Ghost In The Shell ▲ Paramount Pictures Project

    May 2016 was the month when Paramount Pictures invited me to be involved in the “Ghost In The Shell” (GITS) project, and conjointly welcomed several other artists from different countries around the world to assemble together in Wellington, New Zealand.

    We were incontestably aware and ecstatic by many surprises along the way, but the most precious one amongst them is that I was the only one there to represent my country, Indonesia. 

  • G H O S T H A C K

    I worked on this piece to revive the memory of the 1995 era when the GITS anime movie was first released. Here we can grasp that the Major’s pose within the frame of the city panorama was undoubtedly the most iconic scene of all to the extent of being adapted for the video game version.

    Ergo, with the aforesaid consideration in mind, I incorporated the illustration styles of double exposure, my kind of contemporary ukiyo-e and Japanese pop art, and fused them seamlessly with the style of manga cover that was released during that era to create an opus that I named GHOSTHACK.

  • G H O S T D I V E

    Like the two ends of a magnet, so are Major and Batou from Section 9. They are the two main characters with the strongest bond in the GITS realm. In fact, there are several interesting reasons and outlooks on life from GITS perspective that impelled me to decide to coalesce the element of water into both of my pieces and name this opus GHOSTDIVE.

    The first doodle in my sketchbook while I was present at the filming location in Wellington, immediately became the idea behind this piece. One thing that crossed my mind at that point was, “I should make it like a cutting edge movie poster with the impression of being a manga cover.”

    Several sketches that I made for this project by using my own pictures as a reference.​​​​​​​


  • It was blood, sweat and tears all the way, yet it enabled me to fathom one thing that I had always disparaged, that Luck is the fruit of one’s own labour. It is certainly not a favour dispensed to us on the spur of the moment by doing nothing. Now, those four artworks have a very special place in my heart, because Paramount Pictures found me and those artworks on tumblr.

    Sure enough, it is effortless to say, “O, how lucky he/she is! So darn lucky!”  Chances are, however, that we might never have even a minuscule idea behind the story. Why is it so? Since we, humans, are sentient beings! Despite the delicate-yet-graceful or ravenous masks being donned in our social and internet-induced lives, we unwittingly have an inclination to conceal our burdens along with tales that might have never been told. Thus, I genuinely learned not to indiscriminately utter the “Wow, you’re so lucky!” remark.

    May 2016  Weta Workshop + Weta Cave visit, explore Wellington, and set visit.

    November 2016  Ghost In The Shell first trailer screening at Tabloid, Tokyo.

  • Those two pieces, GHOSTHACK and GHOSTDIVE, documented along with the data of my citizenship in Paramount’s dossiers, do not necessarily mean a trophy bestowed solely to Evan Raditya Pratomo, but rather an award, an edification, from an illustrator who since five years old has always been saying that he wanted to be a painter, for his country and in particular, for all fighters in the creative industries in Indonesia who dream that they will someday be able to glorify their country with that they do.

    Yes, we can.

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    ||   THE JOURNEY  //  THE GALLERY   ||