Without Fear

Ryan K Lindsay – Writer

Month: September, 2017

THE TWO FISTED HOMEOPAPE – The Smell of a Number Edition

My newsletter lands in inboxes every Monday, delivering an update about my writing life, as well as considerations on making and writing comics, links to good fuel for your brain, rapid fire thoughts on the latest media I’ve squeezed into the week, and if you’d dig that kind of round up then click the image to go to the subscription page and get yourself a treat to start every week.

This week was The Smell of a Number Edition – here’s a sample:

“I know I know, I’m being political. And this is a newsletter about writing, right? So here’s something:

Be political. Be informed, be active, be angry, be as right as you can as much of the time as you can.

Because then you’re living a life where you’ve got shit to say. And the best stories have shit to say. Fence sitting/hand wringing isn’t a story, and it won’t drive your characters through to the end. I want to write stories about suicide and the diamond forming pressures of parenthood and the galactic failure of idiocy to lead and the infinite self-absorbtion we’re facing as a people. I want to stake claim to ground in those fields, and I want to do it by synthesising the world around me, and hating things, and wishing for things, and for being engaged.

The moment you shrug and let shit happen, well, you’re already dead. And so are your stories.”

To read more, be sure to HIT THE LINK and subscribe.

Advertisements

The Two Fisted Homeopape – The Whispered Mentions of 2018 Edition

My newsletter lands in inboxes every Monday, delivering an update about my writing life, as well as considerations on making and writing comics, links to good fuel for your brain, rapid fire thoughts on the latest media I’ve squeezed into the week, and if you’d dig that kind of round up then click the image to go to the subscription page and get yourself a treat to start every week.

This week was The Whispered Mentions of 2018 Edition – here’s a sample:

“Listened to Bryan Cranston on the latest Nerdist and he mentioned two major things that stuck with me and made me think about story planning and creativity.

He mentioned that old chestnut that Aaron Paul’s Jesse Pinkman was only supposed to last a few episodes, he was Walter White’s plausible “in” to the world of meth. But then Paul slayed it in the role, and he got to stay.

And, that’s pretty cool, force of will, chemistry, and talent got me half a decade’s work, rather than just a few weeks.

But I got to thinking about what they did to the overall plan of the show for Vince Gilligan. Because the show is about Walter White breaking bad, but it’s also about Jesse Pinkman becoming unbreakable. That dual narrative is the entire heart of the show, and it clearly wasn’t there from the very start. Which is crazy, and kinda awesome.

And the other thing Cranston said was he worked with some professors to get into Walter’s head on that level, but he didn’t want to study cancer because he wanted to discover it with Walt, which is an insane idea, but is actually something I think rings true. I find I have to script a little to discover the characters and the world first, and it’s why characters start to break away from their plot outline because you’re now discovering the plot beats as they discover them, and seeing it as you better know them after inhabiting some page real estate with them.

Creating worlds and filling them with populations is some kind of wild alchemy, and I’ll always be wary of it.”

To read more, be sure to HIT THE LINK and subscribe.

RKL Annotations – BEAUTIFUL CANVAS #3

Beautiful Canvas is a comic from Sami Kivela, Triona Farrell, Ryan Ferrier, Dan Hill, and myself through Black Mask Studios.

Issue #3 was shifted back a week, but distance [of time] makes the heart grow fonder, right?

Below are my annotations. An inside look into my brain as I reflect on our making of this issue, and a chance for me to unpack what I’m seeing in the work now, and how I feel it connects on a broader spectrum. I hope you dig, and find something that’ll help your mind think/make comics in the future.

THE COVER – SAMI KIVELA

Sami came up with a bunch of those little warning signs for the cover and eventually chose the best ones to use. I love that Sami’s brain is constantly cooking when you collaborate with him. He’s such a gentlemen, and a crazy genius to boot.

I love that the gorgeous exosuit Sami designed gets some play here.

PAGE ONE

This page didn’t exist for a few drafts. I cut straight to Lon launching out the window to open this issue, and I’m glad now I didn’t. This flashback isn’t much on narrative, but it sets a character tone, and we get to call back to it later, so it pleases me so.

That idea of having a wide white bar down the side and putting text into it is very obviously something I stole from Brubaker’s work on KILL OR BE KILLED. I won’t try and hide that influence. And I’m actually happy with the excerpt from the book Lon is reading – sometimes those words never come to me, and sometimes they work. These one work [for me].

Seeing the girl twice playing on this page, when you know she dies in a minute, gets more heartbreaking every time I read this page.

PAGE TWO

Dig that exosuit superheavy design by Sami, and Tree coloured the hell out of it. Writing this sort of stuff is the absolute best part of the job.

