Cheap, annoying, bull-headed bastard!
The ending was perfect! Everything was tied up, the story was finished, the lines were drawn it was everything it needed to be, and YOU! You, you BASTARD continues it?! Asshole!
Needed to react for a little bit.
In the odd chance Mead is reading, sorry. I am a proponent of the right of artists and writers to not give a shit about their fans and write what they actually want to write and not what they feel they need to write to please the fans, but I needed to react for a bit. If you want to continue, then all the more power to you, but this is like keep rolling the dice after you've tripled your winnings. It's unnecessarily risky and bold to continue the story after everything came together.
For those of you who don't read 'Judy is Dead, AU', the last I heard of it was Nick died after saving July's life, and possibly reuniting with Judy beyond the grave. I felt this was a perfect stop for the story, because Nick had achieved his catharsis with July, he'd let go in a sense of all the things he'd been holding in, and it was time for him to rest. Still, I kept seeing Spanish updates in my fan art stream, which I at first just thought was the translators catching up with the thing, but I decided to check it out. Two new chapters - one seemingly pointless scene of July talking about the captain with Clawhauser's daughter, and one where Nick telling Judy there was still so much to do in Zootropolis and he was finally "ready to live" for the first time in years, and returning back to life. They're as well-written and interesting as the earlier chapters, but I have to question the decision to continue the story after every relevant thread of it was tied up. Especially considering the 'Partners' chapter have absolutely no relevance whatsoever.
Still, it is very early and it's possible it will become a relevant base to further the story - I don't know, let's see. Mead is obviously a talented author and in all likelihood knows what he's doing, but it's a very odd thing to do and may blow up in their face, because they need to excel themselves massively to make it work.
Continuing this strange disturbance of rhythm where I handle the fan art section first, continues turning out tree trunks of pages despite being in school as well. Must have started drawing when she was six or something. Personal jealousy peeves aside, story keeps being unpredictable. I was fairly sure Judy wouldn't immediately have a clue thrown in her face that her sister may have had something to do with the attack and I'm curious where she - Spintherella -'ll be going with it. Also, kudos for reffing Bogo and Clawhauser's relationship, and self-mocking observations (she had a character wear a jacket saying "Spintherella is lazy").
VisiTi is back briefly, but to be honest I've largely lost interest, especially considering it's not a proper story bit but just half a joke where Nick's mom says he's better in bed than his father. It's a long way from as read-worthy as the original 15 page 'Regret' comic when, for no clear reason Nick slept with his mom after straightening his life out and then she becomes pregnant and they need to deal with that nauseating cyclone of emotional abuse.
I thought I'd quickly mention some pencil comic called 'Hybrid Test'. Most cases I hold as much derision for Zootropolis porn as any other self-respecting fan artist, but I am strangely interested in seeing where the creator is going with it. It's not deep or have much of the original Zootropolis feel, but there is something about it which very much intrigues me. The best way I could describe it is I see potential in it. Whoever is making it is clearly not established or 100% sure in their craft and don't fully understand characters or story, but it feels like they have a grip about the cliff and could become someone very well respected in the trade.
Speaking of, if someone does like Zootropolis porn I recommend my buddy 's 7 page folio "Dark Romance". On a character inversion level it doesn't get more depraved than Judy Hopps and Albert Wesker making loving love love in evening sun radiance, but I think it's among the most respectful porn I've seen with any character from the movie, and no one can argue the art is not fantastic.
Now, this is one I've been looking forward to. Nick Wilde as a hardened body guard and Judy Hopps as a idealistic and serious lawyer in a Zootropolis controlled by foxes. It's so cheesy but takes itself so seriously I can't help but squeal like a little girl. It's like one of the early, alternative versions of the film!
"- On one paw Zootopia is a jewel of a city. The streets are filled with every species living together in harmony - except for bunnies of course - with buildings that are tall and magnificent... A true testament to what happens when we all learn to play nice with each other. Everyone walks around, trying to remain unnoticed or trying to be noticed more than everyone else. Money is made, smiles exchanged, jobs worked and the system goes on without a hitch. On the other paw...you have the reality of the city. It is a dark, dangerous place. That is the part of the city you'll be walking into, Fluff. The part where people will call you cute, and actually mean it as the derogatory term that it is. They may do it behind your back, or right up in your face with a grin, and those that grin will expect you to react. Expect you to focus yourself on that tiny, insignificant little detail so that you would lose sight on why you're entering the foxes den at all. And once you lose focus because you can't even get past the use of one word...the city will eat you."
Points for 'Zootopia Sundrance';
- The art is bleak but it shifts tone depending on the mood and it's reminiscent of the film, both in how the characters look and how it's presented. Much like the film you feel like Nick and Judy are human-sized.
- It's Sin City with cutesy animals.
- The concept seems thought of in all haste, but it is thought through to a degree I'm envious of.
- None of the characters remind of the film - it's like they've all grown up - but their basic essences remain, with Judy as a naive idealist and Nick as a disaffected crook.
Points against 'Zootopia Sundrance';
- In a city controlled by foxes the judge is Dawn Bellwhether - sheep.
I like 'Zootopia Sundrance'.
Let's move on to the bit no one is interested in.
It's been an odd week. I stand by my taking responsibility for my work instead of using a schedule as a crutch, but it's starting to occur to me what's actually meant by doing that. Three days last week I wasn't able to work on either writing or art and decided to make up for it by working all day on Friday. I managed almost a page (worthless measurement, I know) in an hour, and then I stared on the screen for another three. Tried the same thing on friday, by working for one hour, break, and then work again. I got less done, but I didn't feel drained while working and blame it more on being unused on demanding I write for that long. Art-wise I've been on a standstill essentially, because I've stopped caring about the illustration at the moment and only scratched at it to be able to tell myself I wasn't letting my potential rot. Working through apathy is like weightlifting for my brain - I don't want to, see no reason to, and it just hurts.
