Fig 3: Hollis(past), Hollis(present), and Lonny, from left to right.

After likewise modeling an assortment of environments and props for our characters to play with, the real work could begin: that of assembling several node-trees to make Blender's EEVEE engine look semi-convincingly like a comic.

While much of the line-art relied on simple, inverted-hull techniques, the main characters were treated to a custom node-group for procedurally generating scratchy, hatched outlines. Parameters like the line thickness, hatch density, or outline offset were exposed such that they could be tweaked to fit each panel's particular needs. 

In alleviating the characteristic smoothness of 3D models, another node-group was produced to sample said models' normals over a Voronoi map; then, by distorting the Voronoi with a savvy choice of noise textures, the distribution of light over a given model's surface was made to appear painterly, chaotic, or otherwise hand-drawn. After layering on a number of shadows, accents, or highlights, the final shader effectively conveyed a comic-style aesthetic.

Fig. 4: Procedural NPR node groups

In combination with a few more technical work-arounds, such as splitting each scene's lighting into red, green, or blue channels, the remaining work involved posing each character, and fine-tuning each node-group's parameters, for every panel of the ensuing comic. In practice, it felt much like playing with and photographing action figures, which made for an absolute blast.

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The end-result falls just short of my highest hopes -- especially where the actual story's concerned -- and so I do intend to re-use this workflow for making comics in the future.