Drop your comic, and I'll give you some hard critique

[scientificprocr]

The Scientific Procrastinator | Tapas

[a.g.meade]

Thank you very much for taking the time to review my comic and provide some very helpful feedback.

Yeah, proportions are something I'm still struggling with, so I'll keep working on improving those. Good point about facial features from afar; I didn't really think about that or obscuring details at a distance. I'll have to keep that in mind as I continue. And agreed about the graveyard - rendering backgrounds is still very new to me, so I'll put more attention to detail and how it influences the overall effect as well!

Thank you again for your review - I really appreciate your time and your insights!

[Rocksteady_Comics]

Kind of nervous, but I know I could benefit from some criticism. Thank you for doing this.

Rocksteady Mining Co. | Tapas

[DNoble]

okay, this one confuses the hell out of me, because you've got sequences like this:

which are top notch, but then you'll also have action panels that look like this:

which uh... not so much.

I have two guesses as to how this happened.
1: you are spending a very inconsistent amount of time on each panel, leading to some looking great and others looking rushed, in which case you need to spread that time out more evenly and give your panels the time and attention they deserve, or
2: you're an extremely talented (as opposed to 'skilled') artist who has only recently started drawing. If this is the case, awesome! you've got a real leg up on the competition, but you need to work on finding references and doing life drawing to build up your internal library so you can draw a wider variety of angles and poses.

There's definitely some anatomy and perspective flubs here and there, like I said, the panels are really inconsistent.
This one:

stood out to me, with her back being dorito-fied to the point that her arms look like they're not even connected to her back. For the majority of panels, this doesn't seem to happen, and I am baffled as to how it ended up THIS inconsistent.

In general, when you do environments, they look good, but I just have to ask...

WHERE

THE HELL

ARE ALL

THE WINDOWS!?

Seriously, you decided to do a superhero comic and then decided to puss out on windows? It's an urban superhero story. You gotta draw cityscapes, and you gotta have windows on them damn skyscrapers, them's just the breaks.
What you have drawn is great, but your environments all feel completely unfinished. It's a pain in the ass, but you can't get away with an urban city setting like this and then just leave all the buildings blank. For stuff that's super far distant, yeah maybe you can pull it off, but like...

LOOK AT ALL THEM WINDOWS.
THERE'S LIKE A BAJILLION OF THEM.
GIVE ME WINDOWS.

Shots like this:

and this:

show me that you CAN and DO put a lot of love and effort into your environments. see some of my other critiques and you'll know that I think they need a little more grit and texture; all 100% smooth surfaces makes things feel eerily pristine and untouched by human hands. Put some fingerprints on it; little tick marks of texture where it's not 100% flawless, where a tiny bit of dirt got missed by the janitor, where someone bumped into it and scuffed the paint, y'know?
That's honestly a pretty small complaint, just a quick thing you can do to bump up the 'realness' of your environments, but the windows? Nah, fam, you gotta commit to that. There's tons of tools out there that can help make it easier, from Google Sketchup to custom brushes, but every single building in a major urban center looking like the Washington Monument completely takes me out of the environment.

Speaking of environment...
Resolute determination part three:
panel 1...

Panel 31...

between these two panels, there were uh... 3 indications of an environment, I think? And they were nothing more than a couple of lines. I have no clue where these characters are fighting anymore. Have they moved closer to the edge? Jumped to another rooftop? circled around each other? Are there vents or AC units they could be using as cover? is the roof clean and smooth in a weird dystopian future way, or is it lived-in and grimy like most rooftops are after a while? I can't answer any of these questions. Your action scenes are great, and the characters flow from panel to panel pretty well (aforementioned anatomy inconsistencies aside), but I get so little sense of space that it's hard to feel like this story is actually taking place somewhere, you know?

Honestly, it's pretty nice. I'mma sub to it because the story, while basic, has a good amount of charm to it, and when those action sequences work, they work DAMN well.

[DNoble]

well slap my ass and call me sally, there's not much for me to say.
I think you may have me beat in most regards.

There's something... slightly off about some of your figures.
Like here:

it's nothing egregious, but Elissa's head here looks kind of off-center, and her neck is doing weird things in order to connect to her shoulders. I'm spotting little bits and bobs like this here and there, but it's hardly a consistent problem.

and when the regular figures look as good as they do, it's difficult for me to buy a shot like this:

as being just a slightly out-of-focus or far-off shot. The lack of hard lines on anything at all makes it feel kinda blobby and unclear. The character colors are helping that somewhat, but it feels less like an intentional artistic decision and more like a cheap effect to make the drawing easier.

character acting is superb. This shot in particular is REALLY selling me on the emotion, which is very good given that this seems to be a very character-drama-focused comic.

It does get a little talking-heads-y at points. Lots of shot-reverse shot. There's good out-of-focus indications of the environment most of the time, so it doesn't completely lose me, but you could definitely stand to draw more wide shots, high angles, environmental aspects, or generally other stuff to help break up the monotony in your shot choices.

Overall, though, solid work. Color work is great, linework is smooth, anatomy is solid, not too much negative to say aside from the talking-heads issue.

