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<MIMIC>

<MIMIC>

by UrbanMysticDee
An experimental virus, <54111> "Sally", is loose in a secret lab, growing deadlier with every living thing it encounters. The researchers have to find and destroy it before it escapes.

Contains:
*Incineration
*Face Splitting
*Dismemberment
*Reanimation
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19
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On Hiatus
Last Update
6 Years Ago
Fans
9
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<MIMIC>

An experimental virus, <54111> "Sally", is loose in a secret lab, growing deadlier with every living thing it encounters. The researchers have to find and destroy it before it escapes.

Contains:
*Incineration
*Face Splitting
*Dismemberment
*Reanimation

Recent Comments

It's already been established at the beginning that this story is a flashback and everyone is already dead, but some people might not want to see how they die. If that includes you, please skip this page.

With the mouse scene (pages 11 and 12) we saw that Sally likes to glue body parts together (an idea I started using in a 2005 story called "Metropolis" that didn't go anywhere). The challenge is making sure its mass does not spontaneously increase while growing mouthes or tentacles. Any growth of body parts MUST be balanced by a loss of equivalent mass somewhere else. The good news is Sally doesn't need too many organs to function, so things like extra bones and intestines can be transformed into fun.
UrbanMysticDee
February 28th, 2013
All the characters except Max the cat and Sally are scientists in their late 30s or older. This is the oldest cast in any of my stories.

Serge Masse is the visiting specialist from Nantes. He's a old friend with Malcolm, the lab's director. They did work on disease in Côte d'Ivoire and Uganda in the early 90s.

Jeff Martel is 60% Jeff Goldblum, 20% David Duchovny, and 20% bullshit I adlib.

Sam DeMarco is based on someone who gave a talk I watched once. Max is her cat. She's probably the most bull headed and demands concrete evidence for everything and talks about the "elegance" of viruses and survival of the fittest bullshit.

Funland Dairy 3 1/3% Milk.

I drew this page at 4:28. The clock says it is 4 even.
Serge's mug has an AQAL symbol on it (all quadrants, all levels, all lines, etc.): roughly I, It, We, Its. There are many Integral references throughout this story. See if you can find them all.

The refrigerizor is a left hinge, like mine. The factory setting of all (or most) refrigerizors is right hinge.

There really is a business called "Hana's Donuts" in Kansas City, Kansas. I had no idea until I looked it up today. I based the box on an Entenmann's box. They make assorted doughnuts in boxes of a dozen and chocolate in boxes of ten. Always buy the chocolate ten box because the chocolate in the assorted box always comes sticky for some reason. Their crumb coffee cake is probably the best product, but it's $7, so it is a special occasion item. Their chocolate chip cookies are made of crack or something because once I open a box I have to eat them all. Sadly, they discontinued their filbert danish ring (a filbert is really a hazelnut). That was a quality dessert.

This page took over a month to do because my sciatica kept me from sitting long enough to work on it seriously.
UrbanMysticDee
December 30th, 2012
The last page of the year!

You know that last panel is the best one yet (I like the ones with the sink and the bloody door better).

I began MIMIC in December 2011 with the intent of seeing how far I could get in one month (7 pages). In one year I have finished 17 pages, and what a busy, crappy year this was.
UrbanMysticDee
December 26th, 2012
Spot the mistake (no, not the obvious one of not being able to match the rug to the floor)? Melissa's pony tail is on her left shoulder in panel 4 when it should be on her right shoulder! I don't pay enough attention when I'm drawing MIMIC.

29 Dec
Forgot the poster! This should be the last mistake.
UrbanMysticDee
October 25th, 2012
Sally (Daffodil's) tail was supposed to continue on from page 10, but it is slightly off for some reason.

You can see, this page is important to the story, and you can also see the hallway scene. I originally tried to figure out what it would look like on paper, but that didn't work so I build a physical model, took a picture of it, and traced over the picture. That didn't work so I made a 3D computer model and that is how the top two panels were made and why it took so long.
UrbanMysticDee
October 17th, 2012
@Guest: Who the fuck are you and why should I give a damn?
Guest
October 17th, 2012
kinda messes up with the flow though doesnt it. if it isnt important then why draw it at all?
UrbanMysticDee
October 17th, 2012
@fluffyfishy: Page 11 isn't completed yet and I didn't want to wait a whole month to post something.

