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.
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.
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.
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?
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
“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.
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.
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.
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.
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.
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.
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.
Truth, Beauty, Erudition – choose one
Starting to get into a swing writing these.
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.
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: