OH MY GOD yes, I'm sorry I was so late to reply to this one!

Yes, a few years back I decided to go ham into one of the comic ideas I had. It was quite developed at the time and felt that I could just hop into it. I was drawing thumbs/boards for the comic like an absolute maniac, but the real multiplier of that repetitive strain, one I think artists don't take as seriously, is that I was NOT TYPING PROPERLY!! I wasn't touch typing (you know like ASDF JKL;?) I was like... improperly typing. That combined with the crazy amount of drawing I was doing without warmup-wrist stretches and regular breaks caused me to get stinging, shooting pains in both wrists like if I dared to start hopping back into what I was doing!!

I feel like it took me about a year to get back to my new normal. My new normal feels completely normal, like factory reset, as if nothing ever happened, EXCEPT!! Now: my wrists will signal to me if I'm bothering them. Which only happens if I don't stretch or take regular breaks. Do wrist stretches for artists and take breaks every 30min or every hour. They don't even have to be that long. Get up, get a snack, go to the bathroom, take a shower, whatever, that kind of thing. It helps immensely. Do not Leeroy Jenkins your art and do not "look guys, I finished this piece/comic page in one sitting!!" that stuff. And do not, type, improperly. Type the boring standardized way. It's made to minimize the amount of finger/wrist movements you have to make, with the bonus of not needing to look at your keyboard when you do.

Little remedies! Ice packs. Love me a good ice pack when my wrist(s) start beeping at me. If you've had a bad wrist day, you can also chill/sleep in a wrist brace (or two) but don't draw in them. They're made for inaction, not to hold you still IN action.

As a neurodivergent person I'm telling you, HYPERFOCUS... HYPERFOCUS CAN BE THE ENEMY sometimes, like, you have to set annoying-ass timers to tell you to bugger off because our poor little wrist tendons cannot keep up with our brains, it's true.

I hope this was helpful/insightful in some way!! Feel back to send a follow-up question if you need more specific answers about something!

Right right, so I'm gonna go for the ones that I think BSky people know about:

The magical girl one is like, about how I feel The Bay Area (& the world) would handle Magical Girls if we had them. Like how the government would regulate them and stuff. And also the divide between Magical Girls, those granted special magic, who most normies see as a spectacle, and Witches, women born with magic, that normies fear and society oppresses because they're blamed for the Monsters the Magical Girls have to purify. Also the core characters are in college. Also non-binary people can be Magical Girls as long as girlhood is a part of their gender experience.

The one with Hevel, the Angel guy, is… part of a series I call Demi-Human Diaries, which I want to be like, a series of character-centric comics that have a shared cast & world? But like each comic is about a different character going through a personal arc. About all these half-humans finding out what like, humanity and living is for them. The "main" character Hevel is a fallen angel who got kicked out of heaven for lying against God. There's also Ashe the Dhampir turned Vampire (with Ghanian Vampire perks), Dami the half-Demon, Juno the half-Phoenix, among other characters.

I feel like the third project of mine that BSky knows about is the one with Clay the robot guy in it. Funnily enough, he's a secondary character!! The main character is Wynn, a robotics/engineering student that gets the internship of a lifetime and gets illegal-but-awesome cybernetics out of it. In exchange, he serves as an agent for a virtual robot assistant company that investigates the dark/secret plans of mili-tech companies' plans to change humanity's relationship with tech forever… Ooh spooky.
His party members include, his childhood friend (a software dev), a woman with an autoimmune disorder that prevents her from getting cybernetics and chip implants, an android that surpasses the limits of his programming (that's Clay!), and multiple iterations of a clone that's part of a "New Game +" hivemind.

If I didn't answerrrrr the project you were thinking about let me know.

You're welcome screentone anon!! If you want screentone LPI numbers that just look good for the aesthetic, not for print, don't be shy to experiment with low LPIs tbh. Like ~30. They give more of the "intentional texture" feel instead of a "lo-fi representation of flat greys look. Especially after being scaled down for Social Media posting. This is assuming you draw on inch/centimeter canvases and not pixel-only ones.

"Export for comic" on stuff that's meant to be digital/screen only might give your screentones a KidPix-esque look to them, so don't worry and go for export for illustration in these cases. Just consider adding slight gaussian blur to your screentones beforehand. Good luck!!

OOH OOH OOH, word!
Lemme preface my answer by saying screentone-moire on web is a near inevitability and that it can be avoided online by adding like ~6-8px of gaussian blur (assuming your manuscript is 600dpi; try more blur if your manuscript is 1200 or higher, or less blur if you've already scaled a layered copy of your file down to lower DPI) to a copy of your screentones before scaling down/exporting for web view. You can tell for sure than un-gaussianed, reduced screentones are gonna cause a moire issue when the dot pattern becomes unevenly shaped (some dots are circles, some dots are ovals, etc. Like if it doesn't look like an evenly sized dots or an evenly spaced grid anymore.)

So! 60LPI (lines per inch) at manga manuscript paper size makes for nice, even, textured-but-not-too-textured greys at magazine or tankobon (volume) size. But, the more you size down your screentones, the smaller the dots get, and the more "lines" of dots begin to fit in an inch, y'feelme. If you have Clip Studio Paint, you can tell it to do the math for you when scaling down your comic files with screentone in them. On the export screen: "Advanced Color Settings > Export settings for tone > Depend on Export Scale ✅"

For reasons, I scale down my comic files in Photoshop as layered PSDs with the screentones as solid flat grey cells (like I did for my recent mini-zine) so can make the new screentones with the increased LPI myself, after doing the math for what the new LPI has to be. TokyoPop popularized publishing English Manga at 5" x 7.5"; around 57.73% of the size of the original manuscript paper the mangaka drew it on, so when I want to print a comic I've made, I scale it down to 57.73%.

So yeah in the original CSP file, I use 60 LPI for tones just meant to be read as flat colors, but lower LPI for ones more meant to be read as textures/actual dots. To come up with the new LPIs I need based on the old ones I had originally, the mathematical formula is as follows:

[Manuscript LPI]*([Reduction % as Decimal]^-1)

We put the reduction to the power of negative one because, say you reduce a 60 lines-per-inch tone to half its size. You can then fit twice as many of the OG lines in an inch. 120LPI. If you reduced it to a third, you can fit three times as many, etc. Doing something to the negative one power represents that relationship.

So that formula for me reducing a 60LPI tone by 57.73% would look like,

60✖️(.5773^-1)

Which equals 104. I like to roundup to the next multiple of 3, so 60LPI at 57.73% size is 105LPI.

I export my CSP file as a PSD, in Photoshop, scale the whole canvas down by 57.73%, and then go to the grey layers I wanted to be 60LPI and have Photoshop make tones out of them at 105LPI.

I will make a video on this later, but if you want a plug-n-play Google/Excel Sheet that can do the math for you, lmk!!