Category: Grimmsy Grimmling

Grimmsy remains where he is, as does the amazing colossal scythe. His expression is still one of faint regret, solemn; he doesn’t appear bothered by the man’s (spirit’s) anger, as if he understands it, or at least appreciates the legitimacy of it…especially in light of the man apparently having yet to discover that he’s actually dead.

The gaseous man blinks, eyes tilting up slightly to apparently gaze at the “speech bubble” just above him. Whether he simply hears a change, senses one, or actually sees the bubble itself is open for conjecture at this point. His look of annoyance has been replaced by one of momentary confusion, this development obviously having taken him completely by surprise.

Grimmsy now “holds” (with or without hands, as usual, undetermined) the SOUS completely vertically: being entirely out in the open now, it can be seen that the staff is in fact a real “staff” – an obviously carved single piece of wood which, from the size of it, must have come from a source almost as tall as the tree Grimmsy stands/floats next to. The pattern is similar enough to his previous staff to suggest a connection (probably the same carver) but is quite clearly also independent. It’s also very silly-looking, since when held fully upright the actual scythe blade almost scrapes the top of the frame. Basically it looks like an entire tree was quite possibly used to make this, and all it appears to be is a MUCH MUCH larger version of Grimmsy’s “regular” scythe, adjusted for length only (the blade is not to scale but instead only as big as the regular one, the shaft isn’t any thicker, etc, etc…). So the impression it gives off is “silly, useless, and really weird”; this impression is obviously (and very) at odds with Grimmsy’s intended impression: serious, “commanding”, solemn and “otherworldly” in an amazing sense…but it seems to fit with his UNINTENDED impression: cute, solemn, and “otherworldly” in a “WTF is that???” sense.

The gaseous cloud has fully formed, now, into what it appeared it was going to: the man, looking “alive” in terms of posture as opposed to the still quite-lifeless non-gaseous body lying on the ground. The two are now separate, the man floating just the tiniest bit above the grass, and his own dead body visible through his slightly obscuring, semi-substantial new (gaseous) form.

The gaseous man seems rather annoyed, “eyes” narrowed as he “looks” over at Grimmsy. He “speaks”, apparently, right away: the moment his new form is whole, that is. As he does so he appears not to have noticed his own dead body lying on the ground close to him, or anything else really since the gentle “POKE” from Grimmsy that resulted in his death.

His “speech bubble” is altered from his previous ones: it doesn’t come from his mouth directly in a manner definitely indicating SPEECH, nor does it look quite like Grimmsy’s usual “speech bubble”; it’s somewhat insubstantial, like the man, a bit less “real” or solid than his previous one or Grimmsy’s. It also lacks the formality and near-Calligraphy quality of Grimmsy’s lettering; much more a vague, not-quite-as-there version of his previous casual speech.

DIALOGUE: “Look…this is ridiculous…why don’t you just-“

The man’s body is unmoving and unchanged: quite clearly still dead.

Grimmsy has succeeded in retracting most of the SOUS, lifting it upwards as the base of the shaft comes closer to where his hands (if any) would be waiting to hold it. It appears that this time he is pulling the base of the shaft towards his hands-or-lack-thereof, and subsequently the scythe is rising fairly straight up from where he “stands”, the blade on the end of it rising into the air much the same as a flag being hoisted up a great distance over a very small person or persons. The blade itself is incredibly small compared to the rest of the scythe; it looks roughly the same size as the blade on the previous, normal-sized (tiny) scythe, and the higher it is raised the more absurd both it – and Grimmsy – appear, as it looks both completely unwieldy (though he seems to be managing fine) and also, from the sharp contrast in sizes, completely useless (though it did manage to poke the man to death, apparently).

The gaseous form has begun to quite obviously take on the shape of the man’s body (before it was poked to death, that is) as it rises and – more and more – becomes semi-substantial and quite evidently self-aware, the closer it comes to its final form…whatever that is, exactly.

The majority of the setting is still unchanged, but Grimmsy has begun to withdraw the long arm of death (scythe handle of unusual size).

As he is doing so, a faint, translucent white form of some sort in the appearance of a gaseous cloud has begun both emerging and forming at the same time, apparently from the dead body – rising up.

There is both an ominous and somewhat noble air about this rapidly coalescing figure, and its appearance seems to indicate that it is not sentient, not self-aware…at least not yet. That it is being “born”, in a sense, from the death of the man both literally and figuratively.

