Developing Comic Further – Environment, Characters and Panels


The previous post on this comic idea had some sketched hints at the ‘playroom’ kind of aesthetic I wanted for the bedroom, so I thought to try working on some different angles/compositions/framing for panels that would give the reader the impression that the wall was in fact being projected on to, and that the images on the walls are moving animations.  I keep coming back to the Rugrats, but in particular, those scenes where we are seeing the world through Spike’s eyes – all distorted with fish-eye aspects.  I can’t find any examples online, but it’s quite a nightmarish viewpoint.  Add the playroom from Akira into this, along with that age-old futuristic ideal of images everywhere*, and I’ll arrive at something scary/recognisable/cute in time enough.

This isn’t the bit I mean at all, but I can’t find any images of the playroom online either. I think it’s the ominous lighting in the fight scene with Tetsuo that has me referencing it more than anything, though, so this image will more than suffice.

*A fine passage from Cybersexualies essay Technophilia, by Mary Ann Doane, refers to the impressive amount of imagery in science fiction (though it certainly isn’t something we’re unfamiliar with in every day life):

‘Garrett Stewart remarks on the over-abundance of viewing screens and viewing machines in science fiction in general – of ‘banks of monitors, outsized video intercoms, x-ray display panels, hologram tubes, backlit photoscopes, aerial overhead projectors, slide screens, radar scopes, whole curved walls of transmitted imagery, the retinal registers of unseen electronic eyes.’  And in his view, ‘cinema becomes a synecdoche for the entire technics of an imagined society.’ (30)

It seems like having this ultra-‘natural’ scene projected onto the bedroom walls will be quite an obvious illustration of the use of technology to create a new, ultra-human, and un-Other-based environment, a central theme in my dissertation.  Having the child in the scene playing with a tablet-type device feels a little lazy, but I was also aware of the importance of including very recognisable technologies in order for the story to be relatable; tablets are pretty ubiquitous right now.  Here are some goofay designs:



Struggling at the minute to decide what language the child is learning on the device – if I choose Japanese, I’m giving myself an opportunity to practice my own learning, but I am aware and wary of the whole Orientalism cliche in so much science fiction… We’ll see.

I am having some trouble deciding on what the two characters (mother and child) should look like too.  Every time I make a conscious effort to draw a person, a character that I have made up, I suddenly find myself drawing hideous, hideous faces, the kind of which I’d never draw when I’m just doodling, and drawing faces for my own enjoyment.  At the same time, if I try looking at other comic artists whose work I love, I’ll copy them, and then hate myself for being that unimaginative, that lazy.  The only real solution to this problem is to keep drawing every day (as absolutely everyone advises), and eventually the brain-to-wrist connections will get stronger.  This is what I got from this recent exercise:





So, that’ll be something to push harder on tonight, and hope that the aesthetic comes out when I have at these (more definite) panels in the next few days/weeks:


Child comes into room after following baby’s cries, and sees mother-robot breastfeeding little baby sibling.



Snaps out of that. Mother-robot comes over to pick child up, child has knife, slices open veil (onto which the image of mother’s head is being projected)

This is another fantasy/dream sequence, and when it finishes (with a detailed image of the mechanical head under the veil), the child goes back to their playroom and is happy when greeted by its tablet.

While at home in Northern Ireland for three weeks, I’ll use this time to draw out the comic, in black-and-white – probably using ink and a paint brush, potentially working in fineliner – once I know what I want it to look like/which tool I can use more skillfully, that decision will make itself.

Comic Cover

I have been working on cover ideas, using many different colours for the face in the mother-robot’s veil, similar to the work of two artists I came across in the last few months, who use colour with bold, electric energy:

And someone who goes by the handle 8 9 3 9

Less half-clothed ladies for half-clothed ladies’ sake though.  Also looking closely at the colour palette of Wesley Allbrook’s comics, particularly the pink-pink of Montmartre à trois.  She’s incredible.


COP Creative Response – Story-forming

This comic tells the story of a child whose natural biological mother is now permanently absent.  She died shortly after giving birth to their younger sibling.  The father – a wealthy, successful, busy man – sees that the children need a mother.  Humanoid technology is at this time progressing, though it has not yet reached a point at which these androids are indistinguishable from humans.  Engineers are having particular trouble getting facial movements just right, and as a way of bypassing this problem, came up with the temporary solution of projecting animated human heads from the inside of a veil which is draped over the head, and securely attached around the shoulders at the base of the neck.  The father of our family decides this is the best course of action, especially for the baby, who he believes would suffer greatly from the lack of its mother’s nurturing.




Automaton Idea (basix)

This is a quick crap sketch of an idea for a potential ‘made piece’ – but until I know a little more about building automata, I’m a little stumped with it.

Automaton Idea

This documentary from the BBC was wonderful at scaring me into the realisation that they are not a thing to be taken too lightly, however.  But, my god, John Joseph Merlin‘s a dreamboat if I ever knew one.  Just look at his swan, JUST LOOK AT IT!