Also really love how Sami timed this page to match with the final page of #2 so it makes sense for it to have happened and worked out. Sami’s layouts are genius for this kind of thing. You can also see that ghost reflection in one of the shards of glass and realise that Sami is damn well capable of anything on a page.

PAGE THREE

Choreographing everyone on this page did my head in during the planning stage. Who was going to react, how, where, why, and what would it leave them doing and where?

In the end, I don’t think this is my strongest page. It gets Asia moving out of the scene. It gets Eric to see Milla in the chopper, but it doesn’t do much more. It’s a bit thin, really. I like the pacing of Eric’s lines, and the passage they take, but they aren’t doing much.

“I’ll do better next time” is all we can say, right?

PAGE FOUR

Whereas this page certainly does something. We reveal this idea of ‘sleeper agents’ that Milla has access to and can activate. This should answer certain questions the answer might have been holding onto. Does it grab their face and scream the answer into their retinas? No. I want you to piece it all together. But it’s all here, coming to light.

THEY BOTH YIELD is a prime example of the way I’m giving info out. That title clearly tells you what I think of both of these characters, but it won’t say it outright. I refuse, and I hope you don’t mind.

PAGE FIVE

This page reveals Alex has run away from Lon, but we don’t show you Lon on the car, coming to, without him until the next page. Again, just the way I like to roll things out. I’m sure it’ll throw too curvy a ball for 1 in 10, but I think the rest won’t mind.

That plant horse is just madness, right? I sometimes feel like I could throw anything at Sami and he’d nail it. Also love that pink background Tree dropped on the mayhem. Makes it pop in all kinds of funky ways for your mind.

PAGE SIX

This is an instance of a boring page – Lon wakes, she gets picked up by Asia, they move to where the action is going to be – and yet I’m completely happy with it, and here’s why.

I used the page to show a little more about Lon, and even Asia.

Lon stares down the ghost of the girl she killed, and she walks away mid-sentence. She’s trying her damnedest to move on.

And Asia has just stepped up to show herself as this rad sci fi bike riding lady of action who isn’t going to back down from the situation. She’s going to stand by her girl.

The way Sami paced out Asia picking up Lon is really well done, and that bike is just crazy gorgeous. I think flying bikes are my new trope.

PAGE SEVEN

Okay, we see that Alex is a super danger to everyone around him, we get Lon and Asia moving to the scene, and we start to connect Eric and Milla. This page does stuff, but I’m not crazy excited by how it does it. It’s perfunctory, it’s just doing what it has to do. I did struggle with this page in the script, because I had characters who needed to get into position, and I had to place them into position, and that’s kinda all I did.

The sfx of the helicopter being dragged down into the road was my idea – and I’m not certain I made the right call with it.

I didn’t notice Sami snuck a CHUM Easter Egg into Panel Three.

Also: don’t ask me the timeframe on Eric getting to the downed chopper just after Lon and Asia zoom away.

PAGE EIGHT

Sami draws the best faces. His angry Alex is a sight to behold. That he can go from humanity to wild sci fi destruction in half a page consistently excites me. He’s an illustrator who is limitless, and writing for that is as much fun as it is anxiety inducing. You never want to waste what you’ve got.

The way Triona handles the building corner falling, and the pink background building to an emotional retaliation is lovely. Every panel always has so much feeling in it.

PAGE NINE

That big mess of rubble and a map is why artists hate writers.

I’m sure colourists hate writer, too.

Basically, writers are dicks.

But this page looks so good, and gives us such information, and it’s funky in a way only comics can do so beautifully. We get our guy saving himself, and then a showdown with Alex, and then fire across the page. There’s tension and time and space on this page. Sami did a great job with the duelling fire across the bottom, and we crosscut with Eric’s conversation with Milla just to layer in a bit more, and draw both scenes together a little bit.

PAGE TEN

People have wanted answers, and this page is what it looks like to get answers from me. Milla is somewhat oblique about it all, but she’s also laying a lot out on the line here. What she’s doing is clear, and the scope to which she is doing it. The rest of the page isn’t very razzle-dazzle, but you need to focus on these words. I need you to understand what’s going on.

PAGE ELEVEN

Milla gets one last dig in at Eric, about spreading who he is, and then we introduce Moore to the scene. Because things have to finally move on – you can see I’d be horrible at writing a 5 page sequence of talking heads because I’d constantly worry I was losing the reader. All i ever do is worry about these pages – is it too boring, is it too confusing, is it too lame…reframe, repeat.

Eric’s action against Moore is harsh, maybe not well thought through, but he’s operating from emotion now. Milla got under his skin.