With regards to my comic: Yeeeaaaahhh I was designing them on PC and I want to keep a standard page format instead of going full manhwa for this one. Initially, the text was even worse, as I had it at a fixed size that was even smaller. Once I took a look and realized how impossible it was to read on a phone screen (honestly might have been too small even for most PC screens), I started designing my pages a little more sparsely, with the intent of larger text and fewer panels per page. Somewhere around episode 4 or 5, it gets a little better, I promise.

[DNoble]

Okay, I barely know how to critique this, because it's obvious you're going for an XKCD style thing where the actual drawings aren't the focus, and that's primarily what I'm critiquing here. I am no jokesmith, so I can't tell you much about the gags themselves. Could definitely do with a little polishing, like

it's obvious the cat is hitting the coffee cup, but those little tick marks for the impact don't much look like an impact, makes it kinda muddy and hard to tell what's happening.

Outside of that, I found them moderately humorous, but have very little to add beyond that.

[DNoble]

okay, so for the extremely cartoony, exaggerated art style you're going for, your overall quality seems fine. It's extremely simplistic, but not without its charm.

Biggest thing I think you should work on is line weight:

Just a little bit of extra oomph in those lines really makes the character pop more. For a style this simplistic, I think it really needs more than a fixed width. Go check out some classic newspaper strips like Calvin and Hobbes, and pay attention to the linework in that. It may look simplistic, but that doesn't mean technical artistry can't play a big role in making your characters feel alive.

Additionally, while the characters are simplistic and cartoony, I think you would definitely be served well by focusing on some realism and texture in the environments. Making the characters and the environment have the same cartoony look gives the whole comic a very 'for kids' feel. Not necessarily a bad thing, but if you want to take it to the next level and make it something that can be appreciated for its artistry, focusing on that extra level of detail in the environments can make that happen without sacrificing the look and feel of the characters.
And it isn't going to make things look as out of place as you might think: Look at Herge's 'Adventures of Tintin' for examples of masterful and gorgeous environment renderings with incredibly minimalistic characters:

So taking a panel from yours, This is just me roughing in the kind of thing I would do to make the environment feel more grounded:

Doesn't have to be like this, per se, but I think the comic could really benefit from something to up that detail.

In keeping with your art style, your colors are very simplistic and straightforward. It's not detracting from anything, but it's not really adding anything; feels like a stageplay with a single straightforward light on the characters and not much else. Change it up a little; let scenes be lit by a color or tinted in a certain way by the mood. It doesn't even have to be consistent or realistic: A character having a dramatic realization can suddenly be lit from underneath for a single panel to sell the impact of said realization, a character being gloomy and sad can have much harsher, darker shadows to set them apart and push that emotion, A character who's ecstatic and overjoyed can literally become a light source that brightens up the other characters around them.
Right now, your colors look like a paint-by-numbers sort of thing, where the same dress/shirt/shoes/skin is the same dress/shirt/shoe/skin color no matter where it is. In reality, though, imagine looking at a person at sunset vs. looking at them during the middle of the day: their skin is still technically the same 'color', but because the light hitting them is different, the actual color that hits your eyes is different as well.

Seems like a fun, cute, and family-friendly sort of story based on what I saw, but that shouldn't be used as an excuse for overly simplistic and dumbed-down art. You can still do a lot to up the artistic expression even within such a simple and cartoony framework.

[InkRoseArt]

make me cry i guess

House of the Undying | Tapas

[Meehow]

Since we just started, we are looking for valuable feedback:

Windfall | Tapas

[FafasMcMelt]

Thanks for the extensive feedback, and for taking the time. I'll definitely take it into consideration in the future.

As for the coloring, I can definitely see where you're coming from. Truth is, I had next to no experience with digital art before working on this comic, so it's a huge learning experience.

Thanks!

[BarBarKetrab]

Yes please! Have no mercy!

Offshoot Petals | Tapas

[mountainwolves]

Alright, this will be greatly appreciated. Here's mine:

The Raven and The Skull

[cfstrathman]

I'd really appreciate your critique!

Lost Somewhere in Time | Tapas

[sanoan]

I aint no whiny pissbaby! Bring it on!

Neon Soul | Tapas

[jonofowkes]

Let me know what you think:

https://tapas.io/series/Akomen/

[Rocksteady_Comics]

Thank you so much for talking the time to do this. I agree that backgrounds and coloring are where I’m weakest. I think the tips you gave me will really help!

[katewindloft]

Scrapyard Castaways | Tapas

I’m excited to get some critique, please take your time and don’t feel rushed!

[simonitropunk]

Lyza's Sandstorm | Tapas

There you go, my friend! Have fun!

[Aleksei]

Well, you took my weakest area to destroy, hahaha!
Yeah, backgrounds are one of the things that I always forget and try to fix. I still wonder how to do a correct camera placement to put everyone on escene.
Another thing, if you liked lines and faces, and proportions, on chapter 15 and onward there was an update on style! Check it again if you wish later!
Thanks for your words, they where very helpful!

[Nossumy]

Eternal mist | Tapas