Setting: The background – and very close to the exact detail – of the last frame of Strip 3; any imperfections and/or changes appear to be attributable to either a very small passage of time, a very small change in circumstances, and/or the illustrator starting to draw from scratch again.

Grimmsy is still gazing over at the now-deceased man lying on the ground, and still appears quite less than enthused over his “victory”.

Frame size back to normal.

Grimmsy’s eyes have resumed their normal look; no longer focusing. The way they are drawn indicates perhaps a bit of sadness mixed with a matter-of-fact note that he has accomplished what he set out to.

Man’s body has fallen over (drawn to indicate movement), off the bench, sandwich dropping. He is crumpled on the ground, obviously deceased.

END

Frame is MUCH smaller again, to indicate quick action.

Grimmsy’s eyes narrow as if he’s concentrating, focusing on something. Again, they don’t seem angry or gloating; a bit grim, though more neutral as he focuses.

Man notices Grimmsy and frowns, extreme irritation mixing with surprise/WTF. He starts to speak to him, speech bubble drawn to show mood.

The staff apparently moves forward (gently) JUST a bit…just enough to touch the man. On the lower leg, since it’s not very far off the ground.

DIALOGUE: “WHAT THE-“

Man seems more WTF? now than startled by the sheer absurdity (and unlikelihood) of what he’s looking at.

Grimmsy has appeared about halfway from behind the tree: enough to show that he is holding (somewhere) whatever is now close to the man. His eyes don’t appear gloating or triumphant at all; in fact, if anything they seem a bit grim, as if he’s not happy at all with what he’s doing.

Frame size back to normal.

Man seems startled – he glances toward the ridiculously long staff that is now quite close to him (the base of it), approximately horizontally, and from the end (near him) all the way back to the tree, about a foot off the ground, to scale.
He seems to have completely forgotten his lunch – the suddenness of the new entry (if nothing else) obviously taking his full attention.

Frame is MUCH smaller than the others, to indicate very quick action. Everything is drawn to scale.

Man looks to be in mid-bite as what appears to be an impossibly-long shaft has fallen suddenly and quickly toward him from behind the tree, motion indicated by the way it is drawn and a “swish” through the air drawn from where it was to where it IS; said “swish” is approximately a forty five degree angle. Appearance is uniform throughout the shaft: it is obviously one piece, not a conglomeration.

Man shakes his head slightly as if dismissing his sense as unimportant; his sandwich is much more worthy of his attention, so he raises it to finish consuming it.

Man looks even more annoyed than before, as if he senses SOMETHING but doesn’t know exactly from where. He has stopped eating, again, and has glanced (once again) to HIS left. Again, what had appeared is no longer there.

Basically the same as frame eight: man turns back to his meal, the bottom of what looks like Grimmsy’s scythe (sort of) has emerged JUST A BIT from behind the tree, at the same height and angle as before.

(minor changes, man isn’t sitting EXACTLY the same way, etc, so it appears normal rather than a simple duplicate of frame eight)

Man repeats his look of irritation and attentiveness, pausing eating again as before to look toward HIS left, this time more towards the tree itself, which is drawn slightly “behind” him (in the depth of the frame). What had been at the top of the tree is now gone, and all appears normal.

Man has turned back to focus on his sandwich, raising it to take another bite. If one looks carefully at the top of the tree, what appears to be the bottom of Grimmsy’s scythe (the end of the shaft) has emerged from behind it JUST a bit. It is at a forty five degree angle as if it is being shifted downward thusly. It seems somehow slightly different: if studied it isn’t EXACTLY like the bottom from the first two; VERY slight variations in wood pattern, color, etc.

Man’s head has turned toward HIS left, the far right of the frame. Gaze is at the general area, and he doesn’t seem to be specifically looking at the tree. Areas drawn just before “off frame” indicate in some way there may be other trees about. His expression still “interest/attention perked up a little, very mildly annoyed”.

Man’s head has turned to HIS right (frame left). Sandwich is lowered even more, not quite to his lap. His expression has gone from pleasant and relaxed to somewhat attentive and curious, along with very mildly annoyed.

Man’s eyes narrow slightly along with his brow furrowing slightly, as if he has realized something or perhaps sensed something; unclear which. He has paused his meal, apparently – sandwich lowered just a bit.

Man has taken a sandwich (generic) out of the bag and is munching on it, apparently taking his time, seeming quite relaxed and content.

