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If Zeno was born around late 80s - early 90s, there's chance he'd know Sergei eh? So I drew a wholesome moment.
But with this scenario, it'd tragically go down hill & stack more traumas to the pile for Zeno as his uncle would eventually die in such an early state of his life.
I mentioned the face/body studies I did of him a while ago, so I'm finally posting them; it might help other artists or just be generally interesting.
my mentor taught me to break everything down in shapes to get someone's likeness, but we do have very different drawing styles - she's more stylized and I'm more realistic. even so, it's a valuable lesson for all styles, and I learned how to do these studies.
added some notes of what I think is important to keep in mind with his design - Zeno is very interesting because, as noted, he has a lot of square shapes, suggesting strength and reliability, and rounder ones, suggesting an edge of softness; both quite unlikely for villain/evil characters. his design is very, very interesting to me; quite intentionally contradictory, I think.
(someday I'll add Wesker's, and he is a lot sharper than Zeno; all his edges are very sharp and he lacks the roundness Zeno has, which I think is very noteworthy as a difference between them - Wesker is more of a "conventional" villain/evil character design, in my opinion)
Sketches and Studies - Wesker Face & Body (pre-remake)
since I worked on Zeno, here's a version for Wesker.
he is a little more complicated because the models back then weren't as realistic as models right now: some things, you have to fill-in the gaps with your own knowledge.
regarding his face, Wesker has a much sharper look, with lots of triangles and squares, and thin features (which bring out more of his sharpness).
regarding his body, it's complicated, like I've said before. due to limitations at the time, characters were naturally blocky and stiff - so my analysis was more on a sense of identifying his key features between models and making a list of what to have in mind to have a likeness of him.
turns out, the most distinct points are his very, very broad shoulders and inverted triangle shape; and long, lean legs, with calves being the same width as his thighs. even if he is very strong, he is most importantly lean (not bulky like Chris or Leon); and features like thinner wrists, ankles and waist accentuate that tall and lean figure. put it together with the broad shoulders, he looks quite imposing, powerful and agile (let's not forget, the man is the size of a lamp post)
something worth of note: I thought he was going to be mostly triangles, which is true in his face but not in his body. I'd say it's the model limitation at the time, but Zeno did inherit that blocky, squarish look (in his case, with rounder edges), and Vergil, from Devil May Cry, has the same thing going on.
personally, I think this is to convey power. the broad shoulders and squares/rectangles bring the sturdiness, strength and stability - but their triangles balance the reliability: they have too many sharp points to be considered trustworthy (unlike Zeno), so their shape translates to power and danger, immediately imposing with just a look.
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I saw Marcia show up and got happy, but didn't remember why bc it's been about a while since I played Path of Radiance. I quickly remembered why after this exchange:
Bad sex scenes are fun to make fun of but I think one of the easy reasons they are frequently awful is that there's no narrative energy to them. I picked up on this by studying combat scenes and I think the problems that show up are really similar; there's this thing writers do where they treat these kinds of sequences differently than the rest of their work, the scenes feel like they exist outside the regular narrative and writers just pause the story while they happen. People are always complaining about fighting and sex in stories being "boring and a waste of time" and that's not an inherent function of these mechanics, that means writers aren't approaching them with the same thoughtfulness as the narrative, and the audience can feel it.
The sex is an interaction, and interactions should illuminate things! It's still beholden to the plot/characterization/worldbuilding rule, we should always be communicating some kind of new information or reinforcing what is already understood. You are having 2+ personalities strip down and communicate with their bodies what are they SAYING. It doesn't have to be anything profound, even just communicating to the audience "i think this person doing this thing is hot" counts; wanting the reader to get off to something is a perfectly respectable goal that can keep us on track if you're aware of it. But the writer so frequently has NO IDEA what they're actually trying to say, what the goal of the scene is beyond fucking or fighting, so we end up with bland interfacing between characters who could be replaced by any other characters doing the same thing anywhere else. It isn't hot or interesting to be directionless, pick an intention and go.
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Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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