“… and you can’t teach him lessons that he has yet to learn.”
Like drawing bodies punching each other. Wow. This one has issues, In 6 months I will be able to see where the drawing went south. Until then, (/me shakes head) enjoy!
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Huh? Not making any sense? Although Artiste’s vignette are non-linear, it can help to read the back story: • The Artiste Gullible back story. Of course you could just read them randomly, and trust that it will all come together at some point.
↓ Transcript
[image] One man punching another while a third stands behind bars in the background.
[text] You would think that the best friend you have; the one that you can count on in any emergency, would be yourself. After who knows you better; all your foibles and your motivations?
As it turns out, the myriad slices of you, presented to yourself in space, and time, are often belligerent.
A fellow traveler once described an instance in which a younger version of himself locked him in a jail cell for three days, in an attempt to coerce the future from him. This older version of himself, held his ground, and tried to explain that events are often better played in the now of the past, rather than the now of the yet-to-be.
It wasn’t until a third version of himself showed up that the conflict was resolved with a well directed punch to the face.
From behind the bars, the older man rubbed the latent memories of a sore jaw (and knuckles) and said “You can’t threaten a man with the consequences of a future he has
already lived.”
[text] You would think that the best friend you have; the one that you can count on in any emergency, would be yourself. After who knows you better; all your foibles and your motivations?
As it turns out, the myriad slices of you, presented to yourself in space, and time, are often belligerent.
A fellow traveler once described an instance in which a younger version of himself locked him in a jail cell for three days, in an attempt to coerce the future from him. This older version of himself, held his ground, and tried to explain that events are often better played in the now of the past, rather than the now of the yet-to-be.
It wasn’t until a third version of himself showed up that the conflict was resolved with a well directed punch to the face.
From behind the bars, the older man rubbed the latent memories of a sore jaw (and knuckles) and said “You can’t threaten a man with the consequences of a future he has
already lived.”
Don’t sell yourself short, this is another great installment. I’ve said it before, but I’ll say it again: well worth the wait!
The only i can think is strange with the drawing is that we should see more the back than the chest but it doesn’t lose an once of it’s fun
I have to say that you do a wonderful job of facing temporal mechanics. Your explanations are so on the spot and understandable. Bravo.
Whoops! missed an “all” in the first paragraph; “After all, who knows …”
:-/ I blame post post impatience.
Recently found this comic, and just finished reading through up to this one. Very cool, and a really vivid story!
It seems like the description does not match the drawing:
“A fellow traveler (A2) once described an instance in which a younger version of himself (A0) locked him (A2) in a jail cell for three days … It wasn’t until a third version of himself (A1) showed up that the conflict was resolved with a well directed punch to the face.”
This means A2 is the one in the cell and A0 and A1 are outside (which explains why the window is glass instead of bars). However, from the looks of the drawing A2 is actually the younger of the three, looking like a teenager while the other two look like adults.
For the rest, great work! Particularly love all the little strings on their attires.
Follow your heart! Do more action poses!
Thanks everyone for reading.
@Frank: I think this is a more of a pronoun/english problem than temporal mechanics problem.
“A fellow traveler (A3) once described an instance in which a younger version of himself (A1) locked him (A3) in a jail cell for three days … It wasn’t until a third version of himself (A2) showed up that the conflict was resolved with a well directed punch to the face.” (Thus allowing A3 to remember both the punch and the hit.)
I normally plan my drawing around my writing, but as you have pointed out, I really need to do more action poses. These are much more challenging for me to figure out all the gesture driven consequences. I started out with a static drawing of a guy in a jail, by the time I finished the drawing this person was subjugated to a background element. I was left to write to fit the drawing. Limited amount of space (and time) = confusion.
Great insights! Thanks for the comment.
Time travel. It will always give me headaches.
And yet, our numbers agree. (I read the text over several times to make sure the pronouns wouldn’t get the best of me.)
Of course, you could’ve just said the guy in the cell had been to some rejuvenation clinic in his travels after that point.
I’m the opposite: it’s the gesture that guides my drawings. It’s hard for me to draw a character just standing there posing! Another reason I marvel you
Your greatest savior, and greatest downfall, shall always be yourself. Philosophy and chrono-logic triumph once again.
I so wouldn’t trust myself, I often can’t figure out what/why I’m thinking something let alone trying to figure out another version of me.