PAGE TWELVE

Hot damn Sami and Tree know how to create pain and scope for their firefights. Especially with those inset panels, they make you linger, they drag you into the smoke and hold you there.

Asia drops a little more exposition – because the facts are rolled out slowly, and she has a plan. We also know she’s gutsy enough to try it, too.

PAGE THIRTEEN

I love the colours on this page, the heat of the yellow. You feel it all.

Then we get that panel, and Asia Prof X’s into Alex’s head. For me, she’s looking in there here and seeing a representation of what he feels. It’s not literal, how many of our thoughts and feelings ever are? But it’s the monster he feels he’s become in this short amount of time, it’s this horrible dragon he feels affinity with – which is a problem because he saw his mother as the dragon, too. He’s blaming her for what he’s becoming, which is totally unfair and untrue.

So Asia gets knocked down and we get yet more inset panels of Lon just looking at everything. She’s weighing up her options, she’s looking at what needs to be done against what she hoped was all she’d have to do. I needed to make Lon’s choice in this sequence difficult, so we build up her tension with the moments/panels.

PAGE FOURTEEN

“Kicking back the tide” is such a great saying. And so many of my characters will do just that, endlessly.

Eric is here to mess up Milla’s cabbage patch, and he openly tells her so. This is one of those ‘down’ pages, where for pacing you are setting up for the next moment. I just wish it did more for Eric or Milla rather than just a decent line for each one.

Though I do like that Sami seems to be driving the extra car, and he goes up in flames. That must’ve been fun, ha.

PAGE FIFTEEN

Those smoke clouds from Sami/Tree are just gorgeous. There’s such beauty in them.

Eric throwing Moore into that car is the end of his story, and what a way to close out. I liked Moore, but this was his abrupt stop, he doesn’t get a full looping arc like the others.

I like the angle Sami uses for the final two panels as we split Eric from the camera, we give that pause of time, that shift of focus. Sami’s an expert at making the physics of those moments work so well on the page.

PAGE SIXTEEN

This page is all about Asia giving up and Lon realising she has to take a new angle on things. The plan she’s been running with since like Page 4 of issue #1 won’t hold anymore, sometimes you’re a killer and you have to kill. So Lon has to make a choice, and act upon it.

That gun barrel inset panel, and the pink, and the sfx, is what collaboration looks like. Every person in the squad worked to make that moment pop like that.

PAGE SEVENTEEN

Lon approaches the scene, she’s cold now, detached from things. Asia is reactive and hustling, and all Lon can offer the solution is more bullets. She’s broken by now, and on a slippery slope towards the end of this issue. All roads are leading to this final page, now.

The briefcase full of fish is something I now wish was just real and able to be bought in some local market.

PAGE EIGHTEEN

Eric is completely sucked in here. And he’s processing, pausing, and then realises he can search for his daughter.

I wish I’d build a buffer panel between the 1-2 here, just to give his thoughts a little more time, even just a white bar, something. Reading it, the moment feels quicker, and I wanted it to be him really pausing and then realising what he can do with this camera.

Milla sees what’s happening, and she wants it recorded – which should tell you so much about her, and what she does, and what she loves. And at the same time, Eric looks back at her and he’s just giving up. He’s got his daughter on screen, and he’s…well, it makes more sense next issue, but this reaction from him is totally in character here. For this moment, he’s beyond thinking about Milla.

PAGE NINETEEN

This is the tipping point for Lon, where she sees this whole mess fucking up her world. This is what makes her realign herself, yet again.

Sami and Tree did such an amazing job of showing Asia walking into Alex’s mind by walking into his panel – all an idea from an edit by Dan Hill. I swear, everything you love about this comic exclusively was not me, haha. Though I did purposefully make Alex’s repeated word mean two totally different things across those two panels. He’s telling Asia not to come in, but then he’s chasing it by telling her not to care.

Again, Sami’s inset panels electrify the pacing, the transition of things. They also make me subtly think about that cut back-and-forth you’d get in ALTERED BEAST when levelling up. I’m sure that’s not what Sami was drawing from, but it’s what I’m connecting to.

That goddamn dragon and all it symbolises.

Alex turns now, not pushing Asia away, but rather pulling her in. Holding her in close for the body blows.

PAGE TWENTY

Sami gives us Milla, and her movement, and the drones, and even a sign pointing to the Market Square 5 miles away. Damn, he knows how to get everything you need right in front of you.

The rest of this page is dedicated to Milla being a dick and just enjoying what she has created. She can hustle her ass somewhere AND take little moments to engage with the art of her city.

And the look on her face says it all, she’s enjoying all this far too much. Also: dig that green background in the final panel.

