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Chapter 1 - Page 58: Of Oreos and Hocus-Pocus - by kenisu3000

Chapter 1 - Page 58: Of Oreos and Hocus-Pocus




kenisu - #58
I've always felt the livingroom was awfully... stark. I designed it similar to what's seen in the game, knowing full well how bland and... I dunno, threadbare(?) it looked, but I wanted to keep it that way, just for a laughable throwback to the simple 8-bit design of the game. But dang, after drawing and coloring all these pages, it seems to me that I should have at least succumbed to wallpaper, windows and a light fixture! What kind of psycho house -doesn't- have windows around its front door? And without those windows or an immediate light source aside from the kitchen window, how could it be so bright indoors? That's the price of adhering 100% to the game's design for the house's exterior first, THEN putting together the interior. You look at the inner layout and realize it doesn't conform to the outer structure at all. In the game, the front door, as seen from the the livingroom, is brown and square at the top, with no built-in window, but outside, it's gray with a rounded top and window, AND the doorknob's on the wrong side! So I changed it to fit the outside appearance. At least that's one claim to consistency I can make.

I need a life.



Other Submissions by kenisu3000

Author Sort Ascending Sort Descending Title Sort Ascending Sort Descending Description Sort Ascending Sort Descending Date Sort Ascending Sort Descending Rank Sort Ascending Sort Descending
kenisu3000 Prologue - Page 4: Final Sprint
kenisu - #04
Why on earth would George tell Maria to let the ax be and just keep running? The answer is that the ax was heavy, and so it was slowing them down in their flight (hey, don't tell me YOU haven't lost your head and made bad decisions in time of panic).
The panel where Maria helps George back up was difficult for me to illustrate (character-to-character actions always are for me), so yeah, there was a massive amount of erasing and re-drawing there. And try to avoid the irony of the fact that in the very next panel, even though George needed help up, he's already back in the lead.
If you haven't figured out by now, the best way to experience my artwork is to take in as much detail as you can. In this case, don't just glance at the last panel, LOOK at it (hint: the expression on Maria's face).
10/1/06 0.00
kenisu3000 Prologue - Page 5: Unwelcome Shock
kenisu - #05
I tried to make that big, final panel look as scary as possible, but alas, my artwork just drips of "cute", even when it's not supposed to.
10/1/06 0.00
kenisu3000 Prologue - Page 6: The Night Deepens
kenisu - #06
Whatever it was that was above the couple's house, it has now departed.

For the time being.
10/8/06 0.00
kenisu3000 Prologue - Page 7: Suzannah and Johnny
kenisu - #07
Here, we get to meet three of my original characters: George and Maria's son, Johnny (I guess if I had to give him an age, I'd say about five), Maria's sister Suzannah, and James, who was mentioned on Page 3.
I knew that since George and Maria had a legacy that HAD to have been laid down BEFORE the abduction, then they must have had a child that had been perhaps overlooked in the kidnapping. To emphasize this, I gave them a son, designed him the way I draw Ninten (just with brown hair and newsie-style clothes), and I made it so that during the abduction, he had been out visiting his aunt Suzannah. Also, note the continued use of British dialect: Johnny refers to his mother as "mum".
At first I wanted the next page after the George-and-Maria scream and the shattering-of-the-eyeglasses to be where Suzannah brings Johnny home, to find the house completely abandoned. Instead, I realized there would need to be some more introduction to these characters, and maybe some interaction with others before they discovered the awful truth. That's how James became more than just a fleeting mention made by George. So, I threw in some more character establishment, and the "Big Discovery" was shifted to Page 8.
I made James to resemble the typical old farmer, jaded by the "young whipper-snappers these days", and I gave him a corn field. Corn fields are great if you want to write something scary. Also, there's a little nuance which I don't think was made clear enough: James' home is the 1906 equivalent of the house in 1988 of the fat guy who says his house was torn apart by a poltergeist.
10/8/06 0.00
kenisu3000 Prologue - Page 8: Mysterious Disappearance
kenisu - #08
Trying to imagine what a typical 1906 living-room looked like was a beast for me (I did a lot of Google searches for early 1900's traditional this-and-that when I got caught in a dilemma, but I must have used the wrong keywords or something, because very few pages came up with photographs).
10/15/06 0.00

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