Overall

Vision Vision

Originality Originality

Technique Technique

Impact Impact

I do believe you've tempted me a third time... well, you've succeeded! There's much to speak of this, even if this is third time I know of that you've done this general idea. But you've shown that there's more then one way to skin a cat; I will be making comparisons to "Set Their Sights Ablaze (Repaint)/the original" throughout, as you yourself note in the description the similarity of the idea. I can spot several additions and changes that let this work stand apart. To be specific, I have five. Links to the first two, for the curious:Repaint: ( www.deviantart.com/art/Set-The… Original: ( www.deviantart.com/art/Set-The… The first addition is the inclusion of land. While the repaint had an inclusion of the appearance of Cloudsdale in the distance, there still remained no solid land. Thus, the scenery remained an ocean piece. A black stage for Dash, so to speak—this contained the interpretation to Dash and her place in the scenery.With the land present, it brings the viewer to interpret their place as on a shoreline. It draws the viewer in and making the piece feel more immersive over the original and repaint; more organic, so to speak.Second is akin the line of organic; Dash's expression. Over the other two, it's one of blissful enjoyment instead of detachment/a challenging glare. The eyes being closed removes part of the viewer psychological attraction to faces and lets the "viewing volume" spread throughout the piece.Third is the sun. While its light was notable in the first two, this piece differs in the execution in that the sun itself is visible. For that matter, the sky overhead is also clearly visible, along with a meteor or two—that leads into the fourth difference, but the sun itself draws a point of unconscious interest for the eye. It's position works uniquely in tandem with the fourth point.Fourth, the sense of space and motion is different from the first two in a good way. The first two clearly draped the clouds in the background, giving the sense of space an opening on all ends. It makes a backboard, while Dash is on the stage; only two planes of focus. This is gone in this piece—instead of Dash being a mid-distance foreground, you've placed her in a close-up foreground, letting the added land occupy the mid-foreground and the sea take the background. Dash's trail piercing all three layers plus her more at-the-viewer line of motion is a boon to it.Along that, the water displacement and wing trails reflects the motion. The length of these indicators point to a fast glide; something that I'd imagine Dash would do for pleasure.Fifth and final, I came across a term since I critiqued the repaint for the tilted angle in all three. It is known as a Dutch angle and is prevalent mostly in cinematography. The first two use the same general angle, but the severity and flipped Dutch angle in this work is so striking as to be alarming. Not only that, but there is a notable downward curvature in the horizon and general curving to the clouds to impress an image dome-like structure in the open space, closing the edges and reworking the feel of the piece from one of high energy into one of peace—relaxation, even.Over the first two, this is without a doubt the greatest asset to this work. Even though the idea is a repeat of something already great, you show a high understanding and ability of how to interpret an idea two different ways while still retaining the same general elements. That is to say nothing of your level of skill in general, of course. I've dropped originality score to 4 stars because this is the third time you've implemented this general idea, of course.Still, fully recommended!