I had to upload this drawing for a while haha but hey, here is.
A friend asked me to draw something with Fox and Andrew for some Pride Month drawings (that nobody except that friend commented - sigh -) and although there is not much of that theme here (I think), I end up having a lot of fun.
I have not commented here, but Fox X Andrew seems to me a very interesting and tragic couple. Two boys who are "cursed" by following the paths of those fraternal figures that many mainly think when they see them because everyone expects the best of them and that they are a clear example of representing their family. Because of course both have a different idea of that destiny yours…
Anyway, both are finally free when Andross's shadow disappears from the Lylat system. That is why I like to think that Andrew (Postassault/Command/Post-Command) finally tries to have a normal and happy life with Fox as his loving interest!
Extra bonus : a recent Androx fanart i made in drawpile with friends!
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“My friends…thank you.”
Team Star Fox glided through the endless expanse of space, away from the now destroyed Aparoid homeworld. The Queen was defeated, and peace had been restored to the galaxy once again. Although it came at the cost of many noble sacrifices (except, they knew for certain, Peppy’s), a rising sense of hope surged through the team, a hope they hadn’t felt in ages. A sense that somehow, some way…everything would be alright.
Could this be the end of evil terrorizing the Lylat System?
Andross was long dead, and the Aparoid threat was now eliminated. Perhaps, as incredible as it might seem, there could be an era of peace for Lylat. An era that the galaxy had not known in what felt like eternity.
As Star Fox descended onto the familiar planet of Corneria, to the loud cheers of its inhabitants, Fox smiled, looking up to the heavens as he basked in his latest victory.
Dad…if you can see me now…thank you.
Three red and white ships floated throughout the galaxy, making their way to the Sargasso hideout. The hulls were badly damaged and there was debris floating off of the aircrafts, but miraculously, the pilots were able to navigate their way home.
And after the day they had, they certainly needed it.
“Corneria must be looking beautiful right now,” said Panther as he looked out of his cockpit mournfully, “Perhaps we could pay a visit…”
“I told you, no!” growled Wolf. “Our ships need repairs. We can’t afford another trip halfway through Lylat.”
“Heh, those ugly bugs did a number on us,” said Leon, almost humorously, “It’s a wonder how we survived.”
“We always survive, Leon,” said Wolf, “We’re not just an ordinary group of mercs. We’re team Star Wolf.”
“Well, Pigma didn’t survive. Neither did Andrew, I don’t think,” replied Leon.
“Because they weren’t one of us anymore,” said Wolf, his tone souring. Andrew left of his own accord, and on amicable terms with Star Wolf. Pigma, however…
“I still can’t believe he betrayed you to the Cornerian Army,” said Panther, “And all those years you and him worked together…”
“I should have known his greedy ass would have tried something like that,” said Wolf bitterly. “I hope those claw marks I gave him hurt every day until he died.”
Wolfs grip on the control wheel of his ship tightened, and his teeth bared at the memory. Years ago, after Andross died, the Cornerian Army placed a bounty on Star Wolfs head, with Pigma having the biggest reward. Out of greed and irrational fear, the pig tried to contact the Cornerian Army and convince them he had changed his ways, wanting to sell the whereabouts of Star Wolfs hideout and make a profit himself.
But the Army wasn’t so pleased at the prospect of working with a criminal. And when Wolf found out…well, he wasn’t too pleased, either.
He kicked Pigma off the team. A month later, Andrew left, perhaps influenced by the unfortunate turn of events.
“But on the plus side,” intoned Panthers voice through the intercom, “You found me.”
Wolf couldn’t help but chuckle. He had to admit, Panther was a welcome addition. Especially considering what they had before.
The Sargasso Space Zone came into view, and the three Wolfens descended, landing as smoothly as they possibly could on the docks of the hideout. The ruffians who worked there - former members of Andross’ gang - murmured at the sight of the damaged Wolfens, and gasped in shock when their bosses exited the cockpits.
“Boss!!” one thug cried. “You’re back! But you don’t look so good…”
“I’ll be fine,” said Wolf dismissively. “Get me and the boys a cot and a first aid kit. It’s time for us to rest.”
“Grgh…huh….?”
Andrew Oikonny woke up from a long, long slumber. He looked around him, and recognized his room as one of the medical bays in an Androssian flagship. Rubbing his temples, he swore under his breath.
Star Fox…how did you…!?
It all happened so fast. He was on the cusp of victory, about to destroy Team Star Fox with his newly designed battleship (which Falco labeled an “Andross wannabe”, much to Andrews annoyance), when suddenly three energy blasts drilled through the hull. Next thing Andrew knew he was knocked out unconscious, nearly dead, but miraculously the beams didn’t hit close enough to where he was located in the ship to kill him.
“My lord?” A mechanical voice came through the doorway. Andrew looked up and saw a service bot standing idly by, modeled almost identically to Rob 64, except gray. “You have been in a coma for nearly a month. We will provide you with food and water shortly. What is your preference for your meal?”
A month…? Andrew rubbed his eyes. Had it been that long?
“I…just get me anything. I don’t care.”
“Very well,” said the robot with a slight, stiff bow of his head, and left.
