[Pigking/CrazyDad] Comics

[GHITA]

View attachment 2403024View attachment 2403057View attachment 2403059View attachment 2403060Art, in its essence, is a constant search for balance between technique and emotion, and your work at Pigking has always stood out by reaching the very peak of that balance. However, it is clear that the transition to the rectangular format has imposed a high cost on the aesthetic that made you famous. My advice to you is an invitation to reflect: sometimes, expanding the horizon of the image ends up diluting the soul of what is being portrayed. The square format (1:1) was not just a technical choice; it was the frame that forced perfection.

In Daz3D, the square format is the natural habitat of hyper-realism. It mandated the use of tight focal lengths which, by nature, eliminate distortions and treat the human face with the nobility of a classic portrait. By adopting the rectangle, you gained scenery but lost the pixel density that made the skin, the gaze, and the expressions of the characters feel almost palpable, almost photographic. The audience misses that overwhelming presence—that surgical sharpness that only a total focus on the character can deliver.

Do not view the return to the 1:1 format as a step backward, but as a reclamation of your own identity. If the Pigking trademark is stunning beauty and unreachable technical quality, the square is the stage where that talent shines without distractions. In the rectangle, the render engine divides its power between the character, the walls, the floor, and the furniture; in the square, every ray of light calculated by Iray is dedicated to sculpting perfection into the model. It is an economy of resources that translates into an immeasurable artistic gain.

Therefore, my personal advice is: close the zoom once again. Reclaim the intimacy that the square format provides. Let the scenery be merely an implied detail and bring the character back to the center of everything, with all the wealth of detail that the public has come to love. If the world asks for wide screens, give them instead the depth of a portrait that needs no extra space to be grand. The true evolution of an artist is not in changing formats, but in mastering the one where their voice is clearest and most powerful.

I actually like the rectangular format, hihihihihi, I find it more modern (a bit like in the cinema).

 

[Jhony Cash (Trader)]

2 MB file on MEGA

mega.nz

 

[Jhony Cash (Trader)]

5.25 MB file on MEGA

mega.nz

 

[Jhony Cash (Trader)]

I actually like the rectangular format, hihihihihi, I find it more modern (a bit like in the cinema).

I totally get why you like the landscape format; it gives that cinematic wide-angle look that’s really cool!

But looking at it from both a technical and artistic perspective, Pigking and Teddy are facing some serious rendering challenges with this new model. The truth is, the quality has dropped by more than 50% since the change. In the rectangular format, the renderer gets "lost" trying to calculate the entire side scenery, and that ends up stealing the sharpness and that perfect lighting the characters used to have.

The best stories and the most iconic moments were all made in the 1:1 square format. Do you know why? Because the square forces a total focus on the character. The scenery is still there, but it serves as a frame for the model's beauty, rather than a distraction that eats up all the render memory.

Going back to 1:1 isn't about giving up the scenery; it's about giving Pigking back the ability to deliver that insane photographic quality we loved, which unfortunately is "melting away" in the rectangular format. In the end, we all want to see the character shining with 100% clarity, right?

What do you think? Is it worth sacrificing so much technical quality just for a wider screen?

 

[Rian]

I'm probably being a bit harsh, and my comments aren't an attack on anyone in particular, just an expression of genuine disappointment.

So I'm drawing the necessary conclusions, with some regret.

I can understand.

 

[Jhony Cash (Trader)]

4.28 MB file on MEGA

mega.nz

 

[GHITA]

Even though, for reasons I've already explained, I've decided not to renew my PK subscription, I remain a big fan of @Juanito Brown Oficial 's work. I think he's done a great job reviving the publications he's responsible for, always striving to improve. I'll just offer two minor criticisms, since my opinion no longer matters.

- The dolphin idea is a failed attempt already made with Skylar (Flipper the dolphin is undoubtedly the worst mammal choice on the planet, the most childish and improbable).

- The sensations of pleasure or expression were represented by red and yellow, symbols of intensity, and replaced by an icy white. This obviously detracts from the visual experience.

This isn't JB's choice, but also Teddy's. It's almost pathetic of PK to always want to change what works and replace it with something worse.

I wish @Juanito Brown Oficial all the best.

 

[GHITA]

View attachment 2403024View attachment 2403057View attachment 2403059View attachment 2403060Art, in its essence, is a constant search for balance between technique and emotion, and your work at Pigking has always stood out by reaching the very peak of that balance. However, it is clear that the transition to the rectangular format has imposed a high cost on the aesthetic that made you famous. My advice to you is an invitation to reflect: sometimes, expanding the horizon of the image ends up diluting the soul of what is being portrayed. The square format (1:1) was not just a technical choice; it was the frame that forced perfection.