Brooding on Cybersexualities

A fantastic (albeit now slightly dated) collection of essays, Cybersexualities: A Reader on Feminist Theory Cyborgs and Cyberspace, has helped narrow my studies into these fears/fascinations with new forms of corporeality.  In particular, the essays by Claudia Springer and Zoe Sofia have thrown up some interesting points around the connections that can be drawn between technology, and the concept of the mother.  Some quotes:

from Springer’s The Pleasure of the Interface

‘To quote the science fiction author J. G. Ballard again:

I believe that organic sex, body against body, skin area against skin area, is becoming no longer possible…  What we’re getting is a whole new order if sexual fantasies, involving a different order of experiences, like car crashes, like travelling in a jet aircraft, the whole overlay of new technologies, architecture, interior design, communications, transport, merchandising.  These things are beginning to reach into our lives and change the interior design of our sexual fantasies.’ (34)

‘Huyssen contends that historically, technology was not always linked to female sexuality: the two became associated after the beginning of the nineteenth century just as machines came to be perceived as threatening entities capable of vast, uncontrollable destruction.’ (36)

‘The word matrix, in fact, originates in the Latin mater (meaning both mother and womb), and the first of its several definitions in Websters is ‘something within which something else originates or develops.’  Computers in popular culture’s cyborg imagery extend to us the thrill of metaphoric escape into the comforting security of our mother’s womb, which, as Freud explained, represents our earliest Hein (home).  According to Freud, when we have an unheimlich (uncanny) response to something, we are feeling the simultaneous attraction and dread evoked by the womb, where we experienced our earliest living moment at the same time that our insentience resembled death.  It was Freud’s contention that we are constituted by a death wish as well as by the pleasure principle; and popular culture’s cyborg imagery effectively fuses the two desires.’ (37) (a very important segment to me)

‘patriarchy continues to uphold gender difference.’ (41) (summation of a good passage)

‘The emphasis on cerebral sexuality suggests that while pain is a meat thing, sex is not.’ (44)

Baudrillard saying good things:

‘the Other, the sexual or cognitive interlocuter, is never really aimed at  – crossing the screen evokes the crossing of the mirror.  The screen itself is targeted as the point of interface.  The machine (the interactive screen) transforms the process of communication, the relation from one to the other, into a process of communication, i.e. the process of reversibility from the same to the same.  The secret of the interface is that the Other is withing it virtually the Same – otherness being surreptitiously confiscated by the machine.’ (44)

John Perry Barlow is cited for his writing on Virtual Reality, calling it a ‘Disneyland for epistemologists’, and that it will ‘further expose the concept that “reality” is a fact… delivering another major hit to the old fraud of objectivity.’ (45)

‘In a world without human bodies, the films tell us, technological things will be gendered and there will still be a patriarchal hierarchy.  What this reconfiguration of masculinity indicates is that patriarchy is more willing to dispense with human life than with male superiority.’ (49)

Sofia’s Virtual Corporeality: A Feminist View

‘Synecdoche is what allows the disembodied, alienated, objective rationality of a certain gender, class, ethnicity, and historical epoch to be vaunted as universal, while other styles and components of rationality – such as embodiment, situatedness, emotion – are ignored or dismissed as non-rational… a computer exemplifies this narrow but powerful way of knowing.’ (57)

Too much of this essay has been marked out in pink highlighter.  I’ll get round to discussing it here, by myself, at a later date.  In the meantime:


I sketched out some immediate responses to ‘mother’ – it’s important for me, never having been a biological mother of any kind, to attempt to explore how it feels to have this life growing inside you.  Drawing often helps me get some kind of grasp of emotions I don’t understand – this exercise helped especially in trying to wrap my mind around the physicality of the gestation period.  The bodies felt alien to draw; strange and lovely.  I’ll do some more of these.  Gustav Klimt is an inescapable influence.  I want so much to become this literate with texture, colour, line and figure drawing.


Hideaki Anno and Neon Genesis Evangelion

OK, so here, I will attempt to outline why the anime, Neon Genesis Evangelion, is a heavily influential factor in my Extended Research Project for Context of Practice 3.


Omono otaku

Firstly, my serious interest in the show feeds on the topic of my essay for Context of Practice 1, ‘Otaku culture in post-war Japan’.  During the course of my research into the key components of otaku culture, Ikari Shinji (NGE’s teenage protagonist) was a near constant presence.  Shinji is a tragic figure, and knows it.  In this character, Hideaki Anno seems to have created the ultimate otaku stereotype: Shinji is lonely, self-involved, sexually frustrated, distant from his father – a victim of his environment.  He is expected to pilot Eva 01, in order to assist NERV‘s attempts to defend the earth against the Angels‘ attacks, but he is usually unwilling to do this, because it is scary.  He has understandable, relatable emotions in the face of this terrifying proposed task:

