More progress. I’ve gotten to page 7 so far; this is a panel from page 2. I thought I would hate drawing crowd scenes, but I actually really love them. It’s fun to draw a bunch of people at different depths in perspective, however good or bad it may be. It would be awful to draw crowds in my more detailed Sanitize Trilogy style, but in my Axolotl style, not only do I get to draw more cartoony people, but I get to draw them doing things in a cartoony way. What joy and jubilation.

<3 Pages

It’s coming along. Luckily, the last few pages are, to avoid spoilers, easier than they have been so far. I’m not copping out, but ‘cause of moment choices I need to do, it’ll end up being faster. So, ha HA.

You can find some of my progress photos on Instagram, where I toss up some of the later stuff, stuff I can’t really show to the public. It’s nothing that’ll spoil the whole story, but it’s some of the last panels and pages and whatnot. I’m under the same name there as I am here: genrechowderstudios. Take a look-see if you’ve got time.

I had challenged myself to finish my 24-page comic, Axolotl, by the time my queue stream ran out…

And I was victorious!

Those last three pages were so hard. Not ‘cause I didn’t really know what to put, but I knew that the layout I had originally planned looked phoned in and like I just wanted to get the comic over with. Which was not true. But I didn’t want that to show, ‘cause it would stand out. And I fixed it. I fixed it and saved it from looking bland and stock. Now, I’ve gotta blue line it. Ho ho ho ho.

I also need to figure out what the cover’s gonna look like. And whatever pinups I’m gonna do.

<4 More to Go

I’ve got less four more pages to pencil until my first Axolotl episode is finished. I have to say, I’m pretty excited, but it’s getting difficult to plot who says what, when, why, how, and the like. That’s not all. I’ve got my queue stuffed with 10 pictures to submitted twice a day to keep this account active. This’ll last until Tuesday at around 1:40 p.m.

I’m going to make this a bit of a game. Let’s see if I can get these pages done before this up and coming Tuesday before the queue stream runs out. The official deadline is Tuesday, 1:40 p.m. Given the fact that I can spend over an hour on a single facial expression of one panel, this could be harder than it seems. I’d put stakes on myself, but I really can’t think of anything. Aah, well. Wish me luck.

You know, 9 pages doesn’t seem like a lot of pages until you spread them out. I was worried that I hadn’t been drawing that much, ‘cause certain panels got complicated, but just 9 pages take up a LOT of floor space. I suppose that’s an important thing to remember, you know? I originally spread the pages to see how much space they’d take up, but I noticed that even from a distance that makes practically everything else unintelligible, Fuzen’s eyes are hurling themselves off the pages. They’re that big. I don’t think it’s a design flaw, but it’s something to keep in mind. A lot of close-ups on his face might affect how the page looks. Food for thought.

Here’s a picture of Son Goku as a boy. I had enormous fun doing this, especially since it’s my first picture with my first created brushes. My comic book teacher, Jerzy Drozd, taught me how to make brushes, and while I used a number of custom brushes, the Dragon Balls are my best and favorites. They look a little airy, so I may make better ones later for future pictures. I noticed that in a lot of day shots in the Dragon Ball anime, the sky is a purplish-pink, and the clouds are yellow, so for an added Dragon Ball atmosphere, I used that color scheme concept.

I’m a huge Akira Toriyama’s Dragon Ball fan, and I have to say, doing this fan art was more than just fun. I had to find out new techniques to make it work, apply old techniques to figure things out, and adapt my style to the task at hand. Fitting, ‘cause that’s a lot like the adventures happening in Dragon Ball. You should check out the website. There, look at everything Dragon Ball, Dragon Ball Z, and all the other series. Watch the anime and read the manga; ridiculous and action-packed fun will ensue.

I don’t own Dragon Ball or any of its related titles or names associated with it. The copyrights belong to Funimation and Akira Toriyama. This is just fan art.


The Shamagar people are one of the more known peoples of Ao Lai. Located around the southernmost mountains and plains, the Shamagar people moved down from the peaks of Ao Lai to to find more fertile land. They also brought their livestock with them, and on the great plains, their livestock, especially their horses, flourished rapidly, which intensified the horse culture that came from the Shamagar. They are possibly best known for their connection to the Punghwe Ba people. When the Punghwe Ba were driven out of the modern day Ao Liese Hyohimasa, they migrated to the lands near Shamagar territory, where the Shamagar taught them how to use the resources unfamiliar to the Punghwe Ba. Trade opened between the peoples, interracial marriage occurred, and the two have been close since. They are one of the oldest peoples in what is considered to be part of the Nation of Ao Lai.

