Subatomic iconographer8/7/2023 ![]() “I started from the design of the smaller spaceships, but I made it bigger like a flying fortress. ![]() “The command had to be aggressive too,” continued Schiti. They should appear very quick and lethal.” They also should be dangerous and aggressive, so the spaceships are triangular, with long wings pointing ahead. It is pretty clear in the additions I made on Hulkling’s classic uniform now he should look more like a mix between a Roman emperor and a space version of Alexander the Great. Some of that influence was already there, mostly in the Kree Empire, so it felt natural to highlight those traits. I took inspiration from both the Roman Empire and the ancient Greeks. “This is a new intergalactic empire, two great warrior civilizations united. ![]() “This is the first time we see the new Kree/Skrull alliance, so we need a new design for almost everything,” said Schiti. Of course I also studied the pages of some recent Marvel events, like Stuart Immonen’s FEAR ITSELF, Olivier Coipel’s SIEGE, HOUSE OF X, Steve McNiven’s CIVIL WAR and they all have great answers to the question ‘Okay, how will l survive this page today?’”Īdditionally, Schiti found that history was also rich with inspiration for the costume designs in this series. “Maybe the style influence is not evident, but I had to read these stories again even just to understand how to handle the characters. “My main inspiration for the general mood of the saga are the Fantastic Four stories by John Byrne, John Buscema’s Avengers, and a lot of Alan Davis’ comics for the group scenes,” said Schiti. Schiti also shared a few Marvel classics that inspired his work on this series. The Cotati are more than just plants, they are a society.” “That was a great idea, because the indigenous American iconography brings immediately to mind, architecture, religion, hierarchies and the complexity of a real culture. “While I was talking about this with my wife, she suggested that I draw inspiration from the pre-Columbian civilizations,” admitted Schiti. Once the Cotati were just naked plants, but we needed them to be more evolved, so I thought to give them armor, weapons, dresses, and objects to show clearly how they changed and to give them different roles and personalities.”Īccording to Schiti, his wife also played a role in his depiction of the Cotati. “So I also thought it was interesting to use this body diversity to leave them the opportunity to have fun and invent their own Cotati: strong, tall, short, green, red, males, females… everything was possible, I just gave them a starting point. “There are a lot of great artists involved in the EMPYRE saga,” continued Schiti. I started from their original form, but I imagined an evolution, a ‘growth,’ as if they changed to adapt their bodies to different functions and survive in the universe. So when we decided to bring them back it seemed important to update them to show how they changed their civilization since the last time we saw them. “Once they were a key element in the Celestial Madonna Saga and in the Kree/Skrull War. “The Cotati have been around for a very long time,” related Schiti. It was fun to finally unleash my creativity.”Īs readers of the first issue already know, the Cotati play a huge role in EMPYRE, and Schiti relished the opportunity to create new plant-based life forms for the series. In particular, I’ve had a few ideas about how to draw Susan and Reed for a long time. , I never had the chance to work with the whole family. “I drew the Thing in GUARDIANS OF THE GALAXY (2015) and a few years ago I worked on MARVEL TWO-IN-ONE, so I had the opportunity to draw both the Thing and the Human Torch. “The Fantastic Four are one of my favorite teams, so I was very happy to draw them,” said Schiti.
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