Just discovered this. Wonderful coloring, though I think I’m missing some of the subtleties in the story because I can’t keep some of the alien ranks and race names straight.
Nice to see you here. 🙂
Yeah, I hear you. I rather expected from the start that the names were going to be a potential problem. The story was originally intended to be a novel (and parts of it may still be novelized; it’s a decision I have yet to really set in stone) and in some ways it’s better suited to that: further repetition of the names and more room for detailed explanations that make it stick in the mind better. But then again, it’s such a visual story that the novel didn’t feel right either, at least not to start things off.
As it is, it seems some people have trouble, but then it seems that some don’t. The encyclopedia section helps a lot of people who’d otherwise be struggling from what I can tell, and plenty still seem able to follow what’s happening even if they find themselves recalling characteristics more than names.
This has been a real learning experience for me, so far. I hope you’re enjoying it despite some of the stumbling blocks.
This honestly reminds me of a horror scene for some reason. The priestess must either be a tekk in disguise or ghost of Jahrd’s mother ;).
But more seriously, the plot’s picking up pace again, and that’s great.
Don’t take this as complaint, but as I was browsing the older strips today, I noticed that the colors used to be more… saturated? Brighter? Anyway, nowadays they’re more subdued and in theme with the background. Is this a conscious change that you made?
And since we’re on this, for the sake of the TVTropes page this weird question: is the blue hue during night scenes just a mean for us to see anything, or is it in-universe (because of the moon or something)?
The saturation change is sort of a conscious choice, but it grew from a subconscious choice, if that makes any sense. It’s kind of part of the process that every comic goes through, especially if it’s the first comic that artist has ever created, like ProtC is for me: You start out with a vision of how things should look, but it takes ages of practice and experimentation to figure out exactly how to achieve that look, or, in some cases, even what that look really is. What’s in one’s head and what appears on the paper are never really exactly the same; you kind of have to just get as close as possible and then try to get even closer next time and that’s how you learn.
Each page comes out a bit differently because it’s paint, and while learning to control it I’d end up with it being thinner on one page than it had been on a previous one, or thicker and darker in one place than another. Sometimes they’ll scan differently when I run out of paper, for example, can’t find the previous brand and have to start using something different. Over time I started noticing that subtler colors and lower saturation looked more “right” and I started trying to do that intentionally, so consciously trying to achieve what I’d subconsciously noticed. It’s art evolution, really, which can be hard to guide: art’s partly conscious thought and partly instinct and sometimes it’s both at once.
The blue is a way to show what’s going on, and it was a choice that’s kind of similar to the saturation change. Night scenes were another thing that I needed to experiment with. I was trying to figure out how I wanted to tell the audience: “It’s dark” and at the same time: “This is what’s going on. But it’s still dark.” Trying to go the literal way in chapter one with a lot of black was interesting, but ultimately too limiting for storytelling and it really didn’t look good (and it also used up too many of the expensive markers and pens I relied on then because I couldn’t find black paint from my preferred brand in local stores at the time). Playing around with ideas and approaches led me to the idea of using blue tones.
In summary, it’s trial and error: how I’ve always learned to draw everything (I never took lessons). ;P
Hope you remembered all the papers you dropped, fella.
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