August 26, 2017

                                


Commentary for August 4, 2020:

I’ll level with you, often the picture I have in my head looks a lot better than the one I manage to put on the page. Honestly, I’d say that’s usually the case, and I think maybe most artists feel that way. It doesn’t make it any less frustrating, though. What I wanted to show here was the floor collapsing and the heroes climbing up from the tunnel below (which we saw the orcs marching out of on page 2) via the freshly fallen pile of rubble. I think I mostly succeeded, but it didn’t live up to my imagination. The truth is, I’m not good at drawing artificial structures, which is why I used 3D models to allow me to kind of cheat for the longest time and not really have to draw them, per se, just draw the outlines and add in the occasional shading. But by the end of this chapter, I was starting to really feel the limitations of those models and by Chapter 9, I was using them purely as a guide and drawing everything myself. It takes longer, but it looks better. I think.

Also, I don’t think it’s terribly clear from the art, but those echidnas who fall into the hole? They’re all dead. Crushed under the rubble they’ve fallen into the tunnel below with. And that means Brabanzio, the captain of the Divine Crusader who recruited the Martian fugitives for this whole arc, a long-time Echidna Empire character, who was in the original Eon’s Comic and the remake, Eon’s World Vol. 1, did, in fact, just die. Very unceremoniously, too. It’s kind of like how Gothmog dies in The Return of the King (extended edition, mind you), although his death is a lot clearer than Brabanzio’s.

Anyway, here begins the fight all of Eon’s World Vol. 2 so far has been leading up to and, artist complaints aside, I am still very proud of how it turned out as you’ll see over the next few pages.


Eon's World is a fan comic created by Bethany Turner. All characters are copyright © to their respective creators. The contents of this site are not public domain material and should not be edited, distributed, or otherwise used without first obtaining permission from Bethany Turner.

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