In Daz3D, the square format is the natural habitat of hyper-realism. It mandated the use of tight focal lengths which, by nature, eliminate distortions and treat the human face with the nobility of a classic portrait. By adopting the rectangle, you gained scenery but lost the pixel density that made the skin, the gaze, and the expressions of the characters feel almost palpable, almost photographic. The audience misses that overwhelming presence—that surgical sharpness that only a total focus on the character can deliver.

Do not view the return to the 1:1 format as a step backward, but as a reclamation of your own identity. If the Pigking trademark is stunning beauty and unreachable technical quality, the square is the stage where that talent shines without distractions. In the rectangle, the render engine divides its power between the character, the walls, the floor, and the furniture; in the square, every ray of light calculated by Iray is dedicated to sculpting perfection into the model. It is an economy of resources that translates into an immeasurable artistic gain.

Therefore, my personal advice is: close the zoom once again. Reclaim the intimacy that the square format provides. Let the scenery be merely an implied detail and bring the character back to the center of everything, with all the wealth of detail that the public has come to love. If the world asks for wide screens, give them instead the depth of a portrait that needs no extra space to be grand. The true evolution of an artist is not in changing formats, but in mastering the one where their voice is clearest and most powerful.

I don't have your technical or artistic knowledge. So my opinion doesn't count; I'm just saying what I feel as a regular reader.

 

[Jhony Cash (Trader)]

Even though, for reasons I've already explained, I've decided not to renew my PK subscription, I remain a big fan of @Juanito Brown Oficial 's work. I think he's done a great job reviving the publications he's responsible for, always striving to improve. I'll just offer two minor criticisms, since my opinion no longer matters.

- The dolphin idea is a failed attempt already made with Skylar (Flipper the dolphin is undoubtedly the worst mammal choice on the planet, the most childish and improbable).

- The sensations of pleasure or expression were represented by red and yellow, symbols of intensity, and replaced by an icy white. This obviously detracts from the visual experience.

This isn't JB's choice, but also Teddy's. It's almost pathetic of PK to always want to change what works and replace it with something worse.

I wish @Juanito Brown Oficial all the best.

View attachment 2403953

"I completely agree with your assessment. It’s frustrating to see a formula that worked so perfectly being replaced by choices that feel like a step backward. The shift from the intense, warm tones of red and yellow to an 'icy white' is a perfect example of how the visual soul is being drained.

This is exactly why I believe PigKing needs to go back to its roots and return to the 1:1 square format. While JB and Teddy are trying to innovate with wider landscapes and new themes like the dolphin—which, let's be honest, feels completely out of place and childish—they are sacrificing the one thing that made them elite: aesthetic perfection.

In the 1:1 format, the rendering quality was easily 50% better. We need that 'Old Cinthya' back—the one with those piercing blue eyes and flawless skin texture. We need Dr. Bradie with her perfect tanned skin, bikini lines, and those striking blue eyes rendered with surgical precision.

In the square format, every pixel was dedicated to the character’s beauty. The current rectangular format 'melts' these details away. Returning to 1:1 isn't just about nostalgia; it’s the only way to recover the impeccable skin textures and beautifully constructed scenes that made PigKing a reference in the first place. Quality should always come before 'scale'

 

[GHITA]

Just for fun, I wanted to test the PK Chatbot (which, unsurprisingly, has become bad since it was "updated") and the displayed response was :

- you do not have access to this feature...

maybe if I pay for a 2nd subscription I will be able to access it, in your opinion ?

 

[Rian]

Just for fun, I wanted to test the PK Chatbot (which, unsurprisingly, has become bad since it was "updated") and the displayed response was :

- you do not have access to this feature...

maybe if I pay for a 2nd subscription I will be able to access it, in your opinion ?

Not worth it.

 

[The_Nonce]

Guys, I can't see SHIT!

Why do the artists insist on making pitch black images?! It's not realistic and it's not enjoyable.

 

[GHITA]

It's true that some of the images are a bit too dark at times... but beyond that, the plot and the suspense are superb; I think Teddy reaches new heights. Johnson almost becomes a movie character, the ultimate villain, ruthless, with no regard for the risks he puts his daughter through; he has no limits when it comes to becoming even richer. Indirectly, Cynthia is his victim, and it's really like a movie.

 

[TeddyPigking]

It's true that some of the images are a bit too dark at times... but beyond that, the plot and the suspense are superb; I think Teddy reaches new heights. Johnson almost becomes a movie character, the ultimate villain, ruthless, with no regard for the risks he puts his daughter through; he has no limits when it comes to becoming even richer. Indirectly, Cynthia is his victim, and it's really like a movie.