PAGE TWENTY ONE

I used the word beautiful in this comic at strategic places to show you what the ‘beautiful’ of the title is – and it’s anything but our standard definition of the word. It’s usually the opposite, and it’s ghastly, and yet it’s also completely what’s captivating on the page and in a narrative. We love seeing the shitshow in stories, and that’s just how Milla views the real world.

How far apart are we, truly?

Lon is alone now. Asia is trapped in the head, Alex is out, and then the ghost appears, making her feel more trapped inside herself.

It took me ages and ages to get the right rewrite to unlock what the girl said here. Man, it was like pulling teeth, but I really think we pulled it together.

When she whispers, you can zoom in and read it. I always hate that squiggly line that means you can’t know yet. It gets me every time, so I couldn’t do that to you.

And so Lon turns a corner. She is truly sorry, and she is honest when she says she didn’t know how to save ‘you’ – which could be Alex, could be the ghost, could be herself. In this moment, she doesn’t feel like a saviour, she feels like a killer, and she feels like she’s giving up. So she aims the gun, at the ghost, and on the other side, in the line of fire, we see Alex.

Will the shot at least save Asia, she doesn’t know, but dealing out death, yet again, is all she’s got.

PAGE TWENTY TWO

I’m interested to see what people think of this final page. It’s wild, and silent, and so beautifully illustrated. Sami shows that bullet getting closer and closer – yet another ending splash that plays with time. Triona nails the concept of the flames and the heat intensifying.

I did have a movie title caption on this page until the final lettering draft, where I realised we just didn’t need it.

This moment wasn’t the bombast, not really, it’s about being inside Lon’s head to feel this moment drag out slowly. This is her death, come what may.

BACK MATTER

Truth, Beauty, Erudition – choose one

Starting to get into a swing writing these.

JAM SESSIONS

Man, Sami continues to slaughter these illos for these pieces, right? This one right here is just glorious, really something of beauty and value. Just like the flick it discusses because THE RUNNING MAN will be curriculum viewing within the coming decade, you better believe it.

THE TRUTH

Weird, tangentially connected, a delight to write. I wonder if anyone is really reading these?

And that’s us for another month. Join us on the final Wednesday of August as #4 lands and concludes this wild wild ride, you’ll see it on the stands because it looks like this:

BEAUTIFUL CANVAS #3 Out This Week

Tipping into the 4th act, this issue brings some madness, and some answers [and more questions].

Illustrated by Sami Kivela

Coloured by Triona Farrell

Lettered by Ryan Ferrier

Edited by Dan Hill

Presented by Matt Pizzolo

Written by Ryan K Lindsay

and published by Black Mask

This issue is near and dear to us all. I think the opening page, and the character insight it brings, builds a tension to the melancholy that escalates in a horrific way into the final sequence. After this, we wrap it up, so you know we’re going to end with some bloody emotion on the page.

I’m also truly exceptionally proud of the back matter Jam Session Dan Hill and I roll into. I won’t spoil the topic yet, but it’s a favourite flick of mine that’s a part of me, and now I wanna make it a part of you. Plus: another spot illo from Sami Kivela that’s just gorgeous.

BEAUTIFUL CANVAS #3 out September 06 at all fine comic emporiums. Hook yourself up, and if you need #1-2 then I’m sure you can just ask.

 

The Two Fisted Homeopape – The Rundown Edition

My newsletter lands in inboxes every Monday, delivering an update about my writing life, as well as considerations on making and writing comics, links to good fuel for your brain, rapid fire thoughts on the latest media I’ve squeezed into the week, and if you’d dig that kind of round up then click the image to go to the subscription page and get yourself a treat to start every week.

This week was The Rundown Edition – here’s a sample:

“My Writing Ticks!

John Lees recently wrote about his writing ticks, and what genius ticks they are – hit up his newsletter to always learn more – or back him on Patreon because he’s one of the sharpest dudes I know, and always executes plans so you know it’ll be a good place to give a monthly tip – and it got me thinking about what my own writing ticks are.

In a slight moment of introspection, I found a large one.

Water, and underwater creatures

I’ve long been fascinated and scared of water. There’s a mystical unknown about it that just lures me in constantly. I seem to use water heavily in many stories, and it’s often more than just a location, it’s an element to the foundation of the story.

So HEADSPACE had its answers out on the water, and the monsters in NEGATIVE SPACE came from the water, and salvation might have been out on the water in CHUM. BEAUTIFUL CANVAS and DEER EDITOR have mostly steered clear, I think, but [THE ENYA PROJECT] deals heavily in the location of water, and [THE PLANET SNOWBLOOD PROJECT] is a whole mess of ice.

Another pitch also features water as a kind of MacGuffin.”

To read more, be sure to HIT THE LINK and subscribe.

%d bloggers like this: