"Why do you choose to draw random people?"

She is a random woman, for you.

She is a friend, for me.

Admittedly, one that takes solace in me not
buying a plane ticket to Japan any soon...
But I will, some day, Miyu-chan.
Muahahahahahahahahahaha!

Recently, I stumbled upon this question:

I wanted to ask. why do you choose to draw random people in your pics and not characters from films?

Short answer: 

Because I see no difference between abusing of my power as an author to rape a character or forcing it into acting in a way inconsistent with his psychology, and abusing my physical power as a male to rape a real woman or my eventual economic power/social clout to force one to acquiesce to my desires against her better self. 

I am a sexual sadist of the SSC/RACK BDSM tribe, not a rapist nor a bully.

Even shorter answer: I seldom if ever encountered a movie [female... they tell me there are plenty of guys in those things, too, but I forget them] character that I could imagine as a willing companion in my sex-capades. 

The random people in my drawings are just "actors" engaged in giving life to characters of my own, that do enjoy being part of my shows (or loudly complaining about their part, when their parts require it). Characters from existing material come with their baggage.

Now, to continue in a bit more extended form:

Some of the "random" people I use are actually friends. Some, real-life friends too - not just on-line acquaintances.

Needless to say, with them girls lies a more or less near possibility of some kind of encounter (OK, in a couple of case, the drawing was in effect done to "celebrate" a successful carnal intercourse).

I see these as "imaginary portraits" - << we both know, woman, that you won't be able to play this way [except for Jade, who usually does things like getting nailed to a plank by her nipples via a hammer and long steel nails] without risking a visit to the ER [which should lead to your partner being automatically arrested, given the fact that the local "Ley de violencia de genero" mandates medical personnel to notify the police any woman's lesion that is the likely product of abuse, and the police to stop and hold for at least 24h the suspected abuser], yet we both know that a corner of your soul would feel much better afterwards>>.

"Porn for human progress" - in a way.

And, by the way, one of my drawings did indeed manage to convince the GF of one of my model to do her dommely duty and spank the poor girl to her heart's content (it was just a couple of years that the poor woman asked her black lady to turn her buttocks violet, to no avail).

Not bad for a couple of hours of a middle aged, overweight white male wank.

Now, onto characters from films.

Why should I use them at all?

Because some professionally made comics do use actors as a base for their characters? Because plenty of hobbyist use them in their own wanks?

The main reasons why they are used as reference in professional comics are these:

The amount of material available about actors/actresses and movie characters make very easy to assemble an extensive database of movements and actions, which in turns makes much easier to "keep to the model" while drawing comics.

Secondarily, using a cast of actors may prompt some studio to buy the rights to the story (maybe just to block another studio from making it into a movie... studios routinely buy rights to about 10 times the amount of stories that they produce - it may seem costly, but the rights to the average comics are about the cost of a couple of script rewrites).

Now, the first is moot for me as I do almost exclusively single shot drawings... I do not need 124 iterations of the face of a character/actress to handle a story.

I just need one image that intrigues me.

The second is moot, because nobody wants to see picket holding forks and torches at the front gate of their studio - I see pretty hard that they will ever, ever approach me, even if I was to become famous in the "mainstream world".

As for the reason "hobbyist" often opt for characters out of movies it is simple:

The public has already been primed and educated about the character's psychology and habits by the marketing machinery of the studios, so using their likenesses makes for a narrative short-cut.

You do not have to describe your character to the public, or leave hints - just make it recognizable, and the public will know life, loves and deaths of it. In essence, they are "stealing" the PR work already don from the studios (and yet, somehow contributing).

Now, this is as much a liability as it is an asset.  

In most cases female characters in movies are not really inclined to voluntarily be in scenes like the ones that I draw, if their canon psychology is any respected  - simply because the masochist, willing slave woman makes the skin of far too many activists crawl - and yet I do not really care about non-consensual scenes - rape the hell out of character X in your stories, if you want, I am not that interested.

As a result, even if I were to use characters from movies, I would end with having some character of my invention that only shares the name, some background elements and the actress face with the movie one...

But I would also have to explicitly explain WHY he/she/it acts in a way that violates the original characterization, to make matters worse to a public that likely knows he/it/her better than me - which is possible but takes some effort and likely more than a few words of text.

At that point, a "clean" character has no notoriety of its own, but it also comes free of ties to an existing continuity or faithfuls to its lore - I don't even need to write "she likes to pin needles in her tits because she has become masochist to the bones after accident [z]" somewhere, it's enough for my lady-of-the-drawing to smile like in the pre-throbs of an orgasm for everybody to see it. I rather show and don't tell.

I feel I can use already existing characters when I think that in some way I would still respect their personality, and yet my creation was not a superfluous addendum to the original opera.

So, while I could draw the protagonist of Secretary - she indeed loves being dominated - it would feel a bit redundant, as the film was very good.

However, when conditions are met, I have no qualms using characters from existing mythologies... in fact, there is somewhere an "homage" of mines with Shadowcat fighting and losing an "ultimate surrender" fight with Mystique, under the eyes of Wolverine and Storm.

I felt no problem in doing it because both Chris Claremont (writer) and John Byrne (artist) were into slipping (well hidden, but not too much) BDSM themes into the stories when she appeared, in the '80s-90s (and they had her land in chains/collars/cuffs every time she did not started a relationship with an older man, old hag of 14 that she was - BDSM was not the only odd thing that got off those two authors, I think).

And I also have done a couple of Calvin, Hobbes and Susy Derkins playing in their adult age - simply because I  felt and  still, to date, feel that Calvin-Susy was a nice  S&M love relationship in the making. And if it is what would keep Calvin from becoming Tyler Durden, so be it! 

I could draw Motoko Kusanagi domming the crap out of a bunch of cyberpunk sex-slaves (something that she more or less does in the Manga - she moonlights in her own porn studio! A shout-out of Masamune Shirow to himself, as he too moonlighted drawing erotic stuff), but I feel ill at ease when I  am asked to make HER into a slave.

It makes no sense with the original characterization.

(For those not into anime or manga, Motoko Kusanagi is the female-shaped cyborg commanding the Squad 9 in the "Ghost in the Shell" franchise, and while prone to existentialist meditations in her low moods, her average mood makes Terminator look meek and tame.)And to me, the more I love the character, the more it is sacred.

So, the next one that asks a Scrooge McDuck / Daisy Duck scene , he or she is going in for some gruesome retaliation... as neither would want to damage Donald that way!