Man has sat down on the bench, and is reaching into the bag that is now on HIS right, on the bench, as he gazes into it as well, smiling faintly as if he’s feeling pretty good and is ready to relax for a bit.

Man (from 1 and 2, obviously, mildly altered (clothes, etc) as normal) has entered the frame on the far left. He appears pretty much the same as before in terms of “mood”, expression, etc. He seems to have wandered in from just outside the left edge of the frame (position even with the “front” of it), and paused just to look around, take in the view, etc., at least briefly. He has a small bag in one hand, obviously filled (with something)…it looks like the sort of bag that would hold food or something similar; a little mark on it indicating some sort of logo, though it’s not “visible” – it’s drawn so small that it’s only obvious that it’s there, not exactly what it is.

Slightly larger box than the normal ones for strips one and two. Things are drawn in such a way to indicate that the larger box equates to a larger area in scale than before.

Scene background obviously altered from first two…there is a tree on the far right of the frame, drawn showing that it’s “back” just slightly from the “front” of the frame. Tree is fairly generic in appearance, leaves on it indicate spring or summer.

There is a small, plain wooden bench on the far left of the frame.

Distance from the tree to the bench and height of the tree seem approximately the same.

The background is drawn in such a way (besides the solitary tree) that it suggests a somewhat foresty area; perhaps a park, some land set aside for aesthetic purposes, etc…

Daytime is indicated by the Sun, random clouds (no discernible “match” with strip one or two) which seem to be still.

(clouds stillness remains during the course of the strip).

If one studies very carefully, the cloud formation at one point would appear to very roughly and vaguely (and naturally) look similar to a “J” next to a “G”.

The frame is larger than any of the others, showing a very broad area where things could possibly be.

Frame is empty except for the rather normal background and the bird, which has landed and is apparently pecking a bit at the ground.

END

Man is now turning away, apparently his mind switching to other, more important, things.

Grimmsy (and scythe) are moving through the air very rapidly to the left of the frame. Position is still horizontal and gravity-defying, and appearance is unchanged except that the top of the scythe and Grimmsy’s “head” (cowl, at least) are appropriately the furthest-to-the-left parts of him, indicating the manner in which he was flung.

Grimmsy himself seems a bit forlorn as he is hurtling away from the man, apparently having been flung rather strongly. His eyes reflect an appearance of what would be, were he still somewhat land-based, “gazing down”; disappointed, sad. Poor little guy.

Grimmsy remains exactly as he was in the previous frame; nothing has moved, though his eyes have lost a bit of their “command” and “focus” despite his best attempt to remain stoic under the circumstances.

Man blinks in surprise, holding Grimmsy/scythe horizontally, head tilted just slightly in curiosity, as if taking a moment to admire something odd or to recover from a momentary (mild and undisturbing) surprise.

Man’s eyes narrow a bit – expressing that he is expending much more force/effort – as he lifts the scythe, which brings along with it Grimmsy, still firmly “attached” to it, presumably where it disappears into his garment where his “hands” would be, if any. Man seems – very briefly – focused on the situation and non-bored.

Grimmsy’s eyes widen; he seems somewhat surprised, but at the same time attempting to maintain his majesty and dignity whilst being held horizontally in the air.

The law of gravity is clearly violated here – or Grimmsy has some sort of power – as his appearance is EXACTLY as it was before he was lifted: save the expression of the eyes, everything is exactly (proportionally) where it was. Nothing has moved, the cowl is in exactly the same position, the bottom of his cloak merely ends into the sky background as opposed to the grass one in exactly the same shape, etc.

The horizon in the background verifies that he is, in fact, being held quite horizontally.

Frame is smaller than the others (as above) to indicate this action takes place in a very short time.

Man furrows his brow slightly as he obviously attempts to pluck the scythe away, to no avail. Hand and body drawn to indicate the attempt in some way; momentary and slight confusion at his failure.

Grimmsy’s adorable little purple eyes narrow, he seems thoroughly focused and intense, as if putting all his will into something and emerging triumphant.

Man reaches out toward Grimmsy’s scythe and wraps his hand around the shaft of it, as if to pluck it away again. He seems vaguely annoyed and also vaguely bored, almost like he has mentally moved on to “well…what now?” (post-Grimmsy) already.

Grimmsy seems resolute and unphased, and makes no movement whatsoever, though his eyes drop from glancing up at the man’s to glancing at the hand that grips the scythe. He seems quite prepared for this, unphased since he had planned for this contingency!