The Shamagar are the tallest in Ao Lai, on average. Their skin is a dark, dusky brown, their hair ash brown to dark brown. Traditionally, their hair is tied back or up, depending on the age or occasion. Their faces are heart-shaped, their noses well-defined. The Shamagar’s most recognizable feature is the large, hazel eyes.

Best known contributions to Ao Liese culture include Madavagarata, the spirit of the spousal unit, several sturdy horse breeds, and the style of glove used by most Ao Liese glove-makers today. They also contributed several elements of clothing based on the Shamagars’ cultural aversion to the rear end and the loins.

However, the Shamagar are much maligned for their cultural practices most Ao Liese find abnormal or unnatural. In Shamagar culture, individuals are not considered whole people or part of a whole until married and have fewer rights. Husbands and wives are not viewed as different people but rather halves of a whole that make up the spousal unit. The role of men providing for the family extends to being the primary shoppers, the tailor, doctor, and gatherer as well as hunter. The role of women maintaining the household extends to being  heavily educated, physically powerful, and being the primary builder. In addition, the Shamagar hold the decoration of tabletops in high regard, which is why they have a practice of wearing gloves to avoid smudging surfaces.

If it had been most of any other character, they may not have remained gazing at the painting of Ao Lai. They would have been looking downwards and sad. Fuzen, on the other hand, kept his eyes on Ao Lai because he wasn’t just sad, he felt guilty and repentant. Fuzen did take his eyes off Ao Lai for a moment, but that was to open something. I wonder what other way I can show Fuzen’s patriotism without him yelling “I LOVE AO LAI!” as he’s apt to more or less do.

He grew a finger…!

If you understand that reference, you win a dumpling.

This angle has always bugged me. I don’t necessarily mean this shot, but whenever I do this angle, it looks off somehow. Here, it’s quite a bit better than it normally does. Not sure if it’s quite the way I would want it to look, but it’s a step up from how it usually ends up looking.

In other news, while it’s probably not technically correct, it’s some of my favorite shading in the first half of the chapter. It’s mostly because of the lineart, which I think has a ton of personality even though Chao’s thumb looks a little weird. My favorite part of the panel is actually not on Chao; it’s the thought burst. In fact, it’s the thought burst combined with the text. It just has such energy.

I wish I had had the discipline or staying power or whatever to draw more cows or additional landscaping. Or something. Perhaps some trees. On the subject of the super cows, they look okay. I haven’t drawn them in quite some time, but I think I could be proficient in doing them right nowadays. They have some personality to them. Not much, but some.

I was always really happy with this picture. Everything seemed to fall into place. Chao’s appearance, his clothing, the bush, the bird, it all came together nicely.

I think the way the pic with Fuzen eating peaches shows how childish Fuzen is, this pic shows Chao’s gentler demeanor. If there was something that I didn’t like about this pic, it’s the fact that that bush isn’t centered very well on the page. It’s distracting to me. Very much so, in fact.

I was kinda using the coloring book as a training ground for drawing the basics of certain East Asian attire. I hadn’t completely figured out what East Asian influenced Chao and the area he grew up in. His outfit here is fairly Han Chinese, which is pretty much Central Ao Liese Mainland, yet the culture in which is he grew up is a mix of mostly Mongolian with elements of Han Chinese. Which dynasty, I’m not sure.

Punghwe Ba

The Punghwe Ba people are one of the more known peoples of Ao Lai. Once located in northern Ao Lai during the Hwisan period of modern day Ao Lai, they were displaced once Founder Ao Lai overthrew Emperor Luo Angban and drove out his supporters. The majority of the Punghwe Ba people retreated to southern Ao Lai, where they did not know how to use the resources efficiently because of the wildly different materials and conditions found there. The natives of the area, the Shamagar people, taught them how to use the resources, and the two peoples became closely associated with each other. The Luo clan survives today and has garnered quite a negative face in the Nation of Ao Lai. The Luo clan, referred to as “family” by the Luo, is one of the most prevalent and long-lasting clans/families in Ao Liese history. There has been a deep-seeded animosity between the Luo clan and the Imperial Ou family.

The Punghwe Ba are a fairly tall people. The skin of the Punghwe Ba is a dark bronze, their hair dark brown to medium brown (though a dark reddish brown is not uncommon) and is traditionally left uncut. their eyes are brown-black to black. Faces are long and rectangular, noses long and narrow. These people are easily recognized for their distinctively large, heavy-lidded eyes and hairstyle that displays their forehead.

Best known contributions to Ao Liese culture include Aoyana, the Punghwe Ba spirit of the seasons, the design of the Imperial Ou Family robes, and the minstrel family, in which the family of a performer become performers. While most Ao Liese cultures are patriarchies, the act of limiting women’s political and ownership status to solely inherited positions is known in its original extreme form only in Punghwe Ba culture.