a hand-drawn room in a spaceship by Saturday, December 4th. Because this is a brand new workflow for me, albeit grounded in things I’ve done before, 3 days to get that up and running is ambitious. I’m 90% sure I can pull it off, but even without life throwing curve-balls at me, as it does, I can’t be 100% sure.
What does that mean for the comic?
I am aiming to make the games in such a way that graphics from it can be repurposed to make episodes of the comic. I am also developing the stories and characters in tandem. They are meant to flow into each other.
I believe I will be ready to produce an episode a week of the Last Legend comic by January. That is my current objective. If by February I have failed to launch, I will be all in, 100% on the comic until it is ready to go because the comic and the game cross-promote.
Obsidian was created for smart-noting. It’s a program that manages a folder of markdown files (which are just text marked up in a way that an interpreter can quickly turn into html, but a human can read, e.g. **surrounding text with two stars** makes it bold). I have a paper ZettelKasten on playing cards, which I am slowly transferring into Obsidian. But the nice thing, then, about Smart Noting in a folder of text files, is the links between notes are links. I can click on them and go to the note. I can embed a series of notes in a note to create a larger document.
I have been trying to decide how best to make my notes, on the Piqha especially, available to the Mad⳩ team. I copy and paste my log entries out of my Obsidian vault and onto the blog every week, so I’ve tried doing that. It works, but it’s cumbersome in high-context, low-data-per-note setting like my regular smart notes. A note about a character or setting may be a single paragraph, and half the words are links to other files. I can expand them out by making articles, and then de-linking the copied text in the blog. But it’s effort that does not move the ball forward, it only makes the ball visible to outsiders.
What I could do is upload the vault as a whole, either as a zip-file, or as a git repository of some sort. Any member of the team could read the files as plain text. Or, with a browser plugin, with the markdown formatting. The links and embeds wouldn’t look right unless said team-member actually installs Obsidian, but for those who actually want to try the program, they can, and for those who don’t, all of the information is still present and readable.
Since git hosts like GitHub and GitLab use Markdown, it would even potentially be mostly readable on the online representation of the repo.
There are two issues here. First is that I intermingle personal notes with my creative notes. People who are not my pastor don’t need to know about every spiritual struggle I face. People who are not my accountant don’t need to know my budget. And while being open about my sins and finances may be useful for building trust, broadcasting them to the whole internet still strikes me as unwise.
There are a few available solutions. They all amount to separating my personal notes from my creative notes.
The easiest is to just put my personal notes in a different folder and not copy that folder into the public-facing edition. And I have already started working on this solution. However, it’s not a polished solution. The notes are still crowded with random asides, half-finished bits, and other things not immediately relevant to the Mad⳩ crew. And making nice entry pages to the content has not been a priority, which leads to my second issue:
Because Obsidian is built for smart notes, Obsidian’s flavor of Markdown has unique linking and embedding syntax. Bold Text I compose in Obsidian will display as bold in any markdown viewer. A link to an external website in Obsidian will display correctly in any markdown viewer. But a link to a random smart note in my vault will not. And it is precisely the links between notes that make this workflow valuable.
So, either I force people who want to explore my vault to download Obsidian (which is free, but while I love Obsidian and recommend its use, I do not love the idea of forcing anyone to use it to read my notes), or I translate the links by hand (which is what I was already doing, uploading stuff to my blog), or I flatten my tree of notes out: create articles that embed the notes and export them as blog posts or what-have you.
And given, even if I were to export an Obsidian vault and make everyone use Obsidian to read it, I would want to create a “Main menu” with links to the key concept notes, lists of characters, etcetera, and that is more than halfway to building an article anyway, It may be best for me to just bite the bullet and create and maintain reference articles out of my notes.
This week’s goal, aside from hugging my kin, and thanking God for what I have, is to finish my business plan.
At this point, I am about 80% sure the plan goes like this:
Reconstruct my JRPG/Adventure engine in Godot.
