"Beyond
Eden's Shores",
A Deranged Fan's Work-in-Progress
Back
to Part 1: The Rundown
Back to Part 2: The Elements
Part 3: The Doodles
When I say that this is a "work-in-progress", I mean that I haven't actually started work on a finished project. BES, in its current form, is an unorganized mess of chicken-scratch writings (dialogues, plot notes, and random other things) and doodles up the wazoo. I hope to, one day, organize this mess enough to actually make something out of it -- though precisely what I'm not entirely sure. I'm not exactly a comic book or manga (take your pick) artist. That's not going to say that I'm not capable of executing the story-told-in-chronological-panels art form, though I don't feel like I really have an innate knack for it. That, and the sheer scale of drawing I would have to do to tell a story such as "BES" is mindboggling. I'm only one person, you know. Of course, people have pulled off gigantic graphical epics on their own, but they're also extraordinarily talented. ::P [I'm said to be talented, at least in some way or another, though I'm not a bloody prodigy or genius or anything! If people end up saying that about me once I'm dead, at least I won't be around to tell them that they're wrong. ;;P]
But, erm, anyway... Format! Assuming I ever get started on this thing, I will probably, in my "lazy" way, utilize a blatantly eclectic approach. That is, the format will be whatever is most "convenient" for a particular segment of the story. So some parts of it might be in the "sequential panel" (i.e., comic book, or, ahem, manga) format. Some parts might be straight text -- the sort of overly verbose stuff I put all over my webpage, except that it's a story and all -- with illustrations for, er, whatever I feel like illustrating. Some parts might end up using a script format -- really long dialogues and whatnot. BES's format would flip-flop around and be generally confusing and, well, eclectic.
Even as far as the panel comic portions go, I doubt I'd utilize one consistent style for the whole thing. After all, I'm not publishing this (not in the foreseeable future, anyway), so I don't have to worry about publishing concerns, which is the reason why most comics look the way they do. In the case of manga, anyway, it's ink artwork filled in with various halftone patterns (I've heard the stuff comes printed on acetate and the manga artist has little slaves, erm, assistants that do the dirty work of cutting it out and affixing it to the original artwork or something, but I could be wrong). Why? Because it's easy to reproduce and cheap to print. I'm not particularly drawn to the ink medium myself, though -- I might use it a little, though odds are I'll render the artwork for the panels any which way I desire. After being exposed to Richard Corben's Neverland [I can't say I like his particular approach to human proportion, though I hot-damn respect him as an artist], the idea of using the need to execute large numbers of images [for the individual panels] as an excuse to gratuitously explore different artistic styles is especially appealing. Well, why not? Since I'm wasting so much of my time on a project I can't hope to ever make any money on (unless I get GAINAX's permission and stuff), I might as well try to expand my artistic skillz while I'm at it. That way, at least the experience of doing the artwork for BES will be beneficent.
The plot for BES is pretty well-determined -- the backbone of the story is set, though some parts are more filled in than others. I have a bit of work ahead of me filling in some of the gaps, both plot-wise and conceptually. There are unthinkable numbers of angels that need to be designed. (This isn't like designing human characters, mind you! There is no standard template to work from!! Having to come up with designs when there are an infinite number of possibilities is actually considerably more difficult than it sounds, at least for me.) And then, ugh, there's the setting... I'm one of those artists who has always cared more about her subject than whatever happens to be in the background, not to mention I've always had a focus on singular, organic forms (rather than landscapes or buildings). But BES is a story where you really can't ignore the setting, because Eden makes the story, in a way. If I can't at least deliver a half-arsed impression of what Eden is supposed to look like, well, BES is screwed. Which means that, before I can start this thing, I have a lot of work to do in a few certain aforementioned artistic areas.
But, as long as my interest in NGE endures and I have at least one other person who's interested in seeing BES come to light, I'll keep on plugging away at it. I'd hate to let all of my work so far go to waste.
Hmm, well, speaking of work... Yes, as I mentioned earlier, there are doodles. Lots of them. I have this very bad habit nowadays of only doing rough sketches unless I have some reason to execute something more refined, but that's a rather complicated issue, so forget I mentioned it. I've doodled lots for BES, but, predictably, most of them suck. But even sucky doodles have the potential to be useful (as far as the long, arduous process of conceptualization goes). Or doodles that aren't quite as sucky might end up being good for nothing. Wait... what am I getting at? Not sure, but, in either case, some of my doodles I find particularly "interesting", and these are the ones that I'm putting online here for whoever the he11 actually wants to look at them. They're not necessarily a good indication of what a finished BES would look like -- they're doodles, for crying out loud! or, at the very best, rough sketches! -- but, erm, yeah, they're, uh, interesting. (Hmm, maybe it's time for me to stop writing... ;;P)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
* And I have the arduous task of making Yui, Naoko, and Kyoko look considerably more like real people than they do in the anime. Naoko will probably be easy, Kyoko is doable, but Yui? I haven't been able to find any pictures of Japanese chicks that have that certain indescribable "Yui" essence to them. And, if she's to still have green eyes as a Lilim -- a must, in my opinion -- we're going to have to introduce some foreign blood. Yui's a hafu? Who knew?!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
And some from the original version of the page, which I haven't had a chance to go through. Eventually, I'll either revise the commentary to reflect the current state of things or I'll just take them offline altogether.
