Girl Why Are You So Beautiful My Heart Can't Take It

girl why are you so beautiful my heart can't take it

i sometimes really hate clothing folds

Show, don’t tell

"Show, don’t tell" means letting readers experience a story through actions, senses, and dialogue instead of outright explaining things. Here are some practical tips to achieve that:

1. Use Sensory Details

Tell: "The room was cold."

Show: "Her breath puffed in faint clouds, and she shivered as frost clung to the edges of the window."

Tell: "He was scared."

Show: "His hands trembled, and his heart thudded so loudly he was sure they could hear it too."

2. Focus on Actions

Tell: "She was angry."

Show: "She slammed the mug onto the counter, coffee sloshing over the rim as her jaw clenched."

Tell: "He was exhausted."

Show: "He stumbled through the door, collapsing onto the couch without even bothering to remove his shoes."

3. Use Dialogue

What characters say and how they say it can reveal their emotions, intentions, or traits.

Tell: "She was worried about the storm."

Show: "Do you think it'll reach us?" she asked, her voice tight, her fingers twisting the hem of her shirt.

4. Show Internal Conflict Through Thoughts or Reactions

Tell: "He was jealous of his friend."

Show: "As his friend held up the trophy, he forced a smile, swallowing the bitter lump rising in his throat."

5. Describe the Environment to Reflect Mood

Use the setting to mirror or hint at emotions or themes.

Tell: "The town was eerie."

Show: "Empty streets stretched into the mist, and the only sound was the faint creak of a weathered sign swinging in the wind."

6. Let Readers Infer Through Context

Give enough clues for the reader to piece things together without spelling it out.

Tell: "The man was a thief."

Show: "He moved through the crowd, fingers brushing pockets, his hand darting away with a glint of gold."

7. Use Subtext in Interactions

What’s left unsaid can reveal as much as what’s spoken.

Tell: "They were uncomfortable around each other."

Show: "He avoided her eyes, pretending to study the painting on the wall. She smoothed her dress for the third time, her fingers fumbling with the hem."

8. Compare to Relatable Experiences

Use metaphors, similes, or comparisons to make an emotion or situation vivid.

Tell: "The mountain was huge."

Show: "The mountain loomed above them, its peak disappearing into the clouds, as if it pierced the heavens."

Practice Example:

Tell: "The village had been destroyed by the fire."

Show: "Charred beams jutted from the rubble like broken ribs, the acrid smell of ash lingering in the air. A child's shoe lay half-buried in the soot, its leather curled from the heat."

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kangaroomaze

4 months ago

first post on here! I got this idea a few nights back and really wanted to make it into a comic

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kangaroomaze

7 months ago

Title card reading: [Storyboarding Basics. Brought to you by NU Animation Club, March 23 2023]. There is a chibi drawing of Feeb drawing on a CINTIQ

Types of shots: Distance from the camera Close shot: intimacy, emphasis on charater emotion. Example is a close up shot of Gandalf’s face from Fellowship of the Ring. Long shot: grandiose, emphasis on location. Example is a long shot of Legolas, Gimli, and Aragorn arriving at Rohan, visible on a hill in the distance, from the Two Towers. Note: never start with a close shot. Start with as much location as possible to set the stage for your audience

Rule of thirds: Divide the screen into thirds horizontally and vertically. Try and keep focal points (like eyes) where the lines intersect! Incorrect example shows Araluna from Archmage Ascending with her eyes below the top third horizontal line. Correct example shows Araluna from Archmage Ascending with her eyes on the top third horizontal line.

Don’t cut characters off: make sure not to cut off a shot at the characters’ joints. Be especially careful of knees, elbows, hips. Incorrect example shows a shot of Power and Denji posing for the camera. The left side of the frame cuts off at Power’s wrist. The bottom of the frame cuts off at Denji’s ankles. Correct example shows a shot of Power and Denji posing for the camera. The left side of the frame cuts off at Power’s forearm. The bottom of the frame cuts off at Denji’s calves.

What is “shorthand”? Shorthand: a very simplified art style for storybordd that prioritized shape Do: include shape, size, expression Do not: include detail Example is an image of Ryuk from Death Note besides a shorthand drawing of him to scale. These are NOT illustrations / lineart, they are GUIDES!

Perspective & Gridlines: It is NECESSARY to include gridlines to make your perspective clear for the background artist. An incorrect example shows Araluna falling on a blank background. Three correct examples show the same image with gridlines in the background. One shows the gridline as a flat ground. The other shows the gridlone a slanted background in fish eye perspective. The last shows the gridline as a receding wall parallel to the character.

Perspective cheat code: No matter how close characters* are to the camera, the horizontal line will always cross them at the same part of their body. * must be the same height Incorrect example shows the horizon line cross Dokja Kim at his shoulders and Junghyeok Yoo, who is in the background, at his knees. Correct example shows the horizon line cross Dokja Kim and Junghyeok Yoo, who is in the background, at their shoulders.

