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I'm motherfucking godzilla

At 5/14/14 02:13 AM, Gobblemeister wrote: Sometimes the art in a chapter is cluttered or the translations might be confusing

but yeah Youtube is home for asinine garbage I mean they pay people to play video games

Bingo. This is the correct attitude. People are retarded on youtube, you and will like just about anything. Though I have yet to strike it rich, somehow, when people with literally no videos have tons of subscribers. At least I have my dignity.

Yo, all. I'm a photographer, and I figured I'd start a photography thread. I'm gonna primarily use this as my own photodump, but I guess feel free to post your own.
All my stuff is visible at my website.

[img]http://wrightontarget.smugmug.com/Portfolio/LAist-Portfolio/i-MK2Sv4B/0/M/CSC_0499%20copy-M.jpg[/img]

I donut evn undastud.
???

10/10 would bang again

Snuff fics are childish and silly, as well as indicative of a slight bit of instability. Writing a story that's more like a semi-creepy (but mostly childish) fantasy-fulfillment wankfest just speaks to a lack of real creativity, writing ability, or depth as a person.

But then again, more often than not, this is true of any fanfiction-type writing.

Also, legally, you can't get in trouble for writing this shit, if they're considered "in the public eye" you can pretty much say whatever about them as long as it's "entertainment"; you can get looked at funny, maybe looked into, but celebrities are used to people writing shitty things about them by now, they're trained for it, and in most cases have no clue. Believe me, Ellen Page is not gonna read your wet-dream self-insert love fest about her and you, and the Beebs will never have a clue of your fiery, irrational hatred of him; which is so strong you devote three hours in writing a story in which he gets raped to death by a pack of N-people, as Mel Gibson would say.

No Jeff Ross, I don't care.

Also, there's not one real or original joke in what you've given us, just that opening stinkbomb. "Created by the Japanese"? When you have a character acknowledge they're not real, you just lose all connection and reality, if you don't know what you're doing. Why wouldn't sonic make a crack about "Hey, Mario, you ever consider maybe Peach is just fucking Bowser and can't bring herself to tell you?", especially since he brings peach right out? Roasts are all about busting balls and you don't bust balls by saying corny shit like "Created by the japanese" and acknowledging that none of this is real. Because real comedy is all about real. I mean, Jesus, if I were in that universe, and I was there, the first thing I'd say after Sonic said they were all video game characters would either be "BOO!" or I'd have an existential crisis and it'd just ruin the night. You gotta look at your characters as if they were real people. Believe me, it sounds a little Chris Chan, but if you don't believe in your characters, the audience isn't gonna connect or relate, and that's what comedy is about. Peach should probably open, by the way, introduce Sonic, and then he says something like the fucking bowser thing, maybe something like "You know, if he were really that bright, he'd realize you're just sleeping around with bowser; but what do you expect from a guy who is constantly on shrooms?". That insults Mario, but it's really a joke on peach, which is what I understand roasts are more formatted as. I don't watch roasts, I listen to actual comedy, actual comedians just riffing and busting balls. It's great, it's the only reason to listen to radio, to be honest. Listen to a couple of Ronnie B's (Ron Bennington) Unmasked series on youtube, it gives a whole lot of insight into comedy. I think Patrice O Neal did one, that has to be insightful if it exists.

So, yeah, you have peach introduce sonic, sonic makes a crack on peach's infidelity, masterchief interjects and calls him a 'mo for constantly being around tails, sonic cracks back with a virtual girlfriend joke, Kratos brings up his killing his wife and child. You can either have him make a joke about it, like "my family was so annoying I had to kill them", or something, you know the hacky standard, or be daring and have it fall completely flat, and make it uncomfortable. Then you have Luigi come out and say something about him being fat, maybe make that fall flat and fail, playing into luigi's uselessness stereotype. You play kirby like Ralphie May, loud and obnoxious, laughing way too enthusiastically.

It's pretty bad. It's just... nothing. There's no bite, no edge, no intrigue, I don't have any interest in the characters because there's no intro to them, they don't really say anything interesting, there's no normal world buildup and it's just trying to be a hook without earning it. Why do I give a care if this helena is married to this danielle if she loses a battle, what does it matter? I haven't connected to her in any way because you just threw me (and her) into a situation without building up your lead character and I just know I'm not gonna get a well-done backstory, because I know you're untrained and probably a kid. Maybe if you wrote it in first person you could get away with it by using stream-of-conciousness, but you didn't. It's also in the sweet spot of bland description, not flowery enough to be pretentious, but not to-the-point enough to leave it to the audience. There's just nothing to this.