Page 11 is a very annoying page (it's drawn, so it will be up in a few days), with a very difficult technical shot that I had to do by building a model, taking a picture of it, and tracing the picture to get the angle right. It is also very boring, so I skipped ahead. You haven't really missed anything except empty hallways and some gore.
fluffyfishy
October 16th, 2012
why did you post pages 12 and 13 but not 11
UrbanMysticDee
October 7th, 2012
@melaredblu: I'm glad to see someone cares about my work enough to make recommendations! Thank you. Feel free to say pretty much anything you want about my work. The only thing I really don't like is when people try to tell me how I came up with the ideas for my stories as if they were there when I thought it up (no one has done it here, yet, but even after describing for 18 minutes how I based my story All Hell Breaks Loose! on real people and real events at a website I belonged to I still had tons of people comment on my video that they knew my story was fake and they knew I did x, y, and z, and when people call me a liar that's one of the few things that really gets to me).

I'm surprised that you like "the amount of detail and care you put into hand-drawing [my] backgrounds," because this whole comic is just one rush job and I feel a lot of it is crap. Nearly all the pages take under three hours to draw. The average page of The L takes eight hours to draw. As a couple of examples: Page 2, 3, and 6 the door has a bar shaped handle; Page 8 it has a round knob; Page 9 it has a bar again; Page 10 it has a round knob again, as it does on page 13. Page 2, 3, and 4 the floor tiles are all uniform; Page 6 the floor tiles have an alternating dark and light pattern; Page 8 I forgot the tiles all together; from page 9 onward the tiles again alternate dark and light, except the bathroom tiles which are all light.

I'm actually disappointed with the LACK of detail in this story. There's just so much empty space on each page. I don't know, I guess most people are disappointed with how a lot of their work turns out. A lot of this lack is intentionall as I alluded to this in the commentary on the very first page. MIMIC is an experiment to see how fast I can make what is actually a pretty vacuous story. All I'm doing is milling through characters. There is no other purpose, which stands in stark contrast with pretty much everything else I write. I still think it's a pretty cool story, and the idea is certainly scary, but scariness is the ONLY thing running the story. The one thing I do like is the blood, which is all digital. For all the stuff that disappoints me I have to say MIMIC definitely has the best blood I have ever seen in any comic ever.

Pages are reduced in size 55% horizontally and 60% vertically (1275x1647 to 700x1000). There is no way I could possibly write small enough to do the dialogue by hand, and there's really no one who would actually want to see me handwrite everything, including myself. Some samples of my handwriting:
http://finnect.deviantart.com/art/Making-of-The-L-Part-Dos-285904511?q=gallery% 3Afinnect%2F35399619&qo=3
http://finnect.deviantart.com/art/Making-of-The-L-Part-Trois-285905002?q=galler y%3Afinnect%2F35399619&qo=2

And handwritten text that actually appears on a finished page:
http://thel.smackjeeves.com/comics/1522944/067/

About 70% of everything on the page is digital. I might draw five or six discrete elements and resize them and composite them together on the computer to make one panel. Page 10 panel 3 is five separate drawings. Page 6 panel 5 is four separate drawings. If it were all hand drawn everything would look like unfinished page 64. Then there's the whole issue with the floor tile. I COULD draw it by hand, and waste fifteen pieces of paper and several hours getting the angles right, or I can spend ten minutes and do an entire page worth of floor tile on the computer. It's just as good but it's one twentith the work. Another example, the library scene. I did 200 separate books just for half of one shelf. I don't want to have to draw the thousands of books that will appear in this story by hand and spend untold hours when I can do it on the computer in a few minutes.

