The drawing of it
This Comic is based off part of the Babylonian creation story. It takes place in ancient Babylon current day Iraq. This comic is highly based off of the drawings off of Babylonian relic sculptures, drawings, and today’s depictions of what some of the mythical creatures may have looked back then. The placement of panels is set up in the way of some of today’s comics. Each panel has high levels of contrast. The drawings have a hard edge line weight. This was done to include the detail of some of these figures, and to keep them in the stances as they were depicted centuries ago. With this many of the panels have an inorganic feeling to them to give it that stiff stance.
The transitioning of the comic is mostly an action-to-action frame transition. Other types of transitions are scene-to-scene, and non-sequential. The scene-to-scene transition is used from the panel where Marduk is standing on a cliff to where the names for the other characters are being shown. The non-sequential is evident from the last Arrow panel to the last panel in the comic. A panels length in a comic can be determined by height, length, speech, and if the action that is happening inside of it starts to bleed out of its own borders. For most of the panels in this comic, time determined by their size, and by speech bubbles. The colors in each frame show what’s going on, but at the same time shows the crucial aspect of each frame. In the first frame it shows Marduk with a very prominent color behind him to signify his importance throughout the story. Some of the panels are in vibrant colors, which help the most important panels stand out.
From the beginning of the semester to these last few weeks, I think my views skills of an artist have improved. Relating this class to a more digital viewpoint I believe that this project helped me give my work more emphasis in any work I do.