It feels like you wrote one scene, and have no real clue where you're going with it, which isn't terribad in itself, that's an interesting experiment if you know what you're doing; but you haven't convinced me at all that you do.

Tell me, what's this story gonna be ABOUT? And I don't even mean a plot outline, I mean what is the message of the story? I'm working on a story right now, I haven't got a full outline yet, I don't have an ending, but I definitely know what it's ABOUT. It's about the bond between a man and his daughter, and the lengths parents will go to protect their children in the face of any situation, taken to the extreme of an apocalypse. It's been done, I'm sure; I haven't read anything dealing with this theme, but I'm sure it's out there. I start in media res, which means there's no normal world, but since I'm writing it in first person, I can easily segue memories in there pretty seamlessly, and the parent-child bond is a pretty relatable thing; plus I can cheap out and say it's a man who's not a storyteller relaying his experiences after the story's over. It takes out some tension about the lead's fate (though this could be him relaying the story to St. Peter or whatever, if I wanted to pull that card), sure, but I replace that by pairing him with a daughter, whose fate is unknown.

At 1 minute ago, Kirielson wrote:

At 20 minutes ago, protoAuthor wrote: since you're all twelve-year-olds,:

That's when I stopped reading.

If you're going to come off insulting then don't bother with a text bomb.

I made a joke, sheesh, sue me.

Hello, all. I was just browsing this section and thought; "I wonder how many NGers have taken screenwriting classes!".
Strange thought, I know, since you're all twelve-year-olds, but still, I see very few threads about screenwriting in this section, and I don't know whether to chalk that up to everyone knowing how to write a script already, not caring about screenwriting, being satisfied with Microsoft Word, or being too embarrassed to ask, but I figured that no matter what, I'd lend a helping hand. I'm going to e-teach you how to write a screenplay. Hopefully you will e-read, and if you do well, you can e-graduate and get an e-job in the e-business! All joking aside, I think that; despite me not being an actual certified teacher, I do know a bit about the practicality of screenwriting, and some of you may benefit from reading this thread. Some of you already know this stuff, I know, and if you do, you're welcome and encouraged to add your own input, as long as you're not just calling me a knowitall fag. Give some insights into your process as well, THEN call me a fag.
So, I'll start off by shattering the dream. Scriptwriting is not always a magical artistic process. Sometimes, you have to get shit done on a deadline. Sometimes you look back on your work and get embarrassed. You won't always have inspiration, nor enough time to seek it. Hopefully these steps will help some of you get through those dark times where inspiration is fleeting.

First step: Have a workable idea.
It seems obvious, but one must remember that not everything that pops into their head is pure gold. Not everything you (or I) think of is worth making, or possible to make (that is, at a beginner's level). For example, I have this idea of a magical unicorn that has a wonderful life, filled with joy and rainbows; lacking trouble and woe. That may be all well and good to me, but objectively, there's no story. Or say I have this epic sci-fi trilogy in my brain, with lots of characters, a rich universe, and a deep and engaging story. But all I've got to make it with is an E-Machine from '97, no friends, and no reputation, plus I still have to go to Middle School during the week. As good as the story may be, there's no way to do it justice at a beginner's level. Not to say you don't write these ideas down, but you can't expect people to jump on them and do them perfectly. You gotta know what you can do, and work with that. I'm not saying limit yourself, but you do have to write what you can do at the beginning, so it can get made.

Next: Screenwriting software.
Now, I may catch some flak from 12-year-olds coming from ff.net and dA, but to write a decent script, it really helps to have a good screenwriting program. Not that it is impossible to do without, I've written a script in Word, too. But no one is going to seriously look at your script for DeathMaster 12: IN 3D, if it's written using notepad. There are certain rules when it comes to formatting, and if people don't see that right away, they tend to not really read a script. "But Final Draft is expensive!", you say? Not a problem! Besides certain illegal practices, there IS a solution. It's called Celtx, and it's a completely free screenwriting program. At least, the core program is, which is all you need. There's extras you can pay for, such as a mobile version for your neato-cool iPhone (which is pretty shiny, I must say), but the basic software is completely free. And it works incredibly well. So go download it!

Now that you're back, it's time for Step 3: Going back to your idea.
Since you now have the tools to write a properly-formatted script, let's go back to your idea. Ask yourself, "Is it a proper story?" And I don't mean does it drink tea with its pinky out. I mean, "does the story have the beats it needs?" What do I mean by beats? I'm about to get to that, jeez, you impatient sons of bitches.

