Good stuff, zegh. For some reason I really like that page with the jet fighters and the pilot (especially the pilot) and that last page with all the guns. You can actually tell that you like guns 'cause they've been illustrated beautifully. Some of it seems rushed, though, like the bus and the train and a car or two. Those could have used a little more TLC, but I'm sure you can see that yourself.
Could it be that you are better at drawing inanimate things than you are at drawing humans? You still haven't quite managed to put life into your characters (sorry ...). It's definitely the poses (they're called mannequin poses for a reason), but it's also a lack of understanding certain shapes (like creases and folds) which results in flat, two dimensional characters. That North-American trooper, for example. Look at his trousers. What the hell happened there? And don't tell me you don't see it yourself. If that trooper came to life, he'd shoot you for giving him mangled legs.
The thing with realism is that whenever you make a mistake, it'll really show and often ruin the whole picture. That's why I draw what I call "complex stick figures". I'm just too lazy (and too old) to study human anatomy for a couple of years. I'm brilliant when it comes to drawing realistic portraits, but anything below the chin is a fucking mystery to me. And it can stay that way too.
If I were you, I'd study animation frames for a while. Just google it and you'll know what I mean. You could also go outside and sketch real people, but I find real people to be very uncooperative when it comes to stuff like this. You should also look into the effects of foreshortening (again, just google it and you'll know what I mean). If you know how a body moves and you know how to exploit perspective by foreshortening, your characters will appear as if they want to jump off the page.
Could it be that you are better at drawing inanimate things than you are at drawing humans? You still haven't quite managed to put life into your characters (sorry ...). It's definitely the poses (they're called mannequin poses for a reason), but it's also a lack of understanding certain shapes (like creases and folds) which results in flat, two dimensional characters. That North-American trooper, for example. Look at his trousers. What the hell happened there? And don't tell me you don't see it yourself. If that trooper came to life, he'd shoot you for giving him mangled legs.
The thing with realism is that whenever you make a mistake, it'll really show and often ruin the whole picture. That's why I draw what I call "complex stick figures". I'm just too lazy (and too old) to study human anatomy for a couple of years. I'm brilliant when it comes to drawing realistic portraits, but anything below the chin is a fucking mystery to me. And it can stay that way too.
If I were you, I'd study animation frames for a while. Just google it and you'll know what I mean. You could also go outside and sketch real people, but I find real people to be very uncooperative when it comes to stuff like this. You should also look into the effects of foreshortening (again, just google it and you'll know what I mean). If you know how a body moves and you know how to exploit perspective by foreshortening, your characters will appear as if they want to jump off the page.
But it's the reason I post these sketches to begin with - proper input!