Mike Stamm

@luckbat.bsky.social

890 Followers 252 Following

Director, animator, podcaster, webcomicker https://luckbat.com/

Panel 1: Aisha barges into her old bedroom, now transformed into a cluttered storage room for her dad's salvage and repair business. "What the hell is this?" she shrieks. Panel 2: Aisha's parents arrive at the doorway. "What did you expect?" her mom retorts. "We didn't know you were coming!" "My room…" Aisha mutters, stunned. "Just calm down, everybody," her father says. "I think I have a solution." Interstitial caption: Ten Years Later Panel 3: Aisha's father ushers her and her mom into the same room, now (mostly) overhauled back into a girl's bedroom. "So, i did my best to spruce things up, y'know, with the curtains, and whatnot," he says, gesturing around the room. "There's still some boxes I gotta move, and the conduits need wrapping, but..." Panel 4: The camera pulls back to reveal the full room, a blend of industrial pipes and joists with hanging lanterns and a pink bed. Aisha, beaming, says "No, it's amazing, dad. I love it."
Comic panel of Aisha and her mom standing in a front yard strewn with empty wine bottles. “I’ll have a dirty boilermaker, on the rocks,” Aisha says, to their offscreen host. "No thanks, we’re here on business," her mom retorts.
A drunken Siddig, wearing sunglasses and a purple smoking jacket while standing in front of his house and all his furniture, yells “At least leave the albino ones! They won’t survive in the wild!”
Digital illustration for webcomic Dust ’n Dread’s Draw This In Your Style contest. Cowboys Holt and Clayton sit uncomfortably at a campfire in a spooky forest. Their fire emits an unearthly pink glow, while the twisted black trees surrounding them are backlit by a sickly yellow night sky.
The poster for The Ottoman, a 12-minute animated short, featuring the three main characters standing in the medina in front of their giant beetle mech.
A widescreen movie poster for “The Ottoman,” featuring the Ottoman, his wife and son standing in front of their armored mech in the medina. The title of the film, in gigantic translucent orange letters, is superimposed in the mid-ground, with the characters’ heads obscuring it at the bottom.
A shot of the Ottoman leaping out of his mech and landing on the sand below. He looks up in panic, gets to his feet, lights a road flare and runs towards a pit in the desert ahead.
The Ottoman’s son stumbles as he chases a flying beetle out of his father’s garage. He quickly gets back on his feet, picks up his bunny doll, and runs after the beetle, laughing all the while.
Comic panel from The Automan’s Daughter: In a cluttered, dieselpunk bathroom, Aisha crouches in a large metal bathtub. Her mother, having opened the door from the living room, says: “Can I come in?” Aisha, visibly annoyed at the intrusion, yells “NO!” in response.
The cover for The Automan’s Daughter, chapter 10. The artwork depicts a sunglasses-wearing Siddig, lying on his back on the bottom of a drained swimming pool. Standing in the shadows nearby is Tajj, looking down at him impassively. Sitting casually on a diving board is Aisha, looking down at them both.
Shot of the Month: “sequence 1, shot 8” Animator: Sam Wilson · Background animator: Orestis Konstantinidis The Ottoman steers the Scarab mech down the souk alleyway, completely oblivious to his son still sitting on the bumper. Fortunately, his mom catches him just in time, as the Scarab lumbers away.
Columns of sand pour down from the hole in the ceiling of an abandoned cistern, as the Ottoman’s son cowers below, back away from the advancing scorpions. Suddenly, his mother plummets into the cistern, holding a lit road flare. She swings the flare in big arcs, holding back the scorpions as the camera rotates around her.
Shot of the Month: “sequence 1, shot 27” · animators: Guen Goik and Jason Dixon: A mechanical scorpion rises up from a mech parking lot and veers off into the distance.
The Scarab mecha leaps across the desert ruins, kicking up huge dust clouds in its wake. It shudders to a halt, its driver taking stock of the situation, then peels off through the ancient columns.
Digitally inked black-and-white fan art of a pistol-wielding Motoko Kusanagi, in her “white jeans and leather shrug” outfit from Standalone Complex S2.
An action-packed comic panel of Aisha and her father Osman frantically careening their beetle-shaped mech through a crowded marketplace while a much larger piloted Spider mech pursues them. The copy reads: “Military-school dropout Aisha Osman and her industrialist uncle Siddig must outwit bikers, spies and kidnappers as they gear up for a tournament showdown with the formidable Widowmaker mecha.”
Poster-style artwork of Aisha, clad in her explorer outfit and carrying a radio transmitter on her back, in mid-leap onto a crumbling pillar. The old medina, in pink and purple hues, looms in the background under a pale cloudless sky. (Illustration by Kim Hu)
A series of diagonal strips showcasing four stages of webcomic production: 3D & Pencils, Inks, Color Flats, and Shading. Stacked vertically, they depict chapter 9 page 8 of The Automan’s Daughter.
Cropped panel of Siddig walking away from the viewer, crashing beach waves in the background. Midway through putting on a pink collared shirt, he glances over his right shoulder and says: “You can all go to hell.”
PANEL 1: An indignant Samir shouts petulantly at Sidding as he walks away: "Lapdog?! We’ll find out who’s a lapdog when we face off in the arena! You’re going to be begging me for mercy! I will see you crawling in the dirt, Khan!" PANEL 2: As Arnaud and Durant get into the Mercedes in the background, Le Roux dismissively retorts: "Yes yes, I'm sure it’ll all be quite barbaric. Until then, there should be no need of any further fisticuffs. Mister Khan will be giving us his full cooperation. …isn’t that so?" PANEL 3: Aisha, fired up as ocean waves crash behind her, yells back: "You’re damn right he will! And he’s gonna make you regret the day you crossed him!"
Three screenshots from “Narcos” depicting Pablo Escobar looking bored in various locations.
Top image: Henchmen Arnaud and Durant, clad in long coats and boots, stand back to back intimidatingly as their boss explains his latest scheme to the hapless Samir. Bottom image: Henchmen Arnaud and Durant, sporting truly atrocious beach/preppie attire, make quips about how much Samir sucks.
Farad, standing confidently in his mecha-tank’s cockpit, gestures at the floating dropship to retrieve him. FARAD: All right, we're done here. Reel it in, let's fly. DROPSHIP (via radio): Uh, might need a minute, sir.
Panel 1: Standing on the beach, two ruined mecha in the waves behind him, a shirtless Siddig yells, “You flew your toys all the way out here just to serve me with a lawsuit?” Panel 2: A smug Farad, from the cockpit of the Death Strider mecha, replies “That’s the beauty of it, Siddig. We don’t have to sue you. We control your corporate accounts. We own your house, the land that it’s on, and… whatever’s left of your limousine. Oh, Ali—you’re fired, by the way.” (From offscreen, we hear Ali blurt out “bwuh?”)
Panel 1: Siddig, shirtless and gesticulating like a madman, yells “Field test? Have your ambitions finally driven you mad? You’ve already taken my company—what more do you want, blood?" Panel 2: Farad, with one elbow propped on the side of his mech cockpit, replies "Mm, great question, glad you asked."
A two-panel spread of Siddig, seen from behind, yelling “What is the meaning of this?” at a menacing mecha-tank. A large crimson tattoo, depicting a scorpion in Arabic calligraphy, is prominently visible on Siddig’s shirtless back.