Build a 1-month adventure game therein, probably using Piqha. Probably an Easter Egg hunt, to publish in time for Easter 2022. Put it up for sale for $2. Let’s call it Last Legend Zero. Say the story is set before the crash of the ship, one Piqha suspects that something is wrong, and is exploring the conduits of his ship to figure it out. I want, somehow, the Word of God to be available to post-crash colony, so perhaps this easter egg hunt is the story of how it gets there.
Develop within/alongside the game the sets and characters for the Last Legend comic.
On the completion of the adventure game, I should be set for Last Legend comics for 1 or 2 months.
And/or 8×9 storybooks.
Bunny Trail Junction will reboot as a comic in like format, or storybook pages in the 8×9 storybook format, in due course.
I may spend a portion of November or December assembling a post-hoc December wrapup of the current format, and perhaps the 2021 Annual. Just tie up the first year in a bow.
Work on other projects with the Illusive Man as they come up.
Pour 2 months building a JRPG, Last Legend I. This is our business launch. Our “two-month, $5 game that makes 4K per month of work.” Our 1K wishlists on Steam.
By this time, presuming all goes well, we should be far enough along on the Illusive Man’s manga project, that taking a month or two off to produce something here is a good idea.
Pour 2-4 months into producing Last Legend II.
Get us our party mechanics.
Finish the challenge I undertook on behalf of my swordsmanship master.
Be a solid game that secures the Last Legend/Piqha brand, universe, and assets for use in the comics.
Be a solid showcase of what my micro JRPGs look like. Which leads us to:
Licensed JRPG. Say to the Illusive One, to Brometheus, to Niemeier, to my other homies, “Behold: here is a small game I have made that is designed to present a story. You have stories and an audience. Let us therefore run a Kickstarter together and produce a grand thing.” And do so. Choose the best fit. Run a crowdfund. Make a game. Lather, rinse, repeat, to raise everyone’s boats, while taking appropriate breaks to produce my own stories.
The only thing I would add is I want to produce a kid’s book every now and again. Keep my library of kids’ books growing. I feel the itch even now; it has been too long. So, keeping my format notes in mind, I think I may aim to produce a 8×9 Last LegendKids’Pulp Formula book next, and try and put one in every other month. Maybe break Awesome Moments into that format length as well.
Maybe do a Jump the Shark story before years’ end so I keep my pattern of one per year rolling.
The average computer screen or TV has a ratio of 16×9
Phones range all over, however, well over 1/3rd of them use some variant on 9×16, with the exceptions typically being longer.
However, 4×3 or 3×4 is also very common because tablets work better with a more square ratio. This is what iPad uses.
Twitter will not crop, but will display fully:
1 16×9 picture
2 8×9 pictures
1 8×9 picture followed by 2 16×9 pictures
4 (2×2) 16×9 pictures
3 16×9 pictures stacked vertically fits neatly on:
The average phone screen
Facebook, if contained within a single larger image
A 5×8 print book with generous margins
16×9 panels with 12-point text in a 5×8 book results in text that is still large enough to read clearly in a 2×2 grid of images on Twitter on mobile.
Therefore, Bunny Trail Junction is formatted as 3 16×9 panels, the first two of which may be joined into a single 8×9 panel (absorbing the gutter between them to make up the difference). Any of these two or three panels may be split vertically into two ‘sub-panels’ wherever I like. Although the format is so small, it seldom makes sense to do so anywhere but the center.
This is posted on Twitter as individual images plus an additional “Title Card” posted at the beginning of a 3-image set, or the end of a 2-image set.
This is posted as just the individual images on bunny-trail.com which, thanks to the webcomic WordPress theme I’m using, arranges the panels horizontally on desktop and vertically on mobile.
On Facebook, I found that uploading the pages meant for the print book had some irritating cropping, but was readable.
Ideally, I would export a separate, lower-resolution image that was less tall, to control the cropping myself, but at the time I judged the extra work was not enough benefit for the time.