Grimmsy remains as he was, purple eyes taking on a BIT more of a “commanding” look in shape as they remain firmly on the man’s eyes.

Man seems to roll his eyes slightly, expression becoming that of one resigned to doing something necessary and mildly annoying/unpleasant.

Frame size back to normal, background as above.

Grimmsy finally “speaks” (or “thinks”, or “projects”…as before, his thought bubble is just floating above him). The elegant and elaborate lettering of his thought bubble are almost Calligraphy-quality, retaining formality and composure in the face of the man’s dismissal.

Man is waiting with arms lazily crossed as Grimmsy speaks, expression more towards “get on with it!” now, facial posture slightly changed…mildly annoyed but also verging on boredom/tedium.

DIALOGUE: “Sir, it is my duty to escort you forward from this life and to your next. Your previous behavior was not appreciated, and I must insist that you come with me.”

Frame smaller than the previous ones (to scale, just smaller), as if to indicate that this takes place quickly after the last frame (moreso than normal).

Background as last frame (minor change only).

Grimmsy maintains his solemn, ritualistic politeness, gaze is the same. The man’s words do not seem to have phased him. Their eyes remain on each other, Grimmsy’s eyes glancing quite a bit upward of course. Apparently Grimmsy’s pause is longer than the man is willing to wait for a response…it seems as if the man is speaking very quickly, moreso than Grimmsy pausing eternally; politeness and all.

Man’s frown fades slightly as he seems resigned to another mildly-annoying encounter, and just wants to get it over with. He speaks in a combination of mild irritation, frustration, dismissal, and get-on-with-it!

DIALOGUE: “Well???”

No change in background except the position of the bird’s flight…very peripheral.

Grimmsy has moved to a polite distance from the man; closer but without intruding on his personal space. He apparently has stopped there, somehow drawn in a fashion indicating that. His eyes gaze up at the man and he appears solemn, as before; there is a bit of firmness in his gaze, not quite “anger” or even “irritation”…more “I hope you will behave properly this time…” He seems to pause a moment for “dramatic” effect, seemingly as a matter of formality, politeness, or the like. He seems quietly determined despite the man’s attitude.

Man’s frown is more pronounced, as if shooing away a persistent and annoying fly or somesuch. He speaks as Grimmsy hovers, text bubble normal as before.

DIALOGUE: “Not YOU again…”

Background is relatively unchanged; the movement of the bird in the same lazy manner indicates that time is passing, but the background remains firmly IN the background, action obviously taking place in the “front” of the frame.

Grimmsy has floated (or walked, impossible to tell from the drawing and proximity to the ground) in fully, now close to the middle of the frame and apparently still moving from the way he is drawn (moving slowly and steadily, “elegantly” and formally; his best attempt at both at least). He appears pretty much exactly as he did before, scythe “held” (or whatever) at the ready in a manner more indicating elegant, formal “show” than any plans of aggressive use.

Man hasn’t moved from his position, but he has shifted his body toward Grimmsy, eyes now fully on the cute little thing.

He no longer seems curious, or even that attentive; more annoyed (indicated by his eyes, facial expression, etc) in the manner of “Oh no, here we go again…” with a small frown as he watches Grimmsy approach.

Bird maintains its leisurely flight pattern.

Man still hasn’t moved his whole body, but his head has turned now about halfway to his right. Eyes appear much the same, perhaps a bit more narrowed and attentive (and curious), brow is still furrowed. Overall posture seems more attentive.

The VERY VERY edge of what could be the bottom (and out)-most part of Grimmsy’s cloak is in the far bottom-left of the frame, obviously there and obviously the exact type that Grimmsy previously “wore”, but barely-there enough that it could POSSIBLY be something else. Drawing makes clear indication it is his cloak, as if he is moving and is just entering the point of view of the frame.

The bird is still in flight, position and the way it’s drawn indicate a slow, leisurely pattern. Type is one common to park settings or suburban areas with lots of trees. (i.e. it’s not a seagull).

Man hasn’t moved position, but his head has lowered slightly. His eyes have narrowed, very slightly, and his brow is a bit furrowed; though his head has yet to turn to HIS right, his eyeballs seem to be leaning slightly in that direction and down, as if something is on the very edge of his vision/sense in some way and his eyes have taken notice but his head hasn’t realized and followed suit yet. The eyes indicate, along with his brow, both a slight change in mood (more attentive) and a bit of confusion.

