The Outliers, are admittedly the most abstract and strangest category.
They are the rebels, neither conforming to the classic pulpy aesthetic or the alien 78 look, but freely lifting from either when fancy strikes them.
To look at this category we must tackle various case studies.
3 in fact,
2 used,
1 unused.
The TV show Krypton sought to give us Krypton as it was, several generations before Kal-El’s exodus.
When it was real, tangible and rough.
A place you could visit in the cosmos.
Thus the art direction leaned towards a world that you while culturally different to our own, was believable.
With issues that plague it and catastrophes to weather.
Like a certain roaming robot…
But it has given us the most grounded approach to the Kryptonian people, as people, that we’ve seen in many years.
Seeing them perhaps in times of turmoil, but very much alive.
Their culture healthy, thriving and intact.
Meanwhile,
On the Krypton of the Man of Steel we see a far more organic approach to the lost homeworld.
The buildings flow in a way that makes their construction appear to be growth. Very coral like.
Their technology and architecture have this balance of the ornate and organic.
A regal approach to cartilage and bone like structures.
There are elements of Geiger’s work with the Space Jockey in Alien, but taken to a more mechanical and artificial extreme.
More over the dress and garb mimic this ornate but organic motif.
The woman depicted above is a member of the Science Council, a scientist, yet her garb indicates a kind of royalty and grace (which is not inaccurate to how Krypton treats their science class).
But compared to the comparatively modestly dressed Jor-El, they seem almost monolithic atop their thrones.
Now, we make our way to our final case study.
The impetus for this stream of consciousness,
Chris Foss’ sketches done for the 1978 movie.
Despite it being, chronologically one of the older variations of Krypton, it shares a great deal with the more modern attempts at it.
Depicting a practical, albeit advanced, species mid-exodus.
These are scenes of apocalypse.
And its captivating.
Moving and full of movement. It also tailors the various pillars together.
Foss’ tendency with his spaceships is very pulpy, with a more sensible and tactile style than the classical rocket ships.
But also, the crystals, forests of them are included proudly alongside the smooth organic shapes creating a beautiful contrast.
Whilst we’re not given the interior nor wardrobe of this version of Krypton, you can’t help but imagine the possibility these scenes present.
Perhaps something more practical than we’re used to seeing?
Something with those crystals incorporated through it?
Something more regal?
How do the cloaks and capes fit in, or the sigils of the Great Houses?
Its because of these that I so excitedly search out experimentations of artists and production information from movies and TV.
One man’s trash and all, and the scrapped concepts from one project can illuminate potential in another.
As always,
Thank you for reading, and please, tell me what you think of the art.