Just prior to launching Bunny Trail Junction, I deleted my Facebook because they were getting extra-specially Stasi.
None of these formats works well for Gab. I think assembling the 2×2 grid I post on Twitter, but as a single image, might work for Gab, but as I rarely go there, I have not yet tested it.
Instagram is supposed to be the place for images, but every time I consider starting an account, I have turned away for some reason.
My first print book was 8.5×11 because that’s as big as Amazon KDP lets me go.
I stopped making them that big because it felt wrong that my books were larger than Dr. Seuss’s.
However, reading a biography of Seuss killed my reverence for him. I may not yet be on his level, but I no longer care if my books are bigger than his.
Big books with big illustrations are great. Why wouldn’t I want kids to have bigger pictures?
However, ideally, I would create my drawings even larger than the final pages
Consumer tools are not well-suited to going larger than 8.5×11
I do have a printer that prints and scans 11×17
The paper types available at that size are either poorly suited to take ink drawings, or else too heavy for my printer to process well.
My standard workflow of sketching digitally at low-res, printing the sketch big, refining by hand and inking, and then scanning in, is still poorly suited to available equipment.
But I do have a light table that might fill the gaps once I clear out the Den.
More testing is required.
KDP’s Hardcover formats have one that is physically 8.5×11, but the pages inside are slightly narrower.
Amazon KDP is geared towards 6×9 and tries to push you towards it.
Most of my books are 6×9
My 11×17 scanner/printer makes my workflow quite well optimized for 6×9 work.
Bigger pictures would be nicer, but 6×9 isn’t bad
5×8 is the smallest KDP will go
5×8 does, just barely, fit into my pockets, but calling it a pocket book is a terrible stretch.
5×8 it well-suited to holding 3 16×9 images on a single page.
KDP has a dedicated 5×8 hardcover format.
8×9 is one half of 16×9, and therefore a single two-page spread of an 8×9 book would be one ‘screen’ in size or one ‘panel’ in the Bunny Trail Junction 3-Panel format.
8×9 is a weird size. Some printers won’t do it.
This is an important consideration. If a publisher I want to work with is doing print runs instead of POD, 8×9 is not impossible, but may complicate matters.
KDP certainly won’t do it hardcover.
But they will do it paperback.
The first bulk POD comic printer I’ve looked at will do 8×9! And hardcover! We’re looking at $4.50 a book perfect-bound softcover, full color, or $11.52 per book hardcover, assuming my usual 30-ish pages. That’s assuming a small bulk order, unlike the single-issue POD of KDP (these will be intrinsically more expensive).
Prototyping a 2-page spread of 8×9, a prototype for a portion of a kids’ book, would work as an episode of Bunny Trail Junction. Or as a “Hit for the Eye-buds”
A 2-page spread of 8×9 would fit on 11×17 paper, albeit only just. If I want to work bigger than my final size, I still have the tech hurdles I have with 8.5×11 books.
You could fit 4 16×9 panels on two pages, though the read order would be unclear, and the panels would be hyuuuge.
Conversely, you could fit one 8×9 four-panel comic per page, the read-order would be fine, and the panels would be a more traditional newspaper comic ratio
This would post fine on Twitter as a second image with an 8×9 title card.
This would probably post fine on Gab by itself.
This would probably post fine on Facebook by itself.
I have no data for Instagram.
Ideally, the panels would display 4×1 on Desktop and 2×2 on mobile, but I can’t yet predict that.
Actually, yes I can. I can do a makeshift comic using my Inktobers. BRB.
Toocheke likes to do 3 panels in one row, and 1 in the last in Desktop mode, but on Mobile it stacks them vertical, and you can see 1 whole panel and most of the second on my phone (which is taller than 16×9) Not optimal, but I can live with it.
For projects with people making comic books and manga, I will probably favor comic book and manga sizes, in accordance with the sort of thing that is being created. However, I need to make at least one 8×9 book, and I suspect that will be my format of choice going forward.