Anyway, I was taking advice from various authors on how to write for an entire day, and it was from them I got the advice to split my writing up in pieces over the day. What I did was I realised I wasn't sure what I was doing and needed help, and sought it out. Further on I realised for the past several weeks I've been able to say to myself I have been working and that argument against not working wasn't working anymore, and I didn't actually want to work. I trusted myself and let go of stuff - it wasn't the first thing I needed to do, it wasn't world-crushingly important, I wasn't being neglectful, I just did not want to work for a while. And I spent a large part of the day playing video games, with a set time to get back to work, and so far it has been working brilliantly. I feel good and I'm getting stuff done.
What taking responsibility means is not forcing myself to do something I don't want to do just because it seems like I need to. It means I decide what I should do and how I should best achieve that, and know when not to work as much as how I should get my best work done. I trust myself to know what I should do and to find out if I don't, and knowing what I want to do and I feel confident to also do it.
It's liberating in a sense, to know I can decide to slack off for a while and be confident I will get back to work later, or at the very least I don't feel anxious about it. It feels a bit weird and apprehensive, but it works I think.
Yup, I'm showing you this finished one. Mainly because I have stopped caring about it and am just happy it's over, because I want to throw it
away and do another illustration for its bit of the story. Not sure what yet, but I just know this is not it. That, and my phone camera is stupid,
so it just comes out blurry.
Just look at the mess I made of my face. Especially annoying considering before I enforced the lines I actually made a brilliant job of it.
I should explain, this bit has nothing to do with the above picture. This is something new I'm working on.
There was all too many extraordinary parts to the story, it made it too difficult to stand back and take it in. Like an ocean that fell down from the sky and covered everything, till no mammal inside of Zootropolis or perhaps beyond could get a clear view of what was happening. Four seperate city blocks had all suffered extensive damages in a unexplainable explosion downtown. A concrete bunker seemed to just materialize from thin air, and an alien that stumbled out, naked and dazed, was sent to a hospital and then immediately into policce custody as a small army of the same aliens stormed the same hospital before they all vanished. Occasional sightings of the lone alien, escorted by the now most well-known police officer in the city - Maurin Fang - in small pizza places in the Rain forest district, and rumors of the army squating in at least three different condemned buildings in Sahara Square, a new one every hour, and the police brutalising the doors to every one.
It would seem like a reporter's dream for something like this to fall into their laps, that they could just reach out their hand and gouge a scoop out of thin air, but going back to the comparison of an ocean all of them were on the same boat with the same ladle to sift through the same muddled waters. The proverbial flood wave struck every part of the city differently, so all of them had something unique to tell the world of, but all they could do was report in to the stations and hope the anchors picked their piece of the pie.
They'd need something like finding this "army's" hideout or an interview with the lone one that would explain everything to certainly make a career from all this, or at least cause a stir in the chaos. Many were trying to get in contact with officer Fang or wrangle their tame pack of eyes in the walls to spot her so they could ambush her and the alien. Judith Grazer wasn't as ambitious but she hoped one of them would succeed, so she and every other mammal in the city could finally get an idea of what is going on. Her coworkers and she were all as confused and uncertain as the rest of the public, but she'd seen them in the briefing room and she felt like she was the only one that was still in shock, and scared about going out to the scenes of the incidents. There was a minor exodus out of Sahara square in fear of the army supposedly hiding somewhere in there. With most of the police force busy searching through Sahara square looters were seizing their chances downtown. A team of explorers in hazard suits were getting ready to explore the bunker in the catastrophe area. Even in the outskirts of Meadows reports were coming in of predators too afraid to leave their houses for mobs of sheep gathering outside to harass them. All across the city order was breaking down, but she hadn't seen another face that looked as worried as she felt.
She wondered, in the back of her head as she helped putting a camera back in the newscaster van, if it was a way of dealing with it - to just do their job without thinking about it, even as every shade of misfortune stared them in the face, or if they were really happy for a truly big story to work on. Reporters like to nurture a reputation of being jaded, but this was Zootropolis, not a war zone or unevolved nation - there was nothing to be jaded by here. The thought made her shudder and her legs twitch.
Sternly she planted her hoof back on the asphalt with a click and closed the back door of the van. She was a regular sprinter, like many other antelopes, and the chemical cocktail of anxiety, uncertainty and fear made her legs like two triggers twitching to go off. She could only thank her lucky star she had been assigned to report on the lootings in a cornered off area on the outskirts of Sahara Square. Far down the road police interceptors stood like thick, low walls to guard the crime scene from any trespassers, and their towers stirred the shadows like blenders atop their roofs. It wasn't much of a crime scene, just a quick raid by a pack of hooded vandals on a small electronics store, and in light of everything that had happened the street was close to empty anyway, but as long as they were not needed elsewhere two cars would stand guard across the road on either side of the store. There'd been a third car earlier, when Judith was still in front of the camera, reporting in a small segment lamenting the sad tragedy affecitng small time businesses wherever the police weren't and what it said about the public, that almost seemed unrelated to the events downtown. The white, blue and red flashes from its towers traversing the storefront and the officers looking for clues on the other side of the shattered window had enforced the sense it was indeed a tragedy and not neglect on the force's part. The car and officers had since left, leaving her to interview the victims, and now all but her and her cameraman, Porky Quill remained.