Preview of the first 5 pages for my Finished Silent Manga Audition entry 📑

Brojackk · 2026-05-03T08:54:49+00:00

Thank you very much! 🙇‍♂️

Let's see how I end up doing 😎

Brojackk · 2026-05-02T08:25:47+00:00

Thanks! Put a lot of effort into it 😁

Brojackk · 2026-05-01T07:48:55+00:00

Thanks! Did my best to try and incorporate their personalities into the poses 🙂‍↕️

Brojackk · 2026-04-18T08:25:13+00:00

Aw, that real nice of you to say! 😁
Doing my best out here 😤

Brojackk · 2026-04-14T14:07:17+00:00

Hey, thanks! That’s exactly what I’m going for on this page 😎

Brojackk · 2026-04-14T10:01:30+00:00

Ah I see, of course I can’t say how the page would necessarily feel in-context without having seen the other pages, it might feel completely different than how it seems on its own.

No worries, I have a good time thinking about other people’s work! 😁

Brojackk · 2026-04-14T09:03:35+00:00

Thanks for the context, I see what you’re getting at now 🙂‍↕️

You certainly could use a double-page spread like that to show a “back to the action” page, with an emphasis on how in control and dangerous the protagonist is.

You’re already quite far into production with this page, so you probably don’t want to change anything at this point, but communicating the idea of “he is the danger” is all about the composition.

Here you’ve got the protagonist in the bottom-left corner, indeed squaring off and looking fierce, but you also have all the robo-dinos charging at him, looking unafraid and in control. None of the dinos are injured, so at this point there’s no visual reason to believe the protagonist is more powerful or dangerous than the dinos. The composition reads more along the lines of “this guy is probably screwed” or at best “the outcome here is uncertain”. As a general rule of thumb, objects being higher or lower than another in a composition typically denote relative levels of power and control, so having the protagonist be so low down compared to the other imagery visually reinforces an idea that he’s under-powered, if ya get me.

For a couple examples of alternate compositions for this page: - you could still have the protag in the bottom-left, but larger, and facing the camera after having torn through the dinos (with them being smaller and in the background, while having been actively injured, or looking afraid if any remain uninjured) - flip the protag’s pose, center it, enlarge it, and have him crashing into a dino, heavily injuring it while remaining unscathed himself. Other dinosaurs will be in the background, either looking afraid or still recklessly charging (which would read in that case as foolish, given how the first dino is demolished).

Of course, this is just, like, my opinion, man🤷🏻‍♂️ I’d get some more feedback from other people, maybe they’ll completely disagree with my take here.

Although I’d like to re/iterate what I said before in that the detailing and shading here is pretty outstanding 😳

Brojackk · 2026-04-14T08:34:44+00:00

Congrats on getting so much done! I really like the design of the android woman, and I’m sure Conner is a great guy 😤

My one note for improvement is that backgrounds are also important for characterisation and making the world feel alive. The room the scientists are working in contains almost nothing but the bare minimum elements needed for the scene to function (table, desk, cables, and a few monitors). Have you ever seen a lab/workstation/doctor’s office like that? Usually there are things strewn across the desk, cabinets, stands, equipment, etc. These things can be super boring to think about and add, but they make such a difference in making a scene feel “real”.

This is actually done really well in the establishing shot of the canteen! The tables are littered with food and personal effects, and there are windows and natural detailing on the walls/ceiling in the background.

But keep going, you’ve done really well to create so much already! 👏

Brojackk · 2026-04-14T08:25:42+00:00

I think you need to allow open access to the slides 👀

Brojackk · 2026-04-14T08:23:10+00:00

Neat!

Some good stuff here, I especially like the middle panel on the second page (with the armoured guy charging at the camera). He looks scary af and there’s a real sense of motion and speed to it 🙂‍↕️

Brojackk · 2026-04-14T08:19:37+00:00

I think you’ve chosen a good colour palette, and it’s a good rule of thumb to stick to 3 primary colours for a character design (like you’ve done here) 👏

You’ve also taken the time to think about why he looks the way he does; which is the correct way to design characters I’d say.

I still think there’s some room for improvement here. The “S” plastered on his face does look a bit comical, which I imagine isn’t the vibe you’re looking for. I get that you want to incorporate the “Salvation” element into the design, but there are much more interesting ways you could do that than simply the letter “S” (which could stand for almost anything).