I'm not entirely sure what the aesthetics of graphite or soft lines are. All I can say is could it be better? - Yes. Will it get better? - Possibly. Without going on endlessly I think that's a nice final note. Thank you for taking the time to comment.
melaredblu
October 7th, 2012
Some feedback, if you want it.
I saw your comic in the forums. I'd like to say a few things, if you don't mind. The best thing about your art is the definitely the hand-drawn details, particularly in background/environment elements. I'm sorry to say this, but the digital art you blend in simply doesn't do it justice. It would look better if it was all hand-drawn, in my opinion. The dialog, as well, would match the art better if you wrote it by hand. However, if you want to continue blending mediums, which is a perfectly fine thing to do, why not experiment with art software that allows you to use softer lines to better match the aesthetics of graphite?
I hope my comment doesn't come across as harsh or pretentious. I mean only to offer some ideas to help you further improve your art. Best wishes!
UrbanMysticDee
October 6th, 2012
Pages 12 and 13 are a double page. The text in the background is from the songs "Forms of Imprisonment" and "Sally's Song", which inspired MIMIC. You can see both pages together here:
http://finnect.deviantart.com/#/d5g4nmw

Hank is 6' 2 1/2''
Melissa is 5'4''

Melissa's expression in the second panel vanished when I resized the page. She has blue eyes. I'm very much in a blue eye phase.

The poster is a piece of fractle art I made called "Concentration". It too is blue (reduced to grey here).

Your tax dollars at work: a big screen organic LED television (hooked up to a DVD player since the lab has access to the outside world only once every three months). Organic LEDs are the only existing technology that produces true colour comparable to CRTs, but they are very expensive and don't last very long.

I don't play pool but someone was throwing away a pool stick and I brought it home. It is, to date, the best piece of trash I have ever found.
UrbanMysticDee
September 28th, 2012
Page 11 will be done shortly.

Pages 12 and 13 are a double page. The text in the background is from the songs "Forms of Imprisonment" and "Sally's Song", which inspired MIMIC.
UrbanMysticDee
July 15th, 2012
I opted for a clear plastic top to the cage so you can see inside as there's no point in having the most important event in the story so far appear hidden. It also lets the scientists count the mice inside easily to make sure none are missing. Mice can compress their bodies so as long as a hole is large enough to fit their skull a mouse can squeeze through it.

Hank Pruß/John Chambers has the same haircut and the same personality in The L and MIMIC. I like drawing him so much I put him in two stories.

This is the first page that bleeds into two pages (Daffodil/Sally's tail continues onto page 11).

There is no dialogue on this page because Sally can't understand human speech yet, although Hank is indeed speaking with Frank about the mice. The only text on the page is the distinct cicada* noise Sally makes (because it's scary, not because there is necessarily a noise making organ inside any of the mimics). The same process here first appeared on page 6, and again on page 8, although on a microscopic scale.

*Figuring out what a cicada sounds like was one of the most difficult parts of making this page. I hear it as a "hard S" sound with a simultaneous rattle.
UrbanMysticDee
May 31st, 2012
Took two hours to draw, a lot more time to edit, and a day to sit on because I can't figure out what the font is I use for the titles and page numbers. I know a lot of fonts that are similar but are not the right one, but that didn't help. I took the "6" from page 6, turned it upside down and stretched it a little to make it into the "9". In theory, now that I have all the numbers, and since the rest of the text is different, I can continue until I come to a title, at which point I will have to stop.
UrbanMysticDee
March 19th, 2012
The actor who plays Hank also plays John Chambers in The L. I drew a big picture of Hank sitting down and most of the foreground of the second panel cut him out!

The tall panel on the left took 78 minutes to draw - more than the entire rest of the page. The large grey box on the left wall closest to the door is officially designated "machine of some kind" in my notes.

This page was drawn in late January but I didn't work on it until now because of my other project. Surprisingly MIMIC has more fans than The L, even though it was conceived as an experiment to see how far into a story I could get in one month. Page 9 is completely planned out but I have not started drawing it yet. I don't know what happens after that other than someone (don't know who yet) dies on page 10 or 11.
UrbanMysticDee
March 16th, 2012
@koala: The map is on the zeroth page. The second page has the bloody handprint.
koala
March 16th, 2012
Update soon please!
koala
March 16th, 2012
Wow! It's so scientific! I can learn a lot by reading this. This comic is well planned out. You even had a map on the second page!
UrbanMysticDee
January 27th, 2012
This page was rather easy but I had a lot to do so it took weeks. Something will actually happen soon.