You see, even though you may be some young, daring loose-cannon writer who doesn't play by the rules, your audience may just see you as a retard who doesn't know proper story structure. Most successful screenplays follow certain "beats", most of them follow the same structure so rigidly you know the entire story from 10 minutes in. Unfortunately, YOU will not be the one to make Hollywood learn that there are different ways of thinking. Not yet, at least. You gotta start as a conformist to break out of conformity; which, incidentally, is one of the beats in nearly any plot. Most story structures that you are going to see go as follows; especially in the action/adventure genre. In fact, I'm going to use The Matrix, one of my favorite movies (especially in terms of plot structure), to draw parallels to. I will explain each beat as it comes up.

First Beat: Normal World. You see the protagonist's normal life, before everything goes HORRIBLY WRONG! In The Matrix, we get what's called a cold open, which, while not completely intertwined with the protagonist's plot points, helps set up the style of the story. So, the story doesn't really begin until after that super-cool mysterious opening where Trinity beats the hell outta some bluepill cops. But, this cold open sets up the Agent characters, and their immense power. But, when the story starts proper, we see Tom Anderson doing what he does every night, writing programs and looking for Morpheus. The reason you start out in the normal world is so that you can bond with the character, see what they have to lose, so you can care when they start to lose things, such as Neo's security.

Second Beat: Inciting Incident
Something has to start your quest, right? In The Matrix, this is the section from when Neo gets the phone from Morpheus, to when Neo takes the Red Pill and finds out what the Matrix really is (Yes, beats can overlap.). This starts his quest to bring about its end.

Third Beat: The Quest.
The Quest is the journey your character embarks on. This is where your character DOES something about that inciting incident. And yes, they have to DO something. They can't just ignore it. You can't let someone else do it for them. Neo's training is the quest, and on that quest, we learn more about who he is, how he thinks, AND we learn more about what is possible in The Matrix, and how Neo is going to surpass those limits. This beat goes through the Oracle meeting, and until Cypher's betrayal, and Morpheus's capture.

Fourth: The Surprise.
Now, your characters can't just get everything they want. That's boring. They have to work for it, and there has to be consequences to their actions. This beat is a large obstacle, greater than the character's comfort zone. In The Matrix, it's Morpheus getting captured that spurs Neo to, well, kick ass and rescue him. Morpheus's capture leads to the next beat.

Fifth: Critical Choice.
This is the part where your character overcomes The Surprise, and sets the ball rolling for the Climax. In The Matrix, it's where Neo decides to go in and rescue Morpheus, despite all odds. This is necessary to show that your character believes in their ideals enough to fight (and kill, in Neo's case) for them. It HAS to be a choice your protagonist makes. It CANNOT be a chance thing. Your protagonist HAS to drive the story.

Sixth: Climax
This is where all the problems the protagonist has compound on him, and he overcomes them. In the Matrix, the real climax is where Neo dies. Yep. That's a philosophical thing about letting go, it's been set up. Don't worry about it. It's also a writing thing that the forces against your character have to be more powerful than your protagonist.
Then comes-

Beat Seven: The Reversal
Neo is now completely opposite his situation at the beginning. He's a superdude, with lots of neato powers who can easily beat Smith's ass. Agents run away from him now.

Beat Eight: Resolution
The protagonist now can return to his new normal world in peace. The character has changed, for better or worse, and the story is complete.

Next up, I'm gonna talk about characters. Maybe. If you want.

At 22 hours ago, Asperchu wrote: I want to make an animation but I don't know what I want it to be about, please submit scripts.

Sure thing, Asperchu. Can I run an idea through you first, before I start writing?
How about a group of DANG DIRTY TROLLS steal your precious medallion and you have to get it back?

Just kidding.
I'd submit an actual idea, but I don't know what your animation style is, so I'm clueless as to what would suit you, especially since you have no idea what you want this animation to be about.
Sorry, bro.

I could finish a bank heist script and see if you'd want to do that.

Browsing the first page and, what the hell, ladies? No love for audacity? It's free, and good enough for professionals to use, I know for a fact Patrick Kilpatrick uses it.

With the new update, it doesn't crash as often, and you can get some sweet-ass plugins.

Yo, what up my fine black gentlemen?

I'm free to do anything needed, just uploaded a new demo.
Heeah it is, boys and goils.

