Here you can see the artistic process of three graphic novels and a video game I'm working on: CAPTOR, SEVEN, AUTUMN [collaboration with Dylan Andrejic], and SWEET SCREAMS [collaboration with Jae Camedon].

Saturday, October 13, 2012

CAPTOR [17]


This is basically what Rob's work space looks like. He has some sort of complex machine that he uses to 'reincarnate' certain souls. As I've mentioned plenty of times before, he keeps a stash of either weak, ill, or small souls in jars marked with a red X. Many of the jars are reused, but whenever he puts a new soul in he'll redraw over it to put more emphasis or to help the fading of the color. The walls and floor are more towards white on the grey scale. He keeps the lights on while working, but only on that half of the room.


The other half of his room is just his bed, which is the only one in the entire facility to have a headboard, he keeps the lights off. This causes it to look more towards black on the grey scale. The creation of his room and they way he set it up is actually foreshadowing. And of course, like one would suspect, he has surplus amounts of jars with souls in them.

Rob tends to work day in and day out sorting, organizing, and rearranging souls. At one point he experiments with 'soul meshing'. This causes the less populated species control it, and thus when sent out into Leben, causes twins. Souls, alone, need to be kept in a casing of sorts where the air of Leben [it's oxygen still, don't fret that the air is chlorine] can't touch it. If the air seeps into the soul, it can deteriorate it and therefore destroy it, including it's casing which is the 'pretty and flail-y colorful' part of the souls. The real soul resides within it, and it tends to be the lightest shade of whichever color the soul casing is. Majority of the time it's pure white. Once the soul fades though, it's too old to be reincarnated again, and Rob marks it and jars it.

media: digital - paint tool sai/bamboo capture

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