Oddworld: The Promised Neverland Homage (pt 3)

Oddworld: The Promised Neverland homage (pt 3)

Yet another in my latest little series of homages…my god these are fun to do! At the rate I’m going I’ll have enough to put together a little animatic to the tune of “Identity,” haha!

This one was definitely the most challenging to try to compose, but the most fun to play with. While I knew putting Molluck where Isabella originally sat would bring a more cynical tone to the piece, I wasn’t expecting to truly appreciate how damn oppressive a figure he can be. Using the smoke in place of shadow was intentional; I wanted the Mudokons to come across as generic and faceless as the Glukkons no doubt see them, but also lean into the double meaning of how the brew is designed to fog up their minds and keep them under control.

Also, Procreate’s light pens are so much fun to play with!

Oddworld: The Promised Neverland homage (pt 2)

She hasn’t even made a formal debut on screen and yet I’m *fascinated* by the character of Sam, Mudokon Queen.

I just have so many questions: was she acting alone her decision? Did anyone else even know, or did she just wander off of her own volition to make this deal with the Glukkons? Was she truly acting in the best interest of her people or were there more selfish motives at play?

And it’s those questions that really made it so easy to draw this parallel between the original image that inspired this piece (The Promised Neverland OP 2, “Identity.”)

Because…regardless of whether she was acting altruistically or not…Sam still has blood on her hands? The blood of not just her people, but her *children.* She might not have known the conditions that they’d be brought up in, or the abuse they’d face…but she still made the decision to sell them. And she still lives in relative comfort, at least compared to Abe and the others, even if it’s nowhere near idealistic.

I sympathise with her…and yet I’m so suspicious of her? And I love that?? And I loved portraying that via a cracked and bleeding egg, precariously stitched together, much like the situation that they’re all in. Actually, like I mentioned in the other post, this is the most fun I’ve had with my art in *years.*

I’ve found my people.

(Started this before Christmas but never finished it in time to post…but I feel like Charmy’s the type to get into the Christmas decorations whenever he bloody well feels like and there is NOTHING Espio can do to stop him.)

i need to see more cream the rabbit being part of team chaotix. once vector and vanilla like offically date she's part of the family she and cheese should also solve mysteries

This is Baby Money Yoda, reblog in the next 60 seconds to receive a blessing from our green bean prince.

Originally Posted To My Waterfall

So let’s have a context-copy-paste from there!

one Post Wacom upgrade!!! I love working pen-pressure sensitivity!!

Copy and Paste(s) for Context:

Originally, Batgirl as an identity wasn't meant to be a side-kick (that was a 1990's post-zero hour retcon! And a messy one at that!)

Batgirl was basically meant to stand on equal footing with Batman; she was an ally, not a copy. Inspired by but not working for nor under. That was pretty much established in her debut episode, in fact! She loved what he stood for, but had her own way; a much more empathetic, working-with-the-people approach!

That carries on to the current run today! So, wheras Bruce nowadays is happy to inspire fear and act as a semi-urban-legend, Barbara wants to be right on the street with the people--using a combo of criminal psychology with the most updated tech!

It's fascinating really!

--

When you design super-hero costumes, you have to take into consideration why they are the way they are.

So; the trunks on the outside? The bright colours and capes? Those are all influenced by the 1930's strongman acts! Early circus performers and gymnasts; the tight spandex was meant to really accentuate the body and show the daringness behind those feats!

That translated really, really well in the old Bronze Age Batgirl comics!

--End Flashback(s)

So, bearing in mind the long exposition up there-- ^^^^^ --about costumes and feats? I think about that a lot when I'm ice skating.

I mean, it's a given I guess, right? When we watch skating on TV the first thing we see is the skater's costumes; that's usually what we use to puzzle out the tone and mood they might be going for before they even start to skate!

That reasoning was extra important in classic comic books; i.e, showing off these incredible gymnastic feats in just static images! Unfortunately, in modern times...especially for female characters...there's less emphasis on daring feats and more on the whole 'look.' Not even the fashion.

You know what kinds of 'look' I'm talking about...so I wondered; is that totally lost in modern comics?

I don't think so, not 100% because obviously we're still judging on how well fight scenes are choreographed and how these characters move around a page; but modern narratives mean we're more interested in the characters themselves than solely what they can do--and that is 100% a good thing!

That being said; I wondered if I could get some of my ice-skating moves to work for Batgirl?

What I'm figuring so far? Yes! I can; but it's all in the composition! Which, now that I think about it, is drawing 101 to a T, right? But still, I think it's important to experiment with!

So here's the start of an ongoing series; Batgirl on ice! I want to see how many poses I can frame in various tones/emotions!

The first; the Arabasque Spiral! (Leg up above hip-height.)

I've had a lot of fun with those bat-lines, specifically getting them to 'trace' the pattern my skates leave behind when I change edges in practice; I was surprised how much dynamicism it added to the overall poses too!

Now while I'm proud of my fully painted Classic!Batgirl there--I think the Burnside angle and posing is gonna be the most impactful one. But then, she doesn't have the cape obscuring most of her body; but I could not sacrifice the flow of that in two pictures so...here we are! 

Originally posted to my Waterfall! 

So let’s have a context-copy-paste from there: 

(Done pre-Wacom tablet upgrade.)

Minor copy and paste for context:

Originally, Batgirl as an identity wasn't meant to be a side-kick (that was a 1990's post-zero hour retcon! And a messy one at that!)

Batgirl was basically meant to stand on equal footing with Batman; she was an ally, not a copy. Inspired by but not working for nor under. That was pretty much established in her debut episode, in fact! She loved what he stood for, but had her own way; a much more empathetic, working-with-the-people approach!

That carries on to the current run today! So, wheras Bruce nowadays is happy to inspire fear and act as a semi-urban-legend, Barbara wants to be right on the street with the people--using a combo of criminal psychology with the most updated tech!

It's fascinating really!

--End flashback.

Now this is the point where I'd actually started to really question my sense of style.

In drawing, that is; but we've all had those moments, right? "What makes my art distinct? What sets it apart?"

And I realised, for me, it's the expression in the brow and eyes...and somehow, I don't think I'd quite been hitting that.

I was so self-conscious of being too stylised for some reason, I could never pin it down; was I afraid of my work being seen as too 'manga-ish?' Too 'feminine', too 'flouncy?' Especially if I want to work in mainstream comics?

But it's when I sat down and really looked at my work...I realised that, so what?

Babs Tarr is my favourite artist in comics...ever, and she got to fully embrace how she drew because it worked. You were drawn in by the expression and then stayed because her figures bounced so easilly from panel to panel.

And...that's just how she draws! And there's nothing wrong with that.

Now, I'm nowhere near as good as Tarr--but I want to improve and part of that is, just simply, accepting what I like to see in my own drawings. Specifically; large, expressive eyes and unapologetically illustrated faces!

It's a start and I'm proud of that.

...Now as for the backgrounds, yeah, those need work from the ground up!