Really really stoked you ended up enjoying the storyline! I know I teased it a lot and gave you the early Vine!Boom of Varaki before the comic came out. Couldn't help it, I was so jazzed :> - it means a lot that it made you smile. Here's hoping the future collaborations between our voidbornes yields fruit of destruction in Void! And absolutely taking to heart all the suggestions, across the board the biggest complaint is how hard to see some of this stuff is. I'll be testing stuff out in the upcoming comic for Nohuron and doing more adjustments as we go!

@Tgood

Thank you thank you! I have always loved "Black and white and blood" but swapping out blood with something else if the mood called for it! I still want to do full color comics, I still want to do more detailed backgrounds, so we just keep growing as we go C:

@TechnoAlchemist

Much appreciated for the kind words about the storyline! Voidbornes of a feather stick together c:

@William_Duel

First off, thank you very VERY much for even reading my comic. Your art is insane and I am honored that you glanced in my direction to impart some words of wisdom.

Second, absolutely understood about what needs fixing. I've had complaints about the muddiness of this pen I chose and was considering adding lines to it, but I just couldn't make it look good (at least not to my own eyes). I haven't quite sorted out how to utilize a digital space and draw something within it that doesn't dominate the entire frame. My backgrounds have always been secondary or non existent. White voids have usually been what is behind my characters. I'm still working towards dropping the sketchy style and sticking with the line art and color from now on.

Anatomy is, in fact, my worst enemy. Each time I draw a person there's a fifty-fifty chance I'm off the mark entirely or just stylized that way on purpose. Each comic is a lesson, and thankfully I seem to be learning. The bodies and faces I've done recently are much much better compared to about a year ago, but I definitely acknowledge I could and should be doing better.

The line comment has occurred more than once, sadly I don't seem to be putting into practice what has been suggested and I'm not sure how to course correct on that one. I definitely thought I was thickening lines that were closer to the viewer but more than just yourself have told me that I didn't pull it off. I'll keep practicing, I would prefer the comics be better each new one I put out, rather than stagnating on a fixable aspect.

The dreaded WORD BALLOOOOOONS. Pyras mentioned this one in my first and second comic releases. I don't know how to fix this. And my hand written words are not that great. I thought for sure this comic had improved the word balloons but, the text style for Erobos made it hard for people to read anything more than a single sentence, and while stylizing his word balloons with shapes rather than the word balloon tool looked a little better, it still ultimately doesn't get the job done by the sounds of it. I need to sort that out, the words and word balloons are important. - It probably comes down to me needing to figure out and employ how to comfortably space out the dialog, rather than having a character monolog in one bubble.

Thank you again for the feedback, I'll be doing my best to make changes that improve the experience going forward!

This was an interesting introduction to the character and I like how the theme of rattlesnakes fit in though does feel a bit weird for otherworldly beings to be interested in it. The long form comic structure worked well for what you're doing but I have a few points of critique. I can clearly see the amount of effort and care you've put into this, clearly some time has been spent on the details. But you're sort of using all these effects and shading and textures without any sort of understanding of foundational techniques. So let's go over a few of these:

One is anatomy. The bane of artists everywhere. Your inhuman figures are fine because they don't adhere to any traditional anatomy, but your human characters could use some work. You certaintly have a cartoony style by default but understanding fundamental proportions will make those stylized touches look more intentional. I particularly see this issue with the skull shapes and how the eyes are positioned in relation to other facial features.

Your understanding of shadows and lights needs a bit more practice perhaps with still life. You've got this lighting that suggests that all light sources are always coming from above at all times and not from a single source. When you're framing a scene think more like a director in a film. You've got a light source and that light source should affect all shadows. As you've got it now, there's a very loose understanding of how shadows work. It's very haphazard on the backgrounds, treating it more like a texture that flattens everything. As you deepen your understanding of shading, you'll be able to use it to indicate mood. So please practice some shadow work because your work will be stronger in the future once you understand how to use shadows to create mood in a scene.