View attachment 2406372

Thanks, man, that’s exactly what I wanted to convey. As for the lighting, let me explain: that forest had a lot of glare, and I almost redid the scene, but if I had done that, I wouldn’t have been able to bring you an extended version of this story. When I put in direct lighting, it looked way too harsh—maybe there was some issue with the file, I don’t know—but I only managed to fix it at the very end, so I decided to do that only in the next episode. But basically, that’s it. And can someone teach me how to access the messages? Hahahaha, they disappear from the direct messages, hahaha.

 

[GHITA]

Thanks, man, that’s exactly what I wanted to convey. As for the lighting, let me explain: that forest had a lot of glare, and I almost redid the scene, but if I had done that, I wouldn’t have been able to bring you an extended version of this story. When I put in direct lighting, it looked way too harsh—maybe there was some issue with the file, I don’t know—but I only managed to fix it at the very end, so I decided to do that only in the next episode. But basically, that’s it. And can someone teach me how to access the messages? Hahahaha, they disappear from the direct messages, hahaha.

You really want me to be a man, apparently as you wish

 

[The_Nonce]

Thanks, man, that’s exactly what I wanted to convey. As for the lighting, let me explain: that forest had a lot of glare, and I almost redid the scene, but if I had done that, I wouldn’t have been able to bring you an extended version of this story. When I put in direct lighting, it looked way too harsh—maybe there was some issue with the file, I don’t know—but I only managed to fix it at the very end, so I decided to do that only in the next episode. But basically, that’s it. And can someone teach me how to access the messages? Hahahaha, they disappear from the direct messages, hahaha.

I respect your knowledge of these programs. To me, they're a foreign language.

I would just like to understand why these "modern" nighttime scenes can't look like the old style. Does the software/program you use not allow for this type of filter? Couldn't you talk with CrazyDad3D about it? These older images still convey that it's nighttime by the blue tint, but we can still see every bit of detail.

The same goes for scenes with sunsets. You can see here that the sky has that orange tinge that lets us know the sun is setting, but we can still see everything. This what the most recent scenes should’ve looked like.

 

[TeddyPigking]

I respect your knowledge of these programs. To me, they're a foreign language.

I would just like to understand why these "modern" nighttime scenes can't look like the old style. Does the software/program you use not allow for this type of filter? Couldn't you talk with CrazyDad3D about it? These older images still convey that it's nighttime by the blue tint, but we can still see every bit of detail.


View attachment 2406412

The same goes for scenes with sunsets. You can see here that the sky has that orange tinge that lets us know the sun is setting, but we can still see everything. This what the most recent scenes should’ve looked like.

View attachment 2406465

I totally get it. I’ve already set up some night lighting—for the older scenes, I’ve run a few realism tests, and they actually turned out pretty good. You also have to consider post-processing enhancements so that the final image doesn’t change too much. We had a annoying issue with that, but I think we’ll be implementing these improved night scenes soon. I’ll post something here so we can see if it turned out well.

 

[TeddyPigking]

A lighting test in the morning. It might not look good in some scenes, but in some stories it could turn out cool.

 

[The_Nonce]

A lighting test in the morning. It might not look good in some scenes, but in some stories it could turn out cool.View attachment 2406588

This looks amazing! Kinda makes me wish for remakes of the first 10 chapters of Lost Family with this type of lighting. It would definitely sell the remote island vibe better than it initially did. Great job!

 

[Jhony Cash (Trader)]

I respect your knowledge of these programs. To me, they're a foreign language.

I would just like to understand why these "modern" nighttime scenes can't look like the old style. Does the software/program you use not allow for this type of filter? Couldn't you talk with CrazyDad3D about it? These older images still convey that it's nighttime by the blue tint, but we can still see every bit of detail.


View attachment 2406412

The same goes for scenes with sunsets. You can see here that the sky has that orange tinge that lets us know the sun is setting, but we can still see everything. This what the most recent scenes should’ve looked like.

View attachment 2406465

This comparison you posted says it all. The difference isn't just a filter or a color choice; it's the lighting density. In the 1:1 square format, because the camera is closer and more focused, Daz3D/Iray can calculate every reflection on the skin and eyes with precision, even in night scenes. That 'old blue' tint conveyed the feeling of night without sacrificing visibility.

The problem with the 'modern' scenes in the rectangular format of Lost Family is that by widening the image, the light disperses. The renderer tries to light the entire environment and ends up 'drowning out' the character details in the darkness. The result is a washed-out scene where you can barely see anything.

It’s not that the software doesn’t allow for quality; it’s that the rectangular format demands much more from the program to deliver the same sharpness, and the current output is losing 50% of its original quality. Going back to 1:1 isn't a step backward—it’s about bringing back the light and detail that made Cinthya and Dr. Bradie look flawless. The focus should be on beauty, not screen size.