Here's a fun concept: What if the Death Angels (from A Quiet Place) had a second stage in their life cycle where they grew wings?
A Seraphim stage.
Not only would this make them formidable silent killers that can swoop in from the air, but the holes in their wings could be used to communicate with other Death Angels (the wind and the formation of the Death Angel wings would create intricate whistling and howling sounds that can be picked up from great distances. It can also serve as a warning sign to humans).
an augmented woman stays behind on earth for custodial purposes after the planet is made uninhabitable for most humans. technically, this is incomplete because I didn't have the energy to depict that.
Corpse Planet is a personal graphic novel project that I have been working on for quite some time. I'm still making adjustments, but once everything's ready for publishing, I will let everyone know where to get a copy.
This is just a proof copy for now.
(Pretty happy with how the character dossier pages turned out)
EEEEE I can't wait to share more once it's all ready...
Here are the pieces I made for this year's @malevolentbigbang~
They belong to the fic And I Will Always Be Hungry by @croik
A big shout out to @chuckableimp, who was my art bud for this event and who made a deliciously disturbing piece as a companion for this story, too~ (cw for gore, eye trauma and body horror)
It was lovely participating on this event, and I cannot express just how good this fic is, folks pls go read it and go bask in Scrimshaw's art gogogogogo \ò w ó/
Note: the comic posted here is a censored version. The original version is posted on my AO3, and it's the same one which is embedded in the fic.
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[First image ID: A wide profile view of the King in Yellow's throne room. The room is in shadows, and there are weird architecture elements in the background. On the right of the scene, the King in Yellow is sitting on his throne, in darkness. On the left side brightness and light particles are pouring in through a door, outlining a very, very tiny humanoid figure with large horns and a veil. The whole image is done in scales of yellow, brown and black. /End ID]
[Second image ID: A five-panel comic, with the first and fifth panels spanning the width of the page and the middle three panels side-by-side between the first and last panel. The first panel shows Larson, a humanoid man. He is mostly nude save for a sheer loincloth, and has pearlescent skin, with legs that transform into golden roots at the ankles and large golden antlers with a golden veil attached to them coming out of the top of his head. Instead of eyes, there is gold pouring out of his eye sockets, which carved grooves in his face, and drips down his chest. He is standing in a doorway with a grand, powerful pose and a smug smile as he says, "Your Majesty."
The second, third, and fourth panels are close-ups of Larson's eyes. A hole progressively opens in the gold throughout the three panels, akin to a pupil forming.
The fifth panel is a close-up of Larson's face. The holes in his eyes are now fully formed, and he has a smug little smile as he says, "I understand now why you had no interest in showing me your true form." /End ID]
[ID: Art of Percy Reed from hello from the hallowoods.
On the right is his decaying corpse in a sketchy art style. It is wearing a tattered dress, has black curly hair and is partially transparent. It is coloured in loosely, as if scribbled with colouring pencils. It is loosely suspended in the air by piano wires like a puppet, one arm above it’s head, one pointing to the side and one leg slightly bent, mimicking a dance. It is visibly slumped over. It’s face is indistinct, but has dark circles for what could be eyes and a mouth that has been stitched over. The colours are sepia toned and muted.
On the left is Percy Reed as a ghost, his form roughly carved from what appears to be fire; no lineart only negative space. The fire fills the bottom left third of the image and spills into the center. The style resembles a painting. The colours are extremely blown out, resembling heat map vision. There is an extremely saturated almost-red hot pink for the dark areas and a more muted cyan for light areas, with violet to bridge the gap when needed. You can roughly make out a collared shirt, an oversized jumper, trousers and short curly hair. His face, part of his torso and his hands are the most distinct part of the painting, the edges across the rest of him being more softly blended with the fire behind him. He is partially facing the corpse, but has turned his head to stare directly into the camera. With one hand he grips the wire suspending the corpse’s left arm and with the other he holds a burning hand underneath the arm, with the arm starting to catch fire. His stance is confident.
The background is dark and loosely sketched, resembling charcoal art. It depicts a clearing in a thick pine forest, a gothic style house in the center and a path leading to where the viewer is positioned. a cross is visible at the top of the spire. It is Solomon Reed’s house, as depicted in the episode art for 34, ‘Towers’. the sky is dark cyan and everything in the foreground under the charcoal is a dark ruby red. The colouring is also scribbled, barely lining up with the lineart. The fire percy is carved from covers part of the house, giving the illusion that it is also catching fire. The sky also may be filled with smoke. The image has a grain overlay and is square. The faces of the two percy’s are positioned at the crossover points of a (theoretical) rule of thirds grid. End ID]