Andrew looked around him, taking in his surroundings for the first time. There were several IVs strapped to him and, he noticed as he touched his face, a wrap of bandages across his head. He felt a dull ache in his legs but otherwise no pain. Deciding to take his mind off his less than ideal physical condition, Andrew reached for a remote and turned on the television that was attached to the ceiling.
A news station flickered on, revealing a Cornerian dog news anchor. “...and in other news, Team Star Fox has just arrived in Corneria, where they will be receiving the medal of - “
SMASH!
The television screen was shattered by the remote that Andrew threw at it. He growled as he felt veins throbbing in his forehead. Fists clenched, he glared at the now destroyed tv screen.
“Bah…Star Fox…I’ll show you! Just you wait!”
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just peopling
I don't think Murata knows what he does for me when he draws characters showing their more unguarded, vulnerable moments. And I don't mean when they're undergoing a profound emotional experience. Just the mundane, everyday activities.
It's not easy to depict mundanity in a story: real estate is precious, and Everything Has To Mean Something. So Murata finding space both within and around the chapters to ground the characters as people despite their abilities is precious.
Something that comes to mind is Scott McCloud's comment in his excellent book 'Understanding Comics', where he notes that depicting a superhero going to the bathroom is funny as we don't see these characters as human and it breaks our immersion. In One-Punch Man, the characters may be incredible and in a fantastic setting, but ONE and Murata have pulled off their also being so human there's nothing remarkable about them eating, sleeping, going to the bathroom, or having a recycling schedule on the wall. It's not easy to do.
ONE does get mileage out of making superhumans doing ordinary things hilarious, but he does it by making the context funny. Sure, Sonic on the shitter is funny, but it's not funny because he's an impossible ninja having a shit as if he were human. We accept his humanity. It's why he's crapping his guts out that's hilarious: there's both the schadenfreude of seeing him hoisted by his own petard and the relief that because he's screwed up, he will stay human. Sure, Genos using his arm cannon to dry the dishes is funny, but not because he's a combat cyborg that probably costs the same as a fighter jet. He and Saitama ate. Of course the dishes need doing. It's that he's abusing a million-dollar piece of equipment to do something ordinary that's hilarious -- like an engineer abusing a high-powered laser to heat coffee [1].
Often, the context isn't funny for the sake of being funny. Genos cleaning the house? Not funny. Genos ignoring the sounds of battle outside because he can't bring himself to leave the house until he's cleaned up all traces of the previous night's party? Hilarious. However, it's not just funny: it's the setup for us seeing later the pots and bowls set out as the apartment is destroyed, all ready to start dinner as soon as Saitama comes back. He's prepared for a meal that neither will ever eat. We carry out our routines as if life will never change, even though we're aware it can be cut short at any time and in ways we cannot anticipate, and no amount of power or privilege changes that. In the meantime, we live.
Why do they go so far as to humanize the characters? Other than it being nice to see, it also allows the story to land points that otherwise couldn't work. Points such as everything takes time, effort, and attention and no one can do everything, but must needs choose, and these choices have consequences. That we need others to be human. That even the best relationships take work. That fulfilling yourself as a human being is a work in progress. That the idea of there being a 'thing' or 'state' that will make one happy is nonsense. That we can go too far. That we don't deserve second chances, but no one's counting.
Being human is complicated and frustrating and boring but oh so worth it. That's a big point that ONE wants to get across. And he can't do that if the very idea of a character needing the bathroom is hilarious.
[1] Obligatory health warning: do not fuck with lasers. A laser capable of warming your coffee in a useful time is both invisible and more likely to set you on fire than give you a warm beverage.
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question if I may! are there any resources you find helpful with drawing comics? I’d like to start but I’m kind of intimidated orz
plenty!! you'd be amazed how far you get just by starting. but in terms of generic advice:
insp folder of comic pages on my phone. i try to read a lot and i save whenever a panel layout looks interesting. witch hat atalier, mob psycho 100 and blue period are my favourite inspo! but i also snap pictures of indie comics, doujins, or other artworks with interesting compositions. looking at other big or small artists online can give a real ''oh i can do it too'' type attitude. recently i loved sneckoil's comic in the jaws of st camillus
Understanding comics by Scott McCloud (free download on archive.org) is a comic itself. literally covers ALL the bases. its so good
some of these video essays. by lines-in-motion have great points about visual storytelling and deconstructing what makes certain manga great. good for if you want to think about an overarching story
in terms of the actual drawing process?
time-saving methods. i take a fuck of a long time drawing comics but i dont think it has to be that way 💔 i use CSP which has some GREAT support for comics and i want to get my hands on the upgrade for its manuscripting tools. if you're using a software that has some tools for panelling / speech bubbles / text layout its well worth getting used to them. i also use 3d character models, my own reference photos ALL THE TIME. I could talk more about my process but a lot of it is kinda specific to clip studio paint
i've been having so much fun ever since i got into making comics cuz they have so much overlap with all other visual and narrative art. but that does mean that thinking about everything that makes a comic ''good'' is pretty overwhelming. keeping track of everything while drawing is tough. but it also means that i get inspiration from literally anywhere.
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