Detective Rain/Trench coat

1970 ford Torino

1967 ford custom 500

1960 DeSoto Adventurer- Sam and Max, freelance police.

Refferances for Flint and Veras Patrol car

droopy dog cameo

some reffs of vintage office chairs for Flint to sit on, needed to be big and padded and worn. it would smell of smoke and ink, and would have a hole in the back for flints tail to fit through.

Sephiroth hair style for Steel

~some links of audio

~wip pics of me deciding styles of bricks to fit the worlds cartoon aesthetic.

when designing toon towns buildings and producing them en-mass, I wanted to give them a uniqueness rather than being the boring square symmetrical housing, so I added crooks and slants, making them look wonky and unstable. However reality in toon town isn't the same, and such structures can exist to whatever extreme. The brick work and windows reflecting this style choise also, with the bricks being individually misshapen and jagged instead of factory-line copys-pastes. (fig 1-2)

From the outside, the windows and floors look as they'd be uncomfortable to live in, however upon entering the room itself the perceivable space becomes normally measured, despite outside observers seeing no change, as if by a trick of camera work or movie magic. (fig 3)

-in reference to the W4K-Y drugs In the game "we happy few" you play as Arther in a war torn england that has chosen to forget through taking a drug that keeps everyone smiling and blissfully unaware of the truths and horrors in plain sight.

In ToonTown Newyork There is this Pharmacy drug that toons take to help with their depression. Depressed toons loose thier colour, this medication revitalises thier saturation and stops them from fadeing away. However The criminal underworld have seized the drug and made a stronger more addictive variant and selling it on the black-ink market. This new drug has caused civil unrest and a power struggle between the underworld and the higherups to keep order within the toon realm.

-30 comic trailer

Bright is a cop story based in a mythical new york city setting, with fairies, orks, trolls, wizards and magic. In a similar sense that in ADCD Toon town new york is like a mythical realm in itself.

In "who framed Rodger rabbit" Marvin acme, aka the "gag king" runs Toon town and helps accommodate for the cartoon characters. Whereas in ADCD, Toon town new-york ((*Toon new york)(down town from toon town)) is a separate mirrored realm where cartoon characters live, unbound from humanity, a place where no sane man would enter.

These comparisons and references to the movies and thier settings are a basis that I use to draw inspiration, and to get an idea as to how cartoon characters would interact in such a world. Who framed Rodger rabbit is a one of a kind source of material that helps me with my particular project, in the sence that cartoon characters are my focus and how would they react to others. like in this scene with disneys "Donald duck" character Vs Warner brothers "daffy duck" character, battling on stage in a piano duo duel. The conflict between the characters and in tandem, the companies, shows the rivalry in the animation industry. I would like to show in my comic how toons treat each other with those of status, or a hierarchy.

-these are some tests for the introduction the the ADCD comic

I used these reference images to help with clothing the main characters correctly.

-Pictures from the comic "BONE" to show my investigation into panel layout and speech bubble spacing. I had read these comic before, but only recently I the bought the full series. This comic dose a very good job on displaying alot of action and visuals by making good use of small panel sizes. With lengthy dialoge I want to play around with how I can fit the bubbles in or just outside the planel on the edges, perhaps to add an effect of monologuing or forethought.

Another game that ive played is a game called elite dangerous, a space fairing game about driving spaceships, delivering cargo, shooting aliens and scouting planets. This excerpt clip inspires me and makes me project the crew into this scene. The captain trying his best to steady the freighter while the rest are readying to load up the cargo, whilst in the middle of a violent storm. under the cover of night creatures come to nab the crew members for a meal. as the crane is hooked, the ground team hold off against the nightcrawlers with mounted guns.

-Merchandise concepts and icon designs When drawing up the concepts I put together a list and visted other merchandise web stores from some of the youtubers I follow. I collected references and added ideas to the list.

-When designing the toys I needed a poster character that would catch attention, cute factor and easily recognised. scriplet fit the description. Scriplets character is what would sell to the audience. throughout the series characters would develop as they interact with each other, however I think the strongest bond would be with scriplet and his backstory. -As an Introduction to the series, the SS Icosahedron takes the centre stage. All the adventures the crew have been on, they have ventured together with the ship. when designing the icon and shirt decals I needed to first design the ship and colour it, as it was in itself a character in the series. With a head on approach I captured most of the ships imposing visage with all the guns deployed, its sleek and lengthy scale filled up the portrait and the sharp edges and corners are reminiscent that of the 20 sided die itself. I also added the boarder of a hexagon, the 2d shape that represents the D20 dice. Nuances like these to push the motive that the TV series is a dungeons and dragons inspired cartoon. And as such, the series caters to older audiences that would understand some of the DnD references to monsters and methods of play. -I experimented with icons and went with something cliché and simple. A pirate skull, which had a significant connection with the ships captain Drex, as he was an Ex-pirate turning over a new leaf. With the badge template that I made, I wanted it to resemble an authoritarian rank and high status, if it were implicated as merchandise it would be a honourable token to wear. I designed with wings, stars and banners, with royal strong primary colours, red yellow and blue.

The videogame Reblel Galaxy was a part of the inspriation for cosmos and craters, as such is the music from the soundtrack that I enjoy, and it helps me immerse myself in the world of Cosmos and Craters. Among other musics, Ive come across listening to the psychedelic and space rock genre, of the likes of Stone-rebel and BucketHead. These musics are mellow and floaty, with long epic riffs and echoey melodies. I feel as I listen to these tunes I am sitting in the ship itself, amongst the crew. someone playing the riffs on their galactuitar or have it playing over the loud speaker as the crew work. I imagine smelling the exotic stews and broths in the kitchen being readied to serve at breaktime, the cold metallic feel of the tables in the mess hall.

some of the more mellow or heavier riffs transport me along side the ship, watching it as it cuts through space, the boosters bellow plumes of ion trails and roar. the ships turrets coming online and focusing in on an unseen enemy.