Jul 2
it's hot outside
seen from Germany
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seen from Saudi Arabia
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seen from United States
seen from Saudi Arabia
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seen from United Arab Emirates
seen from Saudi Arabia
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it's hot outside
tell me "don't" so i can crawl back in.
(redraw of this)
Ouuuuu giving this to cartoon network/ Warner bros was the BIGGEST mistake possible, keep in mind that this was posted on August 20th of THIS YEAR! yeah infinity train has definitely not been forgotten about or dissapeared not in the SLIGHTEST! Bruh we need this to come back like no tomorrow it's been 6 YEARS already and the fact that Warner bros or CN is actively trying to erase this show from existence is just INSANE to me, because it's just like why this one out ALL shows it doesn't make sense >_< I swear Owen Dennis's talents are being WASTED on this Among us show rn, like he does not deserve this one bit #KeepInfinityTrainAlive
ryan from months ago that i’m never gonna finish but you guys deserve a ryan. thank you
More infinity train…
I never paint digitally so I tried. Not a masterpiece but I’m pretty happy
Waiter waiter more Rymin please its been 4 years!!
Finally posting my comic for @ryminzine! I love Infinity Train, and Book 4 struck a chord with me in particular as an second gen asian-american who wanted to be a creative, so I tried to channel those mixed feelings into this piece.
[Image description: Comic of Ryan and Min-Gi from "Infinity Train" titled, "The Parked Car." Alt Text is provided and copied below the cut. End ID]
This is definitely a Cornplate Moment™ but I've always been impressed with the composition and choice of artworks for both Min and Ryan's respective rooms in the Art Gallery Car.
Particularly I like that the paintings on Min's end are all comprehensive and fairly easy to decipher, mostly consisting of animals in formal human attire. These works have always evoked the feeling of forced conformity to me, putting a wild and uninhibited animal in constrictive societal roles. It's akin to Min's more honest, unconventional desires being suppressed into the performance of a proper, traditionally respectable lifestyle. Dressing up something that should be free and untamed, conditioning it to behave in a way that society sees fit, something palatable.
It is kind of awkward interpreting the paintings in this way when the train proves that proper talking animals do in fact exist, but from the average passenger's perspective it'd still be absurd and unnatural. It would still evoke a feeling of wrongness. Familiar, but wrong. Perhaps Min resonates with an animal made to dress up as something he isn't, trained to behave and follow orders. To be grateful for the fact that he is provided a comfortable life and not out scrounging for scraps. Or maybe the paintings make him envious of a maturity and put-togetherness which comes easily to these animals while he has to perform it.
The paintings in the room that aren't of animals are still somewhat familiar, and most importantly they have evident structure. The painting of a house quite literally depicts a structure (a picturesque home, sturdy, stable, even lead to by a clear path and secured with a fence). Something like a future Min might've been encouraged to achieve, to settle down for. The room is full of pillars, emphasizing the need for stability. The abstract paintings are kept to a minimum and even the ones present aren't too unorthodox, they're simply warped and rearranged shapes. And of course, the painting of Humpty Dumpty himself peering down at Min, above him, high up on the wall, it's just the cherry on top of everything.
In this scene, the Docent's shadow hands emerge from the painting of (what I believe are) smartly dressed birds reading on a bench. This is also the very painting that Min-Gi is looking at when the Docent really starts to Get him. I might be reaching too hard for this one, but the posture, appearance and expressions of the male bird reminds me a bit of Min-Gi's father. Specifically when he was reading during their childhood performance scene, which would have been a core memory for Min-Gi in regards to his desire for approval.
Ryan's room, in contrast, is painted in dark red. In Min's room, the cool color of the walls and the lighting on the paintings illuminate them in a way that makes them look ideal. Quite literally presenting them in a positive light, something he should admire. But their presence in Ryan's room, coupled with the red walls, set the room alight in a way that seems destructive and angry. From afar, the paintings almost look like lit flames, as if the room were catching fire.
Notably, Ryan's room is filled with abstract paintings, outnumbering the realism. Similar to how Ryan tries overwhelm reality with his dreams and ideals. While Min's landscape painting focused on a solid structure, Ryan's is of wide, open fields. Freeing, yet desolate at the same time. Freedom without stability, without sustenance. His abstract paintings portray free-flowing strokes and shapes arranged almost nonsensically. There is not much easy to comprehend here in the usual sense. They don't portray usual or worldly figures, instead opting to invoke emotion, to invite personal interpretation. It speaks a lot to Ryan's expression, creativity, and of his tactile quality as a person. It's significant that many of Ryan's paintings imply movement, flowing strokes, dripping and shifting color, while the paintings in Min-Gi's room are all poised and strictly posed. Ryan moves, Min stays still.
The unique part of Ryan's room is the presence of figures and delicate objects on display, which give the room a somewhat cluttered feel. Especially considering Ryan's tendency to physically lash out when frustrated, it reads as though he's a bull in a china shop, further aggravated by the red surrounding him. Unable to restrain his recklessness and constantly at risk of making messes, or shattering things that took time to shape, such as a vase or Min's carefully curated future.
And of course, the most eye-catching figure of the room is the snake statue, protectively curled around a sphere and baring teeth. The snake seems as though it is defensive, lashing out in anger the same way Ryan does. Something evoking the image of biting and spitting venom, which is very appropriate for the words exchanged this episode. It's particularly interesting that the snake is protective over this sphere, as though something were trying to take it away. Perhaps akin to how the dream of music is all Ryan has at this point, and is something that he feels he has to keep fighting for. Maybe also the defensiveness of being told that he cannot achieve it, constricting tighter around it the more people try to make him slow or calm down. He refuses to let it go.
As a final note, it looks as though the snake is about to eat Ryan in this shot. Could be a metaphor for how his destructive tendencies might eventually consume him.