According to my understanding, in the Western film world, laws barely exist and the police are often absent. One can only survive by using violence against violence. It feels quite similar to Chinese Wuxia films. The difference is that in the Wuxia world, fighting scenes are often more abstract and defy scientific rules. For example, you see people flying — Qing Gong — a kind of kung fu that lets people jump ridiculously high, along with many techniques that resemble Marvel Entertainment-style supernatural powers. Western films are more grounded. Key elements include guns, horses, hats, remote towns and untamed landscapes. No matter how fast they draw their guns, physics still exists and bullets do not turn. We wish justice would prevail and evil be punished — something that rarely happens in real life. Western films fulfil this dream in a relatively realistic way.

I think 3:10 to Yuma feels more realistic than most Western films because the characters are more complex. Ben Wade, the gang leader, commits robbery and killing, yet he is not 100% evil. The “good guy” is also far from a perfect hero — he has weaknesses and eventually dies, which is unusual for a leading character. Charlie Prince, Ben’s right hand, is cruel and violent but completely loyal to his boss. I even felt sad about his ending. The film is full of small details that reveal the complexity of humanity, which I love. It is far more appealing to me than a simple revenge story. These characters are shining — that’s the main reason I chose this film to sketch. I created a set of quick sketches from screenshots and rewatched the film to capture the perfect frames. I used a fountain pen, watercolour and walnut ink on A4 cartridge paper, which is perfect for simple, quick, single-wash studies.

Charlie — a small trial, 9 × 12.5 cm.
Single wash. I tried my best to keep it loose.

After the small trial, I researched the costumes from the film, including Ben Wade’s felt hat, clothing, guns and equipment. I then sketched portraits of Ben and Charlie with their horses. I’m not fully satisfied with their facial features, but I’m happy with the horses.

Loose watercolour sketch on 42 × 57.5 cm Magnani printmaking paper

If you want to experience a strong visual representation of the Western spirit, you can’t skip Red Dead Redemption 2 — an epic game that beautifully blurs the boundary between game and cinema. The graphics are even more stunning than many films. The two images below are my sketches from the game: one is a soft pastel drawing, and the other is a watercolour study.

After studying and sketching Arthur Morgan, I had a new idea: what if I bring a game character into the real world? Imagine an alternate timeline where Arthur does not die at the end of the story but travels to Australia, drawn to its vast and untamed landscapes. His first stop is Bluff Point, Yeppoon, perhaps arriving by ship, stepping onto unfamiliar shores and carrying the quiet weight of another life in Queensland. Here is my final piece. I would love to continue this series, especially since this is the Year of the Horse. Perhaps I will sketch real horses soon. As my skills continue to grow, I feel an increasing sense of freedom in bringing my ideas to life.

Year of the Horse: A Western Study

Hello, Mr. Turner