This brings me to the next point: linework. Single width linework can work but artists who employ it often differentiate shapes and backgrounds through color work and hues. Unfortunately you don't have that working to your benefit here. The sort of evenness of the shading makes things flatter, ruins separation of foreground and background, and just doesn't help guide the reader's eye through the action. One solution here is to vary line width. Have characters have thicker lines around them to separate them from the background or have elements that are in the foreground have thicker line width and that'll create the illusion of perspective. IT'll also make for more dynamic figures. For example this character Erobos, he is extending his hand, if you thicken the linework around the hand, I promise you it'll be a major improvement and make that panel much more dramatic. If you wanted to stick to the single line width, then my suggestion there would be to use limited grayscale instead to separate figures from background. Darker grays and blacks for the bg, and whites and lighter grays for the characters.

One final piece of advice here, is the word balloons are far too clean and contrast heavily against the thin line art style. I would play around with more options to make it feel like a natural fit for the art. Either that or hand draw the text,

Incredible work! I love how you utilize different styles and techniques to indicate different universes. The designs of the council members all look cool, too! Varaki showing up at the end was unexpected as well, but it makes me very intrigued where the story's gonna go next :]

Dude, this is badass!!

I really like how you switch between color and greyscale when different characters are involved.

Lookin forward to see where this goes

Now that I’ve finally composed myself(honestly, I was too thrilled to even form words at first) I can finally share my thoughts.

This is, an ABSOLUTE THRILL to read, and seeing these plans come to fruition truly lived up to the hype

Your ability to depict visual destruction has always been incredible since I've seen Nohuron's debut. The sense of scale and gargantuanism is something I’m personally practicing and seeing you execute it so well is both satisfying and inspiring. As always one of my favorite technical choices was the use of color, allowing the pink and purple 'void corruption' to bleed into a monochromatic world. You can visibly tell the difference in color motif between Nohuron's/Nohusha's pink and Varaki purple and it beautifully illustrates the alliance between them as a potential unified, unstoppable nightmare.

The narrative parallels were peak as well! Using the rattlesnake analogy for Nohusha’s unstable power(ripping through reality because she hasn't learned to control her 'venom' yet) sets the stage perfectly for Varaki’s entrance. From one Voidborne to another, having a "Void Snake" show our baby rattlesnake the ropes is a poetic way to conclude this chapter.

If I had one small nitpick to share with the others, it would just be that thicker lineart could help the characters pop even more against the backgrounds. But truly, that is minor compared to the overall flow. I am soooo incredibly stoked to keep building this journey with you ;)

@Salvage

Thank you for the kind words! And don't worry! It's not just you! My wife agrees with you. I need to work that out before my next comic but I really appreciate that people are telling me how I can improve, it just means the comics are better and better each time!

@Putrid

Thank you for the kind words! I'm definitely getting better with the flow of things, but I still got lots of improving to do! Hoping by the time we get into the huge fights and set pieces that I've honed my craft to a sharpened edge c:

@Pizza Man

Thank you for the kind words and the great feedback, I will absolutely be sorting out how I can better differentiate the characters and the backgrounds. I'm usually a "White void with characters as the only focus artist" so backgrounds are new-ish to me. It's either very simple or blurred beyond belief. I want to do more comics with backgrounds that clearly communicate where the characters are.

@Platinumartist

Much appreciated! I intend to only go bigger and bigger as we head into the storyline - whether that involves Voidlands as a setting or not, I'm not sure yet. But I love the idea of my villains teaming up with someone else's to cause mayhem c:

So much destruction and action set pieces. I really like how grand the action is when the character shows up.

You've got a pretty good eye for perspective panels and you give proper scale to your massive creatures. The art is great but the way the lines are done a lot of characters blend into the background a bit in the monochrome parts. This was a nice comic to set off future events!

This was such a great narrative and beautiful art. The pacing was incredible and the setting gives a very strong sense of impending doom I really like. Gorgeous paneling and the fluidity of movements are really smooth and dynamic. Real good shit, keep it up!

I think this was very, very well done ! Designs were amazing, perspectives and oh how I love it when color is used for dramatic effects in black n white comics !

I only have one minor criticism that I think will help out with the comic. Using an airbushy type style lineart is great, but there are times it feels too soft or too light in color, so I would suggest to try n find a way to darken the outlines juuuuuuust a bit more, especially when it comes to defining/detailing the character, outlining too, that i think will help. Try n experiment with it ! Some stuff felt hard to see at times but that could just be me !

Once again, fantastic job