Home By the Rotting Sea Is a Rare Gift

the cover of Home By the Rotting Sea, depicting a pale woman kneeling, with a young brown woman laying her head on the other's lap. Behind them, a hill is lit on fire

I first found out about Home By the Rotting Sea as a member of the Cartoonist Co-op, when buzz started happening around the Ignatz Award nominations. One of the comics nominated was Home By the Rotting Sea by Octava Heikkilä, a comic originally released during ShortBox Comics Fair 2024. I asked for a copy of the comic to review, which Octava Heikkilä graciously provided (thank you!).

If you have never heard of this comic before, here’s the listing from the itch.io page:

“The Väki are giants, and much loathed and feared by us humans. When territorial tensions threaten to break out, the Human King sends an envoy of riches, and two members of his harem, Ilta and Laulu, as gifts for the Väki.

Stranded from their kin and home, the two human brides must find a new way of living among the scarred strangers.”

What follows is 96 pages of stunningly drawn comics. From an art standpoint, I adore the dynamic page layouts. The brush textures that make the colors feel somewhere between colored pencil and dry-brushed acrylics are also fantastic.

The art works seamlessly with the narration and story, which follows the point of view of Ilta, one of the brides sent as a “peace offering” to the Väki. I didn’t know what tone the story would take at first, but it does open with tension as these women are sent to a people they have only heard terrible things about.

The pacing features carefully-paced panels depicting Ilta and Laulu’s slow integration into the community of the Väki. And it is slow. Especially since at the start, the Väki tell the brides (and the audience) that they have no concept of “wives.” Instead they are referred to and treated as “gifts.” Something new but fragile.

As a reader, I appreciated the slow pace of it all. There is time to be absorbed in the textures of the art, the world it depicted, and the characters walking (and eventually dancing and marching) through it. There is also plenty of exploration of gender in this story, from the genderqueer depictions of the giants to the brides confronting their expectations of their roles.

A Word of Warning

That said, there is an instance of sexual assault (that’s not depicted any further than initial contact). The thought-provoking material was how the Väki handled the retribution. Because there are consequences wrought on the one who committed the assault. This narrative explores the consequences as well as the aftermath.

I will not spoil the ending (it’s only 96 pages). But I will say that it fits the tone of the story. An ambiguous story needed an ambiguous ending, which Home By the Rotting Sea achieved. This story is still sitting with me even a week after I’ve finished reading it.

If you would like to give it a read, you can get the comic from the artist at Small Press Expo this weekend! Or you can get it on the creator’s itch.io page.

That’s all for now. Now go read some comics!

Thank you for reading.

You. Are. Awesome.

This Shading Hack Saved Me A Lot of Headaches

Here’s part of page 9 of my webcomic The Legend of Jamie Roberts.

Ever since I switched from PhotoShop to Clip Studio Paint, I have LOVED how much easier Clip Studio Paint is to use.

That said, on occasion it can be a bit of a headache. One specific way it can bother me is when I’m adding shading to a comic page.

See, I cheat a lot – I’ll trace a shape over where I want my shadows to be, and then I use my Bucket tool to fill in the blanks. When I do this I often have the bucket tool set to “Refer to other layers.”

Why? Because my line work is on a separate layer from my shades. I don’t do all of my art on the same layer, you fiend.

That said, sometimes CSP will have a brain-fart, especially if the shade color is very close to a color I’m painting over. So instead of only filling in where I want, sometimes CSP will be like, “color THE WHOLE THING? OK!”

But I figured out a way around this. And it’s made producing comics WAY easier.

The secret?

Well, I need to show how I do a comic page first.

I have the following layers to work with: the base drawing. The Edits (where I clean up lines and smudges). Colors. Shades. Letters.

The secret is: I turn the Color Layer off.

It’s super easy: just click the little eyeball on that layer and boom – it turns off.

This has made shading A LOT easier. My Bucket tool no longer tries to fill in a space that’s the same/similar color to the shade color.

Also – it has made looking at what I’m shading WAY easier.

I tend to include a lot of dark colors in my pages. That makes shading a thing pretty tricky to the naked eye. So turning the Color layer off has made it far easier to judge how far shadows need to go.

Another plus is if I wanted to make a black and white version of a color comic, this cheat makes it easy.

I hope this helps you in your creative process.

Thanks for reading!

You. Are. Awesome.