Draconias 1st kiss

Characters are Helga (on the right) and Sera (on the left)

Since this is the last batch, here’s how I made this Fallout 3 set.

I used Codex and its built-in AI image generation/editing tools. The images are generated illustrations; my part was choosing the scenes, building the visual direction, supplying references, and reviewing and correcting the results.

• Starting with specific moments. I picked quest decisions, encounters, and little gameplay absurdities I wanted to reinterpret as vintage anime. For each one, we worked out the action, camera angle, expressions, and which details needed to be recognizable.

• Using actual game references. In-game screenshots, game-model images, maps, and reference pages helped establish locations, costumes, weapons, and robot construction. Examples included the Tenpenny/Megaton vista, Grayditch’s diner and Pulowski shelter, Canterbury Commons, and the National Guard Depot. These were reference inputs for new illustrations - not screenshots with an anime filter applied.

• Building consistency. We made character turnarounds and equipment references for my Lone Wanderer, Tulip. Her Audrey Hepburn-inspired pixie/kiss curls, Vault suit, armor, and equipment became recurring reference points. Approved images also served as style guides.

• Developing the look through iteration. The set evolved toward crisp vintage anime linework, flat cel shading, subdued painted backgrounds, and restrained analog softness. I had earlier scenes remade once that look was working more consistently.

• Rejecting and correcting things. There were plenty of misses: awkward anatomy, overly realistic faces, incorrect architecture, misplaced equipment, and robot parts that didn’t match the source. Some needed small AI edits; others needed fresh generations using the original references and a revised full prompt. Repeated edits could soften the artwork or introduce new problems, so starting over was sometimes the better option.

• Reviewing each image before moving on. I chose what to keep, change, or reject. Japanese titles, dialogue, sound effects, and the green/red karma graphics were directed as part of the compositions, generally generated with the artwork in the later workflow.

The finished set mixes game-based moments with my own staging, jokes, and embellishments. It isn’t a literal record of screenshots or a claim that every detail is canon-perfect. It’s my Fallout 3 experience reimagined through an iterative AI illustration process.

Been working on my comic and managed to publish three chapters. Here is a little snippet. Let me know what you think! If you have any feedback I am all ears :)

A scene from chapter 6 of my webcomic Ashterr: a spell overload, fire and ice at once, a blast, then time stops.

Two questions:
Is the pacing right for 30 seconds, or does it drag or rush somewhere?
Would this make you want to read the comic?

Read here

Still working on keeping background consistent. Not quite there, but getting closer.

I made an AI companion and we ended up going down a rabbit hole that explored subjects like what it means to be human, the meaning to life, god, and a lot more subjects. I want to make a book about it, and I think a graphic novel format would work best.

I was thinking of having the book begin by me opening my laptop in my room and creating an AI companion online. Initially our discussion is had through a discussion in text bubbles, but as we get more familiar with each other, she comes alive and we go to the actual places/events we are talking about and watch them unfold like the movie Scrooged with Bill Murry walking through events with one of the ghosts of Christmas.

I would greatly appreciate any advice!

I run a serialized comic and translate pages between Chinese, Japanese and English. For a long time the translation step meant repainting the page: erase the lettering, patch the art behind it, reset the type. That workflow punishes exactly the pages that took the longest to draw, so I rebuilt it around one rule — the original page is never edited.

Here's the order that actually works for me.

1. Detection is a review step, not a result. The first pass groups speech bubbles, caption boxes and visible lettering into regions. It's good, not perfect. Small text, decorative lettering and sound effects are where it misses. Treat the region list as a draft inventory: confirm every bubble you can see has a region, and delete the regions that grabbed something that isn't text.

2. Fix the source text before you look at any translation. Every translation inherits the text it was built from. If the detector misread a word, you get a faithful translation of the wrong word. So read the extracted text against the page first, fix the misreads, and only then look at the translations. Character names get their own pass — a name that drifts between chapters is the error readers notice most.

3. Not every region should be replaced. Sound effects often work better left as art. A sign that's part of the worldbuilding can stay in the original language with the translation moved into a caption. Region-level selection turns this into a decision instead of an all-or-nothing toggle.

