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Three scenes

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  • Three scenes

    Number 19 in a series of experimental comic strips i'm doing.

    I've tried a different approach in storytelling here, not really sequential i guess.

    Please tell me what you think!

    Tools: pen & inkt, 0.20 and 0.50 fineliner, photoshop.
    The netherlands are not a part of scandinavia !

  • #2
    I don't get it. I really don't.
    Sign your rep, What's a' matter Mcfly



    • #3
      the picture are cool. great style and all, but like ketchup I dont get it.
      1 Eyed Zombie

      Deviant Zombie


      • #4
        who cares about the meaning. The hatching on this is great! especially on the smoke.
        Tumblr yay.


        • #5
          I like them as pieces of art but I'm thinking the storytelling is very abstract... to the point where I have no idea what the story is supposed to be. It's very vague.
          See my work on Game of Thrones seasons two, three and four blurays


          • #6
            Heh, i guess it's not that clear no. But i never intended this to be a "1, 2, 3" kinda story telling, if that makes sense. What i tried to do was establish a certain mood by drawing 3 different scenes, that's the only thing that connects these panels.

            Of course it's entirely possible that i failed in that as well
            The netherlands are not a part of scandinavia !



            • #7
              They all definitely share a common mood. I think the problem is that we didn't know they were supposed to express a mood rather than a story.

              Oh, and the art is excellent, of course.


              • #8
                the first one doesn't really fit in too much happening in it compared to the rather stillstanding broken feel the others have

                also the first one feels kind of biblical.
                Sign your rep, What's a' matter Mcfly

                MY COMIC!



                • #9
                  I agree with Ketchup on the biblical aspect, but I'd say the boat has a biblical feel as well, what with the common fisherman motif throughout the New Testament.

                  To take that metaphor further, if the burning tree is a metaphor for an Old Testament God (full of angry power and instilling fear by burning the tree), the second could be a gentler New Testament God (filled with love and peace like a boat on the ocean), then the last may be a modern God (there but broken for some people like a car broken on the side of the road). I might've taken it really far, but that's what the image represents to me, and in that light, the piece is very connected.
                  "After all dis time--an' I still manage to impress myself."

                  PUMMEL: Wins - 1, Losses - 0, KOs - 1


                  • #10
                    well i think it shows 3 things that should have people around, but there is nothing. WHERE R THEY? A tree on fire in the middle of what seems to be a desolate ground, a car, with the door open and ransacked, abandoned in a4 way intersection in the middle of nowhere, and a tiny boat abandoned. i think i might be somewhere near the symbolism. I hope those guys r alright!


                    • #11
                      My first impression of them is kinda like, "If no one's there to see it, is it really there?"

                      I don't know why, though. But I love all your work, so I won't question it.

                      But a general feeling on theme might be "abandonment." Especially with the car and boat.


                      • #12
                        It's like a poetic story, expressing in pictures rather than words the theme of loneliness, how that breaks us down and can destroy us. Each symbol represents branching paths of ways to be taken that may bring us in touch or further separate us.


                        • #13
                          Each are stylized drawings dealing primarily with composition. What critical advice could I possible offer these other than a few obvious things like:

                          -I doubt that a tree on fire would cast a shadow in quite that way.

                          -If the car at the crossroads has such a strong cast shadow on the ground, it would also stand to reason that the car wouldn't be devoid of shadow on the inside of the vehicle.

                          But I don't think these sort of critiques will help you much. I think you probably care more about setting the mood than keeping the lighting consistent, right? I mean, there aren't any people in any of the individual scenes for viewers to react to, so I'm assuming that your trying to get some sort of reaction based on the "storytelling" of the individual subject matters, or with the mood conveyed by the barren, desolate imagery or the symbolism these drawings might evoke. When I view these panels as individual illustrations, I find myself asking questions and/or supplying my own answers.

                          The first one makes me think of lightning striking the tree. I don't really think much beyond that and I'm done with it.

                          The second one is a little more mysterious. It's a very lonely sort of scene. I ask myself: Is this boat awaiting someone, or has someone just come ashore in that boat? It could also symbolize isolation.

                          The third image is the most interesting to me. The crossroads to me is always about making a decision or choosing a pathway, so I'm left with the notion that the car is representative something in the past--something discarded, and left to decay. Perhaps it is an idea, or even a career choice that never got realized. Maybe the car represents something from the past that is blocking pathways into the future? It could represent almost anything--a friendship, past love, a failure of some sort...Maybe it represents the failure to make a choice of any kind. We all know people who fail at life because they don't do anything at all--there lives just seem to stall because they can't decide to move forward in any one direction. You see--this one is the most intriguing of the three to me. It's open to a lot of interpretation.



                          • #14
                            The hatching in the third pic makes no sense. were you intentionally usng it to not make the ground feel flat?
                            ‘There is a slower death/ bu-reau-crat/…….ruination/ mess up all that ambition and plannin’/ whisper in some ear/ -“You can’t do nothing to me”-/……-CLICK- ……/----whisper………in the right ear’----
                            ---Avery Brooks---- A Man, Called Hawk


                            • #15
                              Thanks everyone, for taking the time to look at my work!

                              @Telekineticketchup& Suitth5: That's very interesting. The biblical stuff is not intentional. But now that you've said it i can see that it might give someone that idea.

                              @Ntat, Rxsheepxr & Wo-Nellie: that's definately the mood and subject matter i was going for, i'm glad it comes across!

                              @Bruce Lee: Thanks for the detailed reply, i really apreciate it! You're right that i'm more concerned with general mood and style than with realism but still it's good to point out the flaws. For instance i like to use shadow as an element of composition rather than a realistic lighting effect, but still the shadows should be somewhat logical, something i forget sometimes.

                              @Nightfingers: Well i know this effect isn't the best way to convey depth and perspective. I thought the perspective of the road leading to the horizon gave the panel enough perspective to use the hatching on it, even tough that took some of the depth out of it.
                              The netherlands are not a part of scandinavia !



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