I Draw Yaouri Like Its My Full Time Job

Once again, your panel flow is perfect as always. Iiiii actually have a degree in illustration. I don't get to use it that much anymore for chronic illness reasons rip but it does let me more pointedly gush about your work. ANYWAY I'm always really impressed by how well you storyboarders are able to, you know, make the story flow around just through composition and directional lines. I just think it's neat and you're clearly very skilled at your craft.

Really love the way that Kinger's body language slumps leads into like the scared surprise that Caine is giving in this first panel. The hand in the foreground over Caine does so much to like establish what's going on and I just think that's neat. I love Kinger's expression on panel two, really doing a great job of establishing the "we are talking about business now" energy

God, and the way you can tell in the next panel when Kinger looks back from the desk to look over at Caine, like, Caine is genuinely VERY upset by this. Like, you sell that fear and shock so well. Like, there's such subtlety. There's a lot of subtle acting in how you've drawn his eyebrows and mouth here, and the little lines around his eyes are also doing so much, and I just think that's neat.

AUGH and then the way you show the progressive sad emotions as Kinger goes to leave that side shot, and the way you capture just the lines on his eyes and his eyebrows, and the way that helps emphasize the mood and the shading here. It's just really neat and I'm destroyed. I'm destroyed and I wrote this. I know what's going to happen in it and I'm still destroyed. GOD the shot of Caine by himself, and you've done a little bit of shading in his eyes to really help emphasize, and God, he looks so upset and so scared, and I just want to give him a hug. Okay so the cut between Caine reaching out to Kinger as he leaves and Caine's hand in the past HITS SO HARD!!!!! It's just such a great visual way to depict the prose I wrote down without the words, and I just think that that is cool. Also, the hand reaching out is just really well done, very expressive. I'm absolutely losing my mind about your shape language on that red hand. It's just really good. HHHHHHHHHHHHHHHHHHHHHHH and then the little "don't go" and the way that like you made the font a little smaller to really emphasize that. And again, Kinger's hand reaching for the doorknob is just a really good hand. And then you can see the little surprise on Kinger's face and the way you use more circles in it to help emphasize that surprise is neat. And then the next panel, Kane's body language and the shot being from slightly above so we can see how he's kind of curling in on himself. And again, you have the glitches triggering and AAAAHHH it's so good! THE WIDE SHOT SHOWING KINGER AT THE DOOR I'M LOSING MY MIND IT'S EXACTLY HOW I PICTURED IT

GOD so the big shot showing Caine's expression as he starts to cry, and the way you make his teeth seem a little sharper to help, like, emphasize that big emotion, and he's still got the glitches. And again, God, shading adding so much here, the little bit of highlights in his eyes!! The shot of Kinger coming back. I don't know, man. The fact that you can't see Kinger's face, you can see the little bit of tears from where Caine's sitting. And again, like, body language here, so good. The little curve of his back and his shoulders and showing that little bit of tears does so much. And you can see clearly that, like, you can feel the apprehension of Kinger standing over Caine in this shot, and it really emphasizes, you know, he big, Caine small. Caine is the smallest he's ever been in this moment.

AND THEN KINGER SITS DOWN WITH HIM YEEAAAAAAAH WE DID IT

GOD CAINE sitting there on the bed with his little hands on his knees, and he's still got the tears, and he looks so sad. This is the most sad little Muppet man I've ever seen in my life. And the contrast of like the heavier lines on him while Kinger seems to have softened and he gets more soft shapes. Just, ah, so good. Also, I love the little bit of depth you gave to Kane's shoes. It's very good. Love the flow on. "Are you sure that's what you want?" This is a really strong composition. My eye really strongly goes from that text to Kinger's face to Caine's face. It's just listen. You could draw the little like golden triangle in there, maybe. Probably not. But you know, it gives me. It's good. It's good. I'm sorry. All I keep saying is it's good. I just really like it and I want you to know that I really like it in detail.