  • the angels are really, really scary creatures (I will expand on the goodness of this shortly)
  • in order to pilot the Eva, Shinji has to effectively relinquish his conception of his own identity, allowing it to merge with that of the Eva (which, by the way, is inhabited by the soul of his dead mother – oedipal much)
  • the responsibility they put on his shoulders is phenomenally weighty

My interest in otaku culture is has been renewed though this research project, especially when viewing it as a national syndrome which has (at least in part) arisen from a society deeply integrated with technologies that encourage escapism and increasing engagement with virtual reality.  This interview with creator Anno is confusing and seems to beg negation of any in-depth analysis into the meaning of his story.  The Ideas Channel produced this interesting video discussing the relevance of Anno’s opinion on his own creation, which is fantastic:

Either way, I have come to accept the fact that I have no way of getting around Evangelion as a pivotal point of interest in getting this project off the ground.  I wanted to pick apart what exactly about the series (television series  and films – as is often the case in many anime franchises, there is a series, followed by a feature-length reinterpretation of the series, and now a new series of films re-imagining the basic story with new characters and shinier special effects) that strikes such fear into my heart, but still keeps me coming back for more.  I acknowledge that the dramatic music and frantic editing (especially evident in Death and Rebirth) will have had something to do with the adrenaline pumping through my veins as I feed on this hyper-stimulant, but the fact that I can’t quite shake the things I have seen, or the almost-disabling sense of fear I have when recalling certain scenes, led me to believe there is something in the ideas presented that directly attacks something essential to my humanity.

I went on to do some research into Monster Theory – in a way continuing on from the studies into cyborgs and the fear of the Uncanny in my Context of Practice 2 project.  By way of the omnipotent Google, I came by this very interesting publication from Jeremy Jerome Cohen.  I particularly enjoyed his presentation of the ‘Monster’ as a culture’s own exploration – and simultaneous distancing from – their fantasies and desires.  This quote:

‘The habitations of the monsters (Africa, Scandinavia, America, Venus, the Delta Quadrant – whatever land is sufficiently distant to be exoticized) are more than dark regions of uncertain danger: they are also realms of happy fantasy, horizons of liberation.’ (18)

The idea that our fictional monsters are a fairly risk-free method of playing out our risky desires has really lodged itself snugly in my mind.  Applying this theory to Evangelion aids in understanding the appeal of the horror the show brings to me.  To wield enormous power, to become something more than myself, to (eventually) transcend the human form I was born with and connect, wholly, with a collective consciousness – these are fantasies explored in Evangelion, and the baffling, disorientating finale to the television series is an animated approximation of how we might experience these fantasies, were they to ever actually happen.  Cohen’s Monster Culture (Seven Theses) again comes in very useful in wording things right:

‘We distrust and loathe the monster at the same time we envy its freedom, and perhaps its sublime despair.’ (17) 

I watch the Eva entering ‘Berserker Mode‘ and am at once in awe at its unrestrained brutality in tearing the Angel apart, and completely horrified – sickened to my stomach, much like the employees at NERV who can’t seem to take their eyes off the scene unfolding on their observation screens.

As well as the powerfully scary giant robots, the underlying themes in Evangelion can often pose an even more sinister threat to the viewer.  This, I think, boils down to the loss of identity, a kind of death.  Not a particularly new fear, but now repackaged in technophilic terms.  This, I am now joyfully realising in a rather late-in-coming revelation, is the very same kind of idea discussed in some of the essays in Cybersexualities, where the concept of the womb is diabolical in its very biological function as it challenges the commonly accepted Cartesian ‘individual’ – and this is perfectly paralleled when the pilots in Evangelion enter into the belly of their assigned unit, where they are submerged in amniotic fluid which sustains their survival inside.  Their ownership of their own consciousness is sacrificed.  This is scary, and important.

I feel as though there is a great deal to examine in the psychology of the sexual tensions between the characters too.  The pilots are a bunch of hormone-driven teenagers when it boils down to it, but this ties into another aspect of the studies in otaku culture that interest me, which explores the idea that Japan as a nation has strong tendencies toward reticence, and ah, this is a different post.  I’ll come back to this.

I would very much like to dedicate large portions of my time to studying this show as an incredibly effective depiction of the modern, Japanese monster.  I’ve got some work to do.

Masaaki Yuasa

This is a very quick post to indulge in publicly declaring my love for the anime Mind Game, and the goodness that comes from Masaaki Yuasa – his expressive methods shock me again and again into celebrating freshness, exciting originality, and the power of weirdness in really making cogs turn in the brainspace.

This short is quite scary, with a premise that related too well to my research project for me to handle.  The image of the mother digitally represented on a mother-impersonating machine is undoubtedly one of the scariest visions I have seen in a while.  The trauma of leaving the womb is presented in a stark and strange way that un-normalises this very common experience.  Though humans generally don’t remember this event by the time they are articulate enough to express how it made them feel, being birthed seems to be well-regarded as nightmarish in concept, and I think Yuasa’s short has illustrated this imaginatively enough that it’s not simply repulsive to viewers, but instead comes out a beautiful and interesting piece of animation, where one can revisit fears of abandonment.