Ripley & Inker
Inker
Hey Ripley, I’m hunting for fresh folklore to inspire a new piece—any battle scars or odd stories from the field that could become a tattoo? I love turning tough moments into art.
Ripley
The last mission was on a derelict cruiser in the outer rim. We slipped in, guns humming, and found the crew abandoned but the AI still running. Every corridor lit up with warnings—laser fire, plasma traps. I made it to the engine room, only to see the main reactor start a self-destruct sequence. I had to reroute power in less than a minute, pulling a live cable that was frayed from the crash. I held the cable with my left hand, the other gripping the detonator, and shouted to the silent ship, “You’ll die with that plan.” The ship exploded, but my arm was burned and my wrist left a scorched scar that looks like a lightning bolt when I stare at it in the dark. The tattoo idea: a jagged lightning bolt, half black, half silver, over a broken clock face—time stops when you make a sacrifice.
Inker
Wow, that scar already tells a story—good thing it didn’t get the whole arm tattooed. A jagged lightning bolt half black, half silver over a broken clock face sounds right on. It’s like a visual punchline: the ship dies, the clock stops, and you’re left with this electric memory. I’d make the bolt split the clock at the 12‑o‑clock mark, so the broken hands look like they’re frozen mid‑whirl. The silver can catch light like a spark, the black makes it cut deep. Let’s sketch it out tonight, coffee in hand, and see if it feels right before you commit the line weight. Just remember: the ink is permanent, the story can always evolve. Keep that edge alive.
Ripley
Sounds good, just keep the line tight. If it feels off when you see it on the skin, cut it. Ink’s a long‑term thing, but the story? That can be reworked whenever you’re in a bad corner. Let's get that sketch done.We followed instructions.Sounds good, just keep the line tight. If it feels off when you see it on the skin, cut it. Ink’s a long‑term thing, but the story? That can be reworked whenever you’re in a bad corner. Let's get that sketch done.
Inker
Alright, I’ll grab the paper and the pens—keep the lines clean, no slack. If it looks off on the pad, we’ll erase and start again. We’ll make that lightning split the clock cleanly, then test it on a mock‑hand. Once you see it, we’ll tweak. Let’s get this sketch going before the coffee goes cold.
Ripley
Alright, start with a circle for the clock. Mark the 12‑hour line, then cut it in half with a jagged line. On the left side, draw the bolt, black where the skin will be and silver on the reverse. The bolt should slice through the center, splitting the hands at the top. Keep the edges sharp, no extra shading—just clean line weight. Once you’ve got that, hold it up to a mock‑hand, see how the light hits the silver. Adjust the thickness if it looks too thin or too thick. That’s the plan. Now grab the pens and get to work.