|
|
|
|
|
|
|
|
|
|
In
case you can't make it out -- might be pretty hard to do, given figure/gesture
drawing abilities that, 90% of the time, strike me as being fairly abysmal
-- that's supposed to be Barb and Naoko doing one of their cute (and completely
non-objectionable) huggy things. In case it doesn't elicit the "Awwww..."
response from you, here I go: "Awwwwwww...." This
is from no scene in particular, as the two of 'em are notorious for being
perpetually unable to keep their hands off one another (except for during
work hours, of course), but they're allowed, because they're about as
in love with one another as gigantic maternal beasties can possibly get.
I actually draw a sad amount of pictures involving these two (they're
just too bizarrely cute together for me to resist), but it ... saddens
me to say I don't think putting many of them online at this point would
be a very good idea... (Can we say "girl on girl"? ::cough-cough::
#_#:) |
Well,
I needed to come up with something for Bardiel's "true form",
and this is, basically, it. A bit of a shameless TMNT reference, but hopefully
it's forgivable -- modelling Bard' vaguely after ol' Krang worked just
too well for me to resist. Bardi's design here is tentative -- and flawed
in that I made him translucent, which would not be the case considering
he seems to be composed of white goop, at least some of the time
-- Bard' did seem to enter Barb in the form of electricity, if
you look closely after they babble about cumulonimbus clouds in episode
18. But I digress... This is supposed to be from the scene where Naoko
rampages into Armisael's "flat" after she discovers the glowworm
is responsible for the little critter growing inside her, and Barb, naturally,
follows to keep her, erm, girlfriend out of too much trouble, and while
they're there Barb happens to pick up a bucket for no apparent reason,
out of which two blobby white tentacles shoot out at her; she yelps and
throws the bucket against the wall, and once it crashes to the floor who
but Bardiel should crawl out... Barbara is, to say the least, not very
happy to see him: "Bard- Bardiel?? You're -- Bardiel??" "Indeed
I am, my sweets... Come a little closer, and you can be 'Bardiel', too..."
[Yeah, for whatever reason, Armi and Bardi share an apartment, mostly
because by my reasoning they have some vague similarities, or something.] |
|
|
|
|
![]() Oh no, not more unidentifiable masses of jumbled lines! But, if you can figure out what's going on, this is a pretty good doodle... Unexpectedly, Sachiel finds himself in new emotional territory -- out of the blue (hmm... blue... hmm...), he's got the shaking shoulders of a rather distraught EVA between his claws and he's under a lot of pressure to think of something even remotely comforting to say to her. This is yet another step in Sachiel's maturation process, which goes on throughout "HS!": He starts out as the confused, perverted, drugged-out-teen sort and slowly evolves into -- well, we'll see. ::> And who might Sachiel's distraught friend be? Let's see if you can figure it out... --August 1, 2002
|
This
sketch gets a bit ahead of things, but I thought it looked kind of cool.
I'll give a vague explanation... Much further on in HS's story, in a slight
parallel of what happens to Asuka later in the anime, Kyoko, essentially,
"runs away". She tries to escape from everything and wallow
in the darkness of solitude... the brooding abyss of her soul. I have
a lot to learn about architecture before I can hope to render the city-like
settings of Eden, so Kyoko's surroudings here mostly represent an idea.
Her hiding place should be dark and run-down -- a reflection of how she
feels inside -- with one source of light, a window, a gate to the world
she has denied surely as the bars going across it obscure her view. Maybe
there's an old bathtub full of nasty water around for Kyoko to sit in,
too. [Er, that's probably a joke...] --August 1, 2002. |
And
going ahead of myself even MORE (I just couldn't resist)... Kyoko, once
again, but this time in her Lilim form (as the head of hair might indicate)!
Yet this sketch is not for either of the Shifts, but for Kyoko's own drawn-out
shinshou fuukei [the term used to describe most of the scenes in
e25 and e26 -- literally means "mental image scene"], for which
I have brainstormed heavily and am really looking forward to eventually
drawing (sad how far into HS! this finally happens, though). Kyoko's pose
here was meant, I believe, to echo one of Asuka's in e22npc. But who belongs
to that mysterious hand stretching towards her from out of nowhere? Who,
indeed? ::} --August 1, 2002 |
Back
to Part 1: The Rundown
Back to Part 2: The Elements
"Beyond
Eden's Shores" Doodles page created April 07 2002. Last modified August
07 2003.
All original content © 1996-2003 Rachel K. Clark.
"Evangelion" copyright © GAINAX /Project Eva. All Rights Reserved.
And
should you choose to e-mail me, you may call me "Rachel", "Rachel
Clark", "Reichu", "Psychotic Freak Person", anything,
just call me something! E-mails that are obviously for me that
don't actually address me really bother me, strange as it may sound.
It's a small request to ask, methinks. But please do e-mail me, long
as you have something to say besides
"nice page yor drawings R realy kewl".