Cloud pattern is normal, fairly generic. Formation, appearance, and speed of movement of the clouds is obviously different from strip one, though that is not made prominent: it’s there if “studied” but not designed to attract attention.

Partly sunny, a nice day, nothing particularly good or bad: neutral background of grass…again nothing of it made prominent (the bird is drawn/moving in an obviously peripheral manner) or exaggerated, but if studied closely obviously a different day.

Plain box, just like strip one. Grass, “time of day”, everything are close enough that it may be the same place as before (or at least very close) or just a very similar ordinary-looking place somewhere else.

Man from strip one is again on the far right of the strip. His appearance is modified slightly (different clothes, hair not exactly the same but very close) to show that time has passed but close enough that it’s clear this is the same man.

He is in much the same position: just standing there, facing slightly to HIS left, seeming calm, perhaps even a bit bored.

A bird can be seen fairly close by, towards the “back” of the frame (drawn in a way to indicate that distance and direction). Nothing distinctive about it, nothing of note.

Man has left the frame entirely, tiny scythe is back a bit lying on the grass, barely visible. Grimmsy has turned to face the reader, purple eyes deeply sorrowful and disappointed. Poor little guy.

END

Man has turned away from Grimmsy, facing now back to HIS left, seeming to have lost interest in him, not even bothering to gloat as the whole thing was so easy. Grimmsy’s scythe is flying toward the “back” of the frame, indicating motion that the man has absently tossed it away. Grimmsy stares rather woefully half at the man, half at the scythe, eyes starting to become sad.

Man reaches out and plucks the tiny scythe from Grimmsy’s “hands”. Grimmsy’s eyes lose their solemnness, widening/seeming completely surprised.

Man’s smirk has faded and he purses his lips again, brow furrowed in thought as if weighing a conclusion. Grimmsy simply waits, perhaps slightly less “commanding”, assuming his previous action has convinced the man that resistance is futile.

Grimmsy appears utterly solemn and lowers his “head” in a ‘commanding’ nod, eyes firmly on the man as if he is compelling him to accept his fate; that it can’t be avoided. Man’s smirk remains, appearance adjusted very slightly.

Man kind of smirks, obviously not taking Grimmsy very seriously, and gazes at his tiny little scythe. Grimmsy maintains his solemn, “commanding” appearance.

DIALOGUE: “You mean with that?”

Grimmsy responds via “bubble” (as before) as the man listens carefully, lips pursed and obviously thoughtful. The man has, very briefly, taken a very mildly serious tone; as if he’s trying to solve a crossword or something.

Grimmsy seems very solemn and serious, as if he’s trying to be commanding and fully expects the man to cooperate now. The text reflects this in that the letters are even more elaborately drawn than before; radiating an importance and semi-majesty that Grimmsy himself simply does not. The letters are not any larger nor do they in any way reflect anger. Grimmsy’s eyes have taken on a somewhat more commanding appearance; as if he fully expects his words to be heeded and taken completely seriously, though even so they aren’t particularly scary or even commanding.

DIALOGUE: “I understand your apprehension, Sir, but it is my duty to take you onward. If you do not come willingly I shall be forced to usher you onward via other means.”

Man replies to Grimmsy, appearance somewhat thoughtful/vaguely sneaky, as if he’s looking for a way out of this. Grimmsy is unmoving, nothing else moves except the clouds, which float a little…a peaceful, normal, calm day.

DIALOGUE: “What if I don’t want to go?”

Man furrows his eyes a bit, lips pursed with a bit of a “hmmm” look about him. Grimmsy simply waits, cute purple eyes unblinking.

DIALOGUE: “Hmmm…”

Grimmsy betrays little reaction, explaining to the man as if he apparently had prepared for such an eventuality. The man has the look of the last frame, faded/changed only slightly, thoughtfulness just faintly crept in. The background is virtually unchanged; noone or nothing else has appeared in the frame(s), the clouds have very faintly drifted.

DIALOGUE: “It is my duty to journey with the essence of what is you; to assist and expedite your arrival and to make the transition as comfortable as possible, Sir.”

Man seems equal parts annoyed and confused at this point, as if the little being in front of him is becoming something of a pest. He responds in a voice that conveys that. Grimmsy’s posture and position are unchanged.

DIALOGUE: “What are you talking about?? I’m not dead…what the heck are you, anyway?”