Oh God, Caine's expression in the "I don't want to be here" line. Listen, the shading you did inside his mouth here to really emphasize that depth is just good. And then you show his little teeth shutting, and oh my God, my heart. HIS LIL NOD AND THE WAY HIS HANDS SQUEEZE SHUT WHEN HIS TEETH SHUT AAA IT'S SUCH GOOD BODY LANGUAGE

Meanwhile, Kinger's expression has gone full like Midhell Manor, sitting and comforting someone, which, ah, yes, it's all I wanted.

The final shots with poor Caine actively shaking. And Kinger has finally softened, and he just promises, and then he just sits with him, and oh my god, it's so cute. Again, really love how your shading emphasizes the ending of these. It just, it always makes it feel like it lands, and I think that's really cool. I love them, your honor. They're my favorite. I'm so glad I wrote 55 thousand words just to get here just so I can write God knows how many more words before they can finally call each other "Dad" and "Son". We'll get there, but by God, they're going to earn it.

OKAY so! First of all, I'm sure this is obvious. You're clearly someone who is very skilled, but the way that these panels all flow to each other directionally is really impressive. I'm a huge fan of how Kane's expression in the first panel really leads into Kinger's motion in the second one. Also, the way you get so much of Kane's emotions just by adding that little bit of shading is so fucking cool! His initial expression in panel one is exactly what I was picturing, his hand pressed to his chest and all. And then Kinger's reaction is also exactly how I was expecting this to go. Insert standard ramble about how fucking good you are at giving expressions to characters that have completely inhuman faces. Caine's lil face when Kinger finally snaps is so fucking cute. You really captured that feeling of like, "oh no, dad's finally mad at me" which is what I was going for.

I really like the directional flow from, "You are the one who keeps forcing my hand," into the baiting line. Like, you get so much of Kinger being pissed just from how you draw the curve that's like in his neck and how that connects with his little anguity eyebrow. And then the hand motion on "you've been trying to bait me"? Ah, perfect!

I love the little pullout showing Caine tucked into his little race car bed and Kinger gesturing to the rest of the room. Love how Caine looks genuinely scared and surprised.

And then the way that Kinger's poses all flow together on that panel, just, oh my god, I'm losing my mind about it. Look, I just, I am obsessed with this shot of when Kinger puts his hands together and looks actually angry. It's so good.

I love how you draw the little glitches Caine is going through. Like, it has the same energy as when Ghibli hair poofs up because the characters are experiencing an intense emotion, and it works so well. You really sold the bit of him going from genuine surprise to choosing to finally take up the fight he decided to pick.

Poor guy, when he doubles over at the end of his rant. And I like how even though we're looking at Kinger from behind, I do get the impression that he's concerned by this in his body language? It's just very neat.

God, the panel of Kinger looking down at Caine and asking if he's hurt, and you can tell he is just so fucking done with this situation. And in response, Caine's reaction—oh my God, that face drives me absolutely wild. And the way you actually did show his fingers digging into his arms and clipping, like I'd written down. aaaaaaaaaa I love it so much!

The way that you emphasize, Kinger taking that breath before really getting into the fucking lecture is just real good.

I am in love with Caine's little like flinch when he tries to make the excuse of this being Kinger's code's fault and not his. The little like quirk of his upper jaw "eyebrows" and the way that little bit of shading in the interior part of the lower jaw really emphasizes this expression. Just love that.

And it's great because then after Kinger really gets into it, you can see how his words are pretty much immediately wrecking Caine's defenses here. The way Caine immediately goes from like angry and defensive to more sad kicked puppy. HOOOOOOO the panel where Kinger mentions the mind files and you include that beat of him catching on the thought and having to take a moment before he says the next part does such a good job of emphasizing the thing.

AAAAA which does indeed result in the next panel of Caine really genuinely looking like a kicked puppy. And I like that you included the little glitches to help emphasize that this is causing a lot of emotion for him, because, you know, it is! GOD the last panel thank you so muuuuch. This hits the exact gravity of the phrase I was going for, and the shading does so fucking much. And the way having the shot be from a little below Kinger really emphasizes how heavy it is. And then the way it contrasts with Caine looking down and how he shrinks. The perspective is really good. The perspective is doing a lot of work here, and I'm a big fan.