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I make my Molasses comics in my composition notebooks and then I scan them and post them. I also have some other comic projects, but Molasses is currently my favorite.

I'm also a musician. My current main stage persona is Lace Veil.
  • Real Name
    Victoria Sabas
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Expressive mask was definitely a good choice in my opinion.
Partly yes, partly no. Some of these pages I've seen before. As far as Static, I've seen art of Static many a time. As far as the action lines, I think I saw those once before. However, I'm giving you my instantaneous feel as I read this comic, and as I read the next pages which I definitely have not seen, it will be entirely instantaneous feel.
The whole deal with Pitowski's eyes, for me, is that it's weird that it's a gradient with no eye whites. But I would be curious to see the effect darkening them would have.
I think the issue is divided into four things, as far as I can tell.

1.) Brighter colors bring things forward, duller colors push things further back. You've got a really bright ocean an police lights way in the back, and progressively duller colors closer to the picture plane. This is awkward to look at, and kind of flattens out the whole scene. Ways to fix this would be to perhaps dull the color of the water in this scene, and to find some way to brighten the closest rooftop with Nick on it, maybe a stylistic choice of some shadow with a bit of color in it, or maybe the rooftop in question even has some color to it, maybe opposite the color wheel to Nick's outfit to add interest and contrast, maybe again blending it well with pops of color in the shadows.

2.) Thicker outlines bring things forward, thinner outlines push things further away. You have already employed this, but perhaps not drastically enough. Aka I keep reading the inner concrete floor of that green-roofed area as part of the rooftop Nick is standing on, even though I know it's not. I know Nick has the thickest outline; that's good. The roof he's on has second thickest; that's also good. However, it still doesn't read well, an it's hard to fully point my finger on why. I also know that enhancing the outlines too much can make it look strange. It's a tough balance for sure.

3.) Again, textures. More texture will bring something forward, less texture pushes it back. I know from your last comment that you're wary of textures, but perhaps some would be needed here, just to separate things more. I recommend hand-drawn for a style like this.

4.) Shading. Ok so you shaded Nick, and the inner ridge of the roof he's on, and you shaded the mountains and trees in the background, but nothing else. This is visually confusing, because once again, the shading in the furthest part of the background brings it forward visually, because it's more shaded than the things in the middle ground, like the green roofed structure. Also, Nick is shaded in colors that are not as dark as the shading on the mountains. Less contrast on Nick than on the mountains. If there was higher contrast on Nick, an lower contrast on the green roofed structure, and lowest on the mountains, it would help even out the distances of the things and make the picture less flat.
Yeah hand-drawn action lines can be tricky as well. I know that feeling.
Shadows would have been perfect actually. Like some long shadows.
Ok so I know my comments have mainly been on the visual art and design aspect. But yeah, the writing was smooth. So far it's working out to be an interesting plot set up, a nice, tight first issue!
Nice character design on Bird. Also I love Nick's design, too.
For some reason, the computer-y pattern DOESN'T weird me out when it's Static's body pattern. Actually it's really appealing.
I love how she travels places.
Police woman with the vertical gradient dot eyes is weirding me out a little. Mainly the gradient part is the part weirding me out. Also that she has no eye whites, though. Maybe it'll be less weird to me once I see other characters with similar eyes. Also, I love how expressive Nick's mask is.
Loving the layout in the top panel, and Nick's blue silhouette! Bottom panel, layout is slightly confusing due mainly to flat appearance; it reads easily as a bunch of flat shapes put together. The thicker lines around Nick and his platform help.
The use of computer-generated (uhh. What are they called. Action lines?) here with tons of gradient and color variation is really kind of jarring given the flatness of the rest of the comic. I notice you use more of these later, and it does help me get used to them the more they're used, but it doesn't really look right.
House's outer appearance looks kinda barebones, like some detail is missing. The deck in the back helps a lot, though. Might help considerably if the roof extended further out from the walls, and maybe if the walls had some sort of texture. I really like the color choice and shading style for the light hitting Neil, though.
This page, though, has really good layout and balance and color scheme.
As I've said before, I'm fond of this cover. The large span of light blue at the bottom lacks some sort of visual balance, though, and I can't figure out what would balance it. Maybe some more dark somewhere.
October 2nd, 2015
@ponography: Oh hey thanks!! I was always rather proud of this page.
September 14th, 2015
End of Volume 3. Volume 4 coming... later.
September 14th, 2015
@ponography: OMG OMG OMG OMG THAT MAKES ME ALL KINDS OF ELATED OMG and I know I already said "all kinds of" but whatever that's awesome!!!
September 14th, 2015
@ponography: Thank you so much, and it's no problem that you're leaving comments! Comments make me feel all kinds of happy.