I finished a pass on this! It was a fascinating process. I have some panels and expressions I'm really pleased with, and I learned a lot studying Ryoko Kui's extremly powerful art, but I neglected to study her backgrounds as closely, and I am not entirely happy with how the art pairs with the panelling (I just used my default mostly western-inspired panelling aside from the one panel-breaking figure on p1). I may go back over this and see if I can clear up the backgrounds a little, I feel like stuff is sorta muddy? Let me know how legible the action is. Does your eye get lost following along?
I'm really not used to I guess you might call it "thin line" art, so this process was really enlightening. Working with thin, aliased lines was very cool, I could at the same time be a lot more detailed as well as a bit rougher. Working in b&w, and with screentones, meant I didn't need to be as carful with small unfilled areas when colouring, it was pretty great. I'm more confident I could pull off an ongoing b&w comic now!
Still, there's a lot for me to learn. I get distracted by thoughts like "the room is dark, so all the backgrounds should be dark", when in b&w comics, you don't have to follow natualistic shading like that. I want to study how to leverage more symbolic b&w techniques.
I've been really productive and motivated lately, which is weird given how unmanagable my psyche has been at the same time. I've been doodling short exploritory comics for these two bigger comic projects that have been rattling around my head for a few years now. I'm really keen to do something with them. My bsp art has taught me I can make characters people like and want to know more about, and I really want to tell people about aaaaalll these other characters I've had brewing. Not sure how it's gonna go down yet though. First, I've gotta go back to finishing the new Wells, Brooke, and Rö comic!