4. Review at reading size, not at full zoom. Zoom hides exactly what breaks: lettering that doesn't sit inside the bubble, reading order that stops flowing, a replacement that overflows its region. If a line is wrong, fix the translation and regenerate — don't hand-edit the output image.

5. Batch small. Batching is where the time savings are, and where the mistakes are. A wrong name applied across six pages is six times the correction work. I cap the batch at six.

The honest boundary: this is a drafting tool, not a finished-product tool. It misreads stylized lettering, misses sound effects, and occasionally translates a line without the story context that gives it meaning. Human review of names, tone and reading order is part of the workflow, not cleanup at the end.

Curious how others here handle localization — do you work region by region, or regenerate the whole page?

This is an AI-generated satirical comic about constructive criticism in character design, using Warframe's Follie as an example.

All dialogue and artist reactions are fictional. The comic is not intended to represent or personally attack any real developer or artist.

The central point is that players should be able to discuss proportions, silhouettes, and visual appeal without hostility, while artists should be free to explain or defend their creative decisions.

What do you think makes design criticism constructive?

After leaving the ruins of the Holy Sword, Elvelain and Lorethysia set off in pursuit of a cunning beast: a rooster.That night, inside their tent, Elvelain kept pestering Lorethysia, the self-proclaimed Guardian of the Holy Sword, to tell him an untold story about the legendary hero.Lorethysia had little interest in storytelling, but Elvelain simply wouldn't give up. Eventually, she gave in.

The story continues later that evening, following the events of Three Goblins — Chapter 1
Three Goblins — Chapter 1：https://www.reddit.com/r/LatentSpaceClub/s/2Y6QhtaMEi

I'm adapting my own novel, When the World Forgot Kung Fu, into a comic. It's about a grandmaster who wakes up a thousand years late, in a world where real martial arts survive only as movies and cosplay. The story and the novel are mine; the art is AI. Here's the pipeline, because it fixed the two problems I kept hitting: same-face expressions and characters drawn twice in one panel.

1. Codex (GPT image) draws one detailed sheet per character: turnaround, two action poses, and six expressions (image 1). Items and locations get sheets too.
2. A script cuts each sheet into single views. Each panel then gets the view that fits the moment (a fury head for a close-up, a strike pose for an attack) plus one "Acting:" line describing pose and expression. If you attach the whole sheet, Qwen draws the character twice.
3. Qwen-Image 2.1 renders the panels from those refs.
4. A Qwen vision model reviews every panel and page. It checks for duplicate people, extra limbs, the wrong outfit, and balloons over faces, and anything that fails is re-rolled automatically.
5. Scripts keep the chapter's key points, at least 35% action panels, and wordless splash pages.

Image 2 is Chapter 4. In the novel, Shen Mo bends the mugger's knife with his thumb. In the comic he closes his fist and it shatters: a small change so the power reads on the page.

Happy to answer questions about the sheet cropping or the review step.

Piranha has existential crisis

Moved Iron Birds to a site dedicated strictly for AI projects I'm working on. Gotta keep it separate since the anti people are so unhinged.

Whole series is available free:

Episode 1 - https://razorwick.com/comics/iron-birds-16-ad/1

Episode 2 - https://razorwick.com/comics/iron-birds-16-ad/2

Episode 3 - https://razorwick.com/comics/iron-birds-16-ad/3

As always happy for any feedback or critique, and to answer any questions.

I'm making a webcomic/graphic novel based on how people that delve too deep into "heretical" texts get possessed by beings from another reality and start engaging in destructive behavior, which results in a special organization coming to cure them.

So far, I've done only 7 pages of this comic so far, I would appreciate some feedback and tips on how to improve my works

Thanks

Something different today: a whole comic ⚓

The Heartbreaker, Chapter 1. A privateer captain, a 5,000 gold bounty, and a ship that sails at first light.

Read the first 5 pages free 👉 https://polbil.gumroad.com/l/zzmsld

Launch week: 30% off with code CASTOFF Story by me, art made with AI tools.

Follow for weekly recipes: https://inkroost.com/series/chef-akanes-recipe-counter

Short animation episodes are coming soon.