At 9/28/11 10:54 PM, Krinkels wrote:

At 9/28/11 11:56 AM, flashero wrote: Maybe instead of just having the gun tilt from the recoil have it move back as a whole as well.
Maybe my very crudely animation will help demonstrate.

This. Also make the slide just snap back in one frame so the act looks more of a violent/jerking motion. Imagine something pressing on the barrel hard and suddenly and just sorta figure it from there. Note the pivot point is pretty low, pretty much off the firearm entirely.

I'd say two frames, one mid-way back with a blur on it. And it should come back in the next two.
It should only be fully back in one frame, really.

Also, sorry for the glut of posts, I just keep thinking of new things to say.

Also hammer motion.

If you don't want to do that detail, take the hammer off and call it a DAO pistol with an internal striker.

I'd suggest studying how guns work. Buy some replicas. But they have to be Realistic Imitation Firearms for it to really work as a study tool, like deactivated guns or something.

Go to http://www.deactivated-guns.co.uk/ for a pretty decent reference source, they have pictures of stripped weapons, and things like that. Also, Youtube is a good source for reference, especially this guy.

Shells, smoke, and burning powder.

Don't forget that. Also, the slide doesn't recoil quite enough, it should be around the butt, as that's where the magazine is; so it can load in the next round.

At 9/8/11 06:00 PM, psychoticpeanut wrote: I don't exactly see how one would qualify it as 'creepy' per sey(?).

It's "Per Se" with some accent mark I don't know how to type.

But yeah, not really creepy. More like an angst story.

I'd be happy to do it.

Demo reels are in my sig.

I'd use you.

There's a lot of character in your work. I really like it.

Here's a suggestion.

Stop.

It's seriously just really bad and cliched.
Terribly formatted, so it's nigh impossible to read, and the whole thing is just so bland and predictable.

At 9/6/11 12:57 AM, Deathcon7 wrote: If you're going to get into script writing, you need to master your ability to write treatments of your ideas, rather than writing a script for a trailer. Keep in mind that a trailer is made to attract viewers, not to attract an animator for a project. It's always a good idea to have a preliminary script completed as well. The more work you have done, the more likely a serious animator will be to want to work with you.

Absolutely correct. However, this was a sort of audition for animators. I have quite a few full-length scripts in the works, as well. And when I say full-length, I mean feature. None of them are finished yet, but they all have a plan.

My favorite one, a screenplay titled "Regicide" has a 17 page outline done, detailing 71 scenes. I've been working on that for a few years now. I should be done, but I get frequently sidetracked by other ideas.

I've got another short I'm working on transferring to Final Draft, as well, not a teaser, but an actual short. It's called "Parabellum" and it features a man fighting off a communist invasion of his suburban neighborhood. I had a pretty bad treatment in microsoft word, but the idea is still a good one, I think, especially for newgrounds. It's a two-page action piece with no real dialogue. I'll post it when I finish.

In its current format, I literally cannot focus enough to read, and it is impossible to understand.

Also, as much as I enjoy short chapters in literature (it gives the reader more sense of accomplishment to have more short chapters, rather than a few long ones, and it's easier to put down and pick up again), these are WAY too short, to the point that you just cannot get into it, especially when combined with the formatting.

There's also not enough action, and I don't mean things blowing up or anything. I mean that the characters don't do enough, they barely talk, and too much of the text is the narrator describing things. I can't get any sense of characterization from these guys, and therefore cannot connect with them. What you might want to do is focus on one guy; or, to experiment, focus on one for one chapter, then focus on the other for the next. That would give us more of a sense of knowing who these characters are. In its current form, the story is dry, clinical, and boring.

I won't even go into technical errors, such as them waking up to the sounds of a prisoner being abused by terrorists, without being prisoners themselves. But DO try to do some research, and at the very least, some common sense.

At 9/5/11 02:23 PM, Coop wrote:

At 9/4/11 06:03 PM, protoAuthor wrote:

At 9/4/11 05:59 PM, DeftAndEvil wrote: Is there a reason this was not posted on NG? If your ultimate goal is animation, I don't think animators will want to go out and about to different sites. Consolidate neatly into one thread (with links maybe to your profile).

I don't think I can put PDFs into the NG dump, if that's what you mean. The link is to a PDF; is it not working?

Basically, what Deft is saying is why don't you copy the text from the original format and post it on a thread or your news post, in a way to gain exposure?

It raises an interesting point, as I quite like the idea of submitting .pdf files for the ideal of submitting literature, if such a portal were to be added / activated.