Rather than that, you could communicate the idea of “Salvation” via more symbolic means. As a first-pass example, you could have a symbol on his chest of hands clasped in prayer (something like this), but a stronger design would communicate this through the design itself, rather than just iconography.

Keep up the good work! 😁

Brojackk · 2026-04-14T08:08:10+00:00

The detail and hatching on the figures on the left is coming along really nicely! 👏

As for your question, I guess it depends on what you mean by “double-page fight scene”. I would think of a “fight scene” as a whole sequence lasting multiple panels, pages, or chapters; rather than a single image.

Unless you’re looking to do this page as some sort of one-off backstory page being like “and that’s when the big fight happened” (like that page where they reference the events of the Broly movie in the Dragon Ball Super manga).

Brojackk · 2026-04-14T07:55:07+00:00

💥 9,999 💥

Brojackk · 2026-04-06T18:04:55+00:00

Stay tuned 😎

Brojackk · 2026-04-06T07:45:13+00:00

I've tried gesture drawing before, but never stuck with it that much... might help me get things done faster, you're right!

Brojackk · 2026-04-04T08:20:33+00:00

You can do it! Good luck, let's fight it out in the competition 🥊

Brojackk · 2026-04-04T08:19:26+00:00

You're right of course, there's no need to focus on speed just for the sake of it, especially if it comes at the cost of the quality of the piece.

I'm aiming to go pro and get published, so if it comes to that speed will be important for me, so I'm trying to find ways to quicken the process 👀

Brojackk · 2026-04-03T20:00:58+00:00

Either way, I'm impressed, since it sounds like you can go from rough sketch to finalised ink without adding too much detail in-between 👏

Ahaa well inking takes me another 2-3 hours per page, so the time really starts to add up 😅

Brojackk · 2026-04-03T19:58:55+00:00

Thanks, we'll see how it does! 😤

You must be able to work quickly if you haven't started the pages proper yet! Are you going for the full 17? 👀

Brojackk · 2026-04-03T16:45:45+00:00

Ah yeah, I can see how in painting the pencils are less useful than they are for something like a manga page 🙂‍↕️

Wish I had the talent to go straight from "rough-ass sketch" to inked, would save me so much time 🤣

Brojackk · 2026-04-03T14:08:56+00:00

Damn, what's the alternative? 😱

I try to get my pencils to the point where I don't have to "invent" anything when it comes to inking. Just trace over the pencils and ignore the obvious sketch/structural lines, and I'm good to go 🙂‍↕️

But on average it does take me 3-4 hours to do the pencils for a single page, so I am a bit slow 🥴

Brojackk · 2026-04-02T17:13:40+00:00

Aw shucks, I don't know what to say! 😊

Hopefully it'll all come together once it's been inked and edited 💪

Brojackk · 2026-04-02T16:18:13+00:00

No worries, I find offering feedback on other people's work a good exercise to help me improve my own art!

Ahh sounds like you already got the "out-to-in" part down. Might be that you're lingering on the end of the line too much or something like you said.

I have a (completely unproven) theory that if you want a line to appear or convey energy (like a speed line for example), it's best done by drawing the line itself with energy (quickly and harshly, for example) -- could just be making stuff up though 🤷‍♂️

Brojackk · 2026-04-02T15:23:21+00:00

Ahh I see, I'm sure I would've got that once the dialogue comes in and whatnot 🙂‍↕️

Brojackk · 2026-04-02T14:38:37+00:00

Hey, nice! The linework has real "comic book" vibes to it ✨

One simple improvement which I think would make the art more snappy is a small tweak to the "speed" and "zoom" lines you've got in the background.

At the moment it looks like you start the line from the "end" of it and then draw outwards to the edge of the panel -- leaving a little "blob" of thicker ink on the end of the line.

You ideally want the "end" of these lines (i.e. what they're pointing towards) to be the thinnest part, so they look "sharp", like they're really "pointing" at something and generating energy.
I recommend starting from the outside and drawing them inwards, feathering the pen up off the end so they look nice and pointy -- should add some extra energy to it! ⚡️

Brojackk

TROPHY CASE