More Steam Knights. Which one is your personal favorite? Prints available on INPRNT. Link below.

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Two new gouache paintings for Deep Forest 2 at !! “Beedum” and “Kussa,” 5x7”, framed.

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Concept art for “Primal Warrior Draco Azul Issue 1” by , featuring the titular mech, our protagonist Eric Martinez, and the Diablos from this comic.

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If you enjoy old-school giant robots and kaiju, check out issues 1 and 2 of Primal Warrior Draco Azul! Available now in physical and digital formats on Amazon.
https://t.co/twQrJHZfys

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ARC Giant Mech concept art, done for DOOM Eternal. Even these could not stop the hordes of demon invasion on Earth.

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For those who hadn't watched or rewatched during the intervening 2.5-plus years, this recap would have been incredibly helpful. It was smart to include it.

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Kawarazaki stresses Genya’s relatively young age, which falls in line with the thematic pattern of generational tension that continually stresses. However, unlike Daisaku, Genya comes across as naïvely willful and dangerous.

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Given that was produced over 7 years, it’s remarkable that Akihiko Yamashita stayed on the project from start to finish, contributing to every episode as a character designer. His vibrant and exuberant style gives the series a real consistency.

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Masuo Shoichi storyboarded and illustrated the preparation montage from Ep.3 of Notably, he also worked on the first Rebuild film, which features a similarly epic sequence as the citizens of Tokyo-III work together to repel an Angel attack.

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More generally, is show with an underlying environmental message about overconsumption and the dangers of energy dependence. But more specifically, it can be read as a condemnation of Japan’s increasing reliance on nuclear power at the end of the twentieth century.

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Toshiyuki Kubooka was one of three character designers who worked on His softer, more rounded style lends the show a certain warmth. He's contributed to a variety of projects, such as and the Lunar and series.

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The animators who worked on the first two episodes of used the “postcard memory” technique to great effect. These painterly freeze frames perfectly capture the heighten emotional stakes of the cliffhanger ending.

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Keiichi Sato didn’t join the team until the third episode, but you can clearly tell he took inspiration from Makoto Kobayashi’s designs when he made the They both adopt a distinctly retro style that invokes mid-nineteenth century kitsch and nostalgia.

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An early concept for what a in might have looked like. At the time, there were supposed to be many shapes and sizes. I always get excited about giant robots :)

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