Well, format issues is one reason, character limit is another, but, I'll give it a shot.

FADE IN:
SLUG
MR. INGRAM
The take is $10,000 each. $80,000 total, but $20,000 goes to equipment and our getaway.
EXT. BANK - DAY
MR. COLT, a masked man in a suit and kevlar vest with multiple magazines attached, FIRES a Colt 654 at police cruisers around him, backed up by MR. GLOCK, similarly dressed and FIRING with a Glock 18 with a 33-round magazine, and MR. ITHACA, who has a Beretta 93R out and FIRING and a sawn-down Ithaca 37 slung across his back. MR. KALASHNIKOV runs past camera, wiping to:
INT. WAREHOUSE
MR. RUGER (30's) places a Ruger AC556 on a table. He is surrounded by Mr. Kalashnikov, Mr. Colt, Mr. Glock, and Mr. Ithaca.
MR. RUGER
I'm in.
Camera pans to MR. INGRAM.
MR. INGRAM
This job's going to be pretty heavy. The bank has 6 guards for each room of the building, and silent alarms are all too easy to hit. We can't disable them, because they're hooked up to alarm circuits themselves. It's a loop we can't interrupt. So count on the alarm being hit the second we step inside.
(then)
Hit 'em quickly, and hit 'em hard.
INT. BANK
Mr. Ingram FIRES A BURST into the air inside the bank, sending people running and SCREAMING. Guards try to go for their guns, but Mr. Kalashnikov and Mr. Colt MOW THEM DOWN.
MR. INGRAM (V.O.)
Cops will take 10 minutes, max, to show up. So we can't linger. Don't take any bullshit from anyone.
A bank customer tries to draw a concealed weapon.
MR. INGRAM (V.O.) (CONT'D)
Any resistance is to be dealt with immediately, and harshly.
Mr. Glock pulls a 1911 and EXECUTES the customer.
MR. INGRAM (V.O.) (CONT'D)
We can deal with morality calls when we're safely away.
INT. VAN
Mr. Ruger cradles his head in his hands, SOBBING. The van RUMBLES as numerous police rounds TEAR through it as it speeds down the street. Mr. Colt and Mr. Glock are FIRING out the back.
MR. INGRAM (V.O.)
If you drag us down...
Mr. Glock levels his 1911 at Mr. Ruger's head.
MR. INGRAM (V.O.) (CONT'D)
You will be dealt with.
Close on the muzzle as Mr. Glock FIRES his pistol.
INT. WAREHOUSE
Mr. Ingram looks across the table to the other men.
MR. INGRAM
Let's do this.

At 9/4/11 05:59 PM, DeftAndEvil wrote: Is there a reason this was not posted on NG? If your ultimate goal is animation, I don't think animators will want to go out and about to different sites. Consolidate neatly into one thread (with links maybe to your profile).

I don't think I can put PDFs into the NG dump, if that's what you mean. The link is to a PDF; is it not working?

It's quite simple. Draw more frames. Instead of just using the same frame 3 times, put 3 times as many frames of animation in. It will be intensive work, and time consuming, but it looks much better than tweening, as that's how it's actually done in film.

So I like to write. I've been trying my hand at prose, but I think my real forte (relatively) is screenwriting. So I thought I'd share some of my scripts with you guys. Who knows, maybe someone will want to animate one (if you do, feel free, just please notify me and please let me be part of the process).
The ones I'm going to be posting now are mostly teaser-style shorts, which I planned to use to garner interest in my projects to get them made.

First up, a bank robbery trailer. Yes, Heat is one of my favorite films, why do you ask? I originally conceived this as an animation audition, back when I thought very talented people would actually want to work for me just because... I dunno, I didn't really think of why, especially with the high standards I had. I had this big plan to get NG staples of "tough guy" voice actors, like Ohmadon and... uh... Ohmadon and uh... Well, he was the only one I really had in mind. Pardon me if I spell the username of Dan McNeely (as that is the only name I will refer to him as, not this "Edwyn Tiong" real name BS) incorrectly, as I haven't the drive to look it up at the moment.
It was going to be awesome, because I thought my ridiculously high standards could be met for free, as I was a young, naive, and hopeful artist. If I recall, my goal of animation quality was "If Production IG animated Collateral".
But, as you may expect, it never happened.

