This was my first project in Blender working with Toon Shaders and Grease Pencil Line Art (it’s my favorite way to use Blender now). I had wanted to try it for a long time, and it felt perfect for this assignment.

Worldbuilding was an iterative and self-evolving process, with environmental elements like the desert spawning the protagonist’s means of transportation: a surfboard (or sandboard). Other elements, like the dark and gloomy, unlit interior of the human structure, necessitated a light source: a droid companion that serves both as a functional tool and also a buddy.

To foster a sense of immersion, it felt natural to make the protagonist a child. Having a silent protagonist accentuated this further. Story-wise, I wanted to embrace mystery and leave room for interpretation from the child’s perspective: a mysterious protagonist surfing the dunes of what seems to be an endless and lifeless desert, while leaving small breadcrumbs of a larger world – birds circling atop the structure’s head.

Narrative and storyboard were developed simultaneously. I explored the body through storyboards, scrapped the dead ends, and kept the pages that led somewhere interesting. Once I had my overall narrative and rough storyboard sketches, I began modeling assets and kitbashing assets using sourced 3D models, modifying and adapting them. An example being the main protagonist: a character from Mixamo that I adorned with a shawl, cape, and mask.

When I had all my assets and character rigged, I began recreating each storyboard panel. It was a very fun process; I was channelling my inner child – it felt a lot like playing with action figures. The brief’s stipulation of an interactive element was loose; animation was an option. I chose to animate two splash panels in the comic. I used it sparingly because I wanted it to feel special when it occurred.

I learned a lot from this project. It was my first comic book and a newfound way of using Blender. I have been in love with Toon Shaders and Grease Pencil Line Art ever since.