Perspective tip! Try to avoid having the horizon line run through the middle of the screen. Raising or lowering the the horizon gives your shots a cinematic feel. Incorrect shot of Riza Hawkeye running in a forest has the horizon line crossing the center of the frame. Incorrect shot of Riza Hawkeye running in a forest has the horizon line crossing close to the top of the frame. Incorrect shot of Riza Hawkeye running in a forest has the horizon line crossing close to the bottom of the frame.

a couple snippets from a presentation i gave at school this past week on storyboarding!!

‼️DISCLAIMER: I am still a student and have only worked on student and indie projects! This is just stuff that I personally find helpful as an amateur, so feel free to take it with a grain of salt!

Happy boarding, friends! ✍️💕

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kangaroomaze

5 months ago

Happy New Year, everyone.

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kangaroomaze

7 months ago

Analysis so bad you don't even know what it's talking about anymore.

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kangaroomaze

5 months ago

Zooble realizing they've dodged a major Cain bullet on dipping out on the past adventures.

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kangaroomaze

1 month ago

I've explained how to divide a rectangle into even thirds to three board artists on the team in the last couple days, so hey, if YOU don't know how to do it, then here's how! pic.twitter.com/mXvIeXS0MY

— summerskeet (@dumbbitchskeet) July 1, 2019

really helpful technique ^ once you know how to divide by halves and thirds it makes drawing evenly spaced things in perspective waaay easier:

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kangaroomaze

6 months ago

A comic featuring the characters Odile and Siffrin from the game In Stars and Time. Odile is a tall older woman with light skin, straight black hair pulled into a bun, rectangular glasses, and a long coat with large sleeves. Siffrin is a small, androgynous, young-looking adult with light skin and chin-length wavy white hair with the ends dyed black. He has an eyepatch over his left eye and is dressed in a white cloak.
Panel 1: The two are talking while sitting on the floor of a dark brick room with motes of magical light floating around. Odile is looking at Siffrin with a relaxed posture and a neutral face, while Siffrin is looking down and away from her with a sad expression. He asks, “What you said earlier, do you really care about...? … Never mind…” The speech bubble font gets smaller as the text goes on. He’s fidgeting with the brim of his wizard-like hat resting on his lap.

Panel 2: The camera angle shifts to point towards Odile, who’s narrowed her eyes at Siffrin with a stern expression. She says, “Siffrin,” in bold text with an angular speech bubble. Siffrin flinches and ducks his head. The camera being on his blind side means you can’t see his eye, but his eyebrows are pinched together and his mouth is pressed into a wavy line. He grips the brim of his hat harder.

Panel 3: The camera angle is the same, but now Odile’s face is softer and sympathetic. She says, “Of course we care about you,” with a round speech bubble and regular font. Siffrin’s shoulders have slumped and he looks more relaxed, but his head is still hung with a sad expression. He’s still firmly gripping the brim of his hat.

Panel 4: The same camera angle. Now Odile is reaching up to grab her own speech bubble from the previous panel. It still says, “Of course we care about you,” and it’s deforming like it’s made of cloth. Her mouth is closed, indicating she’s not actually speaking. Her eyes are sharp and intimidating, and she’s maintaining intense eye contact with Siffrin. Her posture has shifted like she’s getting ready to stand up. Siffrin has whipped around to look up at the speech bubble and his face is no longer in view. He’s leaning away from Odile slightly.

Panel 5: The camera has shifted to a high angle slightly behind Odile, who is now up on her knees looming over Siffrin. She’s gripping the “Of course we care about you” speech bubble by the tail and has it raised up behind her head, preparing to swing down and hit Siffrin with it. Her loose coat flares out behind her from the motion. Siffrin has stumbled and is lying on his side, staring up at Odile with his eye and mouth wide open in shock. He’s trying to scramble away from her while shielding his head with his arms. The hat that was on his lap is now on the ground between the two, and his cloak is bunched up awkwardly underneath him.

2024 September 14th

Do you ever wish you could beat into a character's head that they're loved? Because I sure wanted to beat Siffrin during my first playthrough of In Stars and Time. Then I thought about that figure of speech too literally, laughed at my own joke, and now here's me using Odile as a proxy to do just that. :)

I absolutely adore Odile's "you will be safe and happy and that is a threat" approach to emotional support. Her and Siffrin's dynamic in general is just chef's kiss.

Sorry about your hat, Siffrin, but it was destroying my panel composition when I tried to put it on your head.

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For being rusty with art I'm really happy with this! That last panel in particular was very new territory for me but I think it came out good! I'm happy with the movement between panels in general. And look at me! Drawing backgrounds!! Wahoo!!

I drew these panels incredibly out of order, so you can see my art style and amount of effort fade in and out as you read, lmao. I tried to stay authentic to the game's style, but sort of gave up and let my style bleed through on the action-y panels. It just felt right. Gives it emphasis. :P

I'm new to writing screen reader image alt text, so feedback is welcomed. Sorry again to Siffrin because I forced myself to he/him them only to avoid confusion, but it felt bad! My fellow they/he, I have wronged you.

Time spent working on this comic was...... 33 hours and 18 minutes. I blame the rust, learning how to draw these characters on the fly, and figuring out the perspective on those bricks, oh my god.

Have some close-ups of my fave panels as thanks for clicking the read-more, mwa