At 9/1/11 10:36 AM, dirtymonkeyboy wrote: Completely new to flash so I've just been experimenting. These are the results I've had so far. It'll be nice once I have a stable work schedule and can actually devote a bit more time to this (because I would reaaaaaally like to make some lengthy movies).

http://www.newgrounds.com/dump/item/1634 e9e42af5ef4f1d57ecbcdda50278
http://www.newgrounds.com/dump/item/7266 9c7a306f0440a4e8890c891a5060
http://www.newgrounds.com/dump/item/88ac c166288d633f22af28cb6d7ea332
http://www.newgrounds.com/dump/item/1bbe 7cf9dd6fbd0528c8d4c92c96c037
http://www.newgrounds.com/dump/item/c453 1999db2baadeee7df22e8c4f8db7
http://www.newgrounds.com/dump/item/6791 0327e72926c95cbfb1ca7deb1cc5
http://www.newgrounds.com/dump/item/fe40 527ae936f6b7b607a21d14937636

Real nice stuff. I'd say just stick to doing more frame-by-frame because you're really good at it and it doesn't do your art justice when you don't. Like, the walking animation is the one that this really becomes apparent in.

At 8/26/11 07:08 PM, Sacros wrote: 1-get audio and whatever script/idea it involves (yhea, im no writer and getting VA´s is a hassle)

Wanna partner up? I can get you scripts and VAs.

Friggin' Desynch

PFC Carl Baggett gripped his weapon tightly as the LAD-4570 Dropship rumbled in the turbulent inner atmosphere of Arcturis, the grav stablizers barely keeping him and the rest of his squad from flying around the cabin.
"Red con one, gentlemen!" SSgt Brad Stalvern shouted over the din.
Carl quickly chambered his rifle and flipped the safety on, as did the rest of his comrades, almost in unison, the sounds of metal clicking and clacking echoing off the hard cabin walls.
"Sir, what's the policy on souvenirs?" LCpl John Joson asked, barely able to raise his voice over the din of a missile proximity klaxon. The ship banked hard, no doubt dropping chaff as well.
The shockwave rocked the ship, and the troops cheered, chanting moto slogans and whooping in relief.
"John, you know looting is officially banned." Stalvern shouted back. "I know Arc vases are expensive, but I want you focused on your job. If an Arcturian wants to give you one, though, it's all good. Winning the hearts and minds and such."
"Cool, the wife's always wanted one." Joson said, grinning.
"Didn't she leave you?" Cpl Pat Reyes asked, confused.
"Yeah. I'm gonna send her a vidlog where I smash one." Joson replied.
"Ouch. Cold, brah." Reyes said, chuckling.
The ship initiated the landing procedure, smoothing out from the turbulence of the atmo break. Loud AAA fire ricocheted off of the hull, and Carl was suddenly very grateful for his earpro.
As the back door of the shuttle dropped, the troops spilled out, not even waiting for the ramp to fully drop.
Carl flipped his safety off, and doubletimed out of the ship, following Joson and Stalvern to a rock formation that would serve as cover. Tracers skipped around his feet, ricocheting off of rocks and sending sand everywhere. He turned and crouched, letting off a couple rounds towards the muzzle flashes, before resuming his run to cover.
"Baggett! Get your lily-white ass over here!" Stalvern shouted.
"BOUNDING!" Carl shouted, running as fast as he could.
As he pressed against the rock, he heard the distinctive BRRRRRRRR of M134 miniguns in the distance.
It was the EVA Corps. Division must really want to win this war quickly, he thought.
"Shit, you hear them, too, Baggett?" Joson asked.
"God damn! Thought I was gonna get a kill today!" PFC Rick Carnegie whined sarcastically as he took cover with the squad. The EVA Corps was notorious for wiping out every hostile in any AO they were in.
The Exoskeletal Vehicular Armor Corps, or EVA Corps, was, in layman's terms, a platoon of walking tanks. Standing 24 feet tall, with armor rivaling an old M1 Abrams, they rained death down on OpFors in torrential amounts. There were only 45 of them in the entire EarthGov military, they were so expensive to build and maintain. They usually deployed in groups of 5, acting as a combination armored division/SOG.
"Beautiful, innit?"Cpl James Huertas asked, in awe of the powerful mechs.
"Fuckin' psycho." Reyes muttered.
The AO was declared clear less than 10 minutes later. No prisoners.

I tried doing some more.

I'm going to abandon trying to do that gritty style, because I want a warmer color palette, and I'm also unable to do it without being proficient with a tablet, and I only have a short time to do this. I'm gonna try rotoscoping the hell out of this.

I also tried adding some sound, but it got desynched.