Spacetrawler, audio version For the blind or visually impaired, September 15, 2020.
Gurf is always good for a bout of enthusiasm.
Spacetrawler, audio version For the blind or visually impaired, September 15, 2020.
Gurf is always good for a bout of enthusiasm.
Well, Chiphu, mate: welcome to the dating game.
Meanwhile, Aitana’s off to meet a couple of canines.
Do I sense a Ciara /Gurf hook up?
Space Dynamics 101 final grades:
Ciara: A
Chiphu: D+
Gurf: A+
Aitana: INC
But that last could change depending on who she runs into next and how she handles it. This class isn’t quite over, not for anyone.
How’d Aitana slip past Ciara anyhoo? Those bench seats don’t have any clearance under them, I checked.
I think the benches don’t go all the way to the wall; she just slipped out on her side.
I think they let her out before Gurf arrived.
@Pete, Coyoty is right, Aitana got up before Gurf arrived. The strips, although close in time with each other, aren’t always seamless. I did put a fair amount of thought into the first panel of this strip showing her climbing up and squeezing between the bars of thr rail, but decided I felt it was unnecesary.
Continuity is a lumpy horse to ride, isn’t it? Provides solutions as well as sometimes introducing new problems.
I can’t think of this issue without recalling Star Trek VI: The Undiscovered Country, where nearly all the bridge shots featured a digital clock counting away the seconds. I can’t imagine what it was like to do the editing afterward, keeping the time straight for every shot, and the strain on post-production. The continuity manager’s worst nightmare.
@Pete, I don’t recall that, but it seems the simplest solution is to leave the clocks showing 88:88, and then do the post production deleting of red lines at the end once it’s all edited. 🙂
That works, of course, until a character on screen references the time and that scene then becomes (apologies to the Whovians) a ‘fixed point in time.’ Working around that and keeping the momentum going is a real challenge.
But I was also thinking of continuity problems in text, where a moonlit drive is a week after the New Moon, or it’s raining on one side of the building and sunny on the other. Or, as in “Robinson Crusoe,” Defoe has him swim naked out to the wreck of his ship on the rocks and, exploring it, finds the galley and fills his pockets with hardtack. I’ve a book taking place on a planet with a 61-hour ‘day’ whose action begins, whimsically, on April 1st and reaches its apex on Easter, 2300 AD. Continuity was like a mischievous young child popping up with a SuperSoaker every now and again when I’m on deadline. I had to work up an hourly timeline to make sure I kept ‘day’ and ‘night’ straight and days lined up with the Earthly calendar when there was no other reference to what day it really was. A maddening distraction, but it worked. Continuity, gaaah!