RKL Annotations – BEAUTIFUL CANVAS #4
Beautiful Canvas is a comic from Sami Kivela, Triona Farrell, Ryan Ferrier, Dan Hill, and myself through Black Mask Studios.
Issue #4 is on shelves right now and it’s our final issue. We started a tale, and now it’s done. Read the Murder Book rap sheet below.
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
You’d almost be fooled into thinking this cover was simple. There’s so much black, and white, and only 3 real elements, but it’s all about the composition of this one for me. Lon’s body language is, as always, perfect. The flame trail just represents so much, and we went through a few colour scheme to get this just right, and this is definitely just right. Then the skyline caps it off, the city she’s saving now something behind her. It’s saved, but she’s walking away.
And that skyline is gorgeous, got shades of Frank Miller in my heart, and I love it so.
This cover might just be my favourite; it’s up there with #2.
This opening panel was so easy for me to write, and I’m a bastard, but hot damn it’s worth it to see Sami draw his own version of a helicarrier. That design, Tree’s amazing colours on the vehicle as well as the sky, and then that one caption, and this panel stands alone as something I think we nailed 100%. It sets a tone I’m really happy with for the events of this issue.
We then cut to Milla in a moment where she seems like she’s breaking the fourth wall. She’s not, but I love that it seems that way. Because she’s right, we are indeed entering the final act of the main narrative.
The reveal of Milla in her ship with Asia and Alex was a time jump I know is a gamble. We left things with Lon shooting Alex and now we’re moving forward in time. We explain what happened, in rough terms, but this is my big fear that it’ll throw people off. But I like playing with time. Issues #2-3 actually went back a few seconds between the end of one, and the start of the next, the flashback notwithstanding. But this jumps hours ahead. I hope people don’t mind missing the “action” in between, because it was actually just boring stuff and as such i didn’t want to write it. Showing your pieces move across the board isn’t always as exciting as revealing the pieces in a dangerous situation.
These fluid filled tanks from Sami/Tree are gorgeous. Milla would absolutely have this weird stuff on standby.
I had to get across the idea that Asia is there keeping Alex alive by subduing his mind while the fire has just about consumed his body. I do this by having her monologue at a comatose Asia. I should have had someone else in the room with Milla. Another wolf soldier. Someone to ask pointed questions as to what they could do, so I didn’t need to have Milla stating things outright, which I really tried to not do here so I know it’ll be oblique to those not reading deeply.
I love Ferrier’s balloon tail in that second panel. Subtle, but amazing.
Panel three has Milla continue her monologue ,which I do enjoy, and she lays out her plan. This is everything she’s going to do. Simply because she’s nuts. Like some kind of Willy Wonka Bond Villain. Hence the “We will be the makers of music.” line.
I scripted new dialogue over this page a million times. Literally. I hit 999,999 times, and then did one more pass.
This was more fear that readers wouldn’t get what had happened with the time jump. This was in response to reviews saying the book was great, but wasn’t laying out answers with clarity. So I squeaked some info in here as to what’s happened since the last issue, and I wonder how it’ll land.
This page is Lon and Eric in the midst of it. Everything is jumping off and they need to launch into the final fray. Eric knows how to do this, which becomes really clear in the coming pages.
Eric triggering some new marks is the big play on this page, but the underscore is Lon’s look at him, and the look on his own face. She doesn’t trust him right here, and he’s beyond caring. He’s enjoying the road as he feels like it’s maybe leading towards an end.
I know there’s a lot of violence in this book, and maybe we’re desensitised to it, but Eric killing these two is a complete dick move. Lon’s reaction is my reaction, she’s the only person left in this story who’s still a normal functioning human, which is funny because she was a hitwoman not long before this.
Time changes you and your outlook on life. Sometimes you don’t even see the change sneaking up on you.
And Eric drops an open sentence for the page change two in a row…
The dropship coming down is an opportunity for narrative movement. Eric’s way of handling entrance to it is a character moment. The wolf soldiers coming out of the dropship is a gonzo moment.
I like that they loom at the bottom of the page, bringing such weird threat with them, and then we deal with them in one big moment next page.
Eric using his power here to throw the car isn’t an insight to us, but it is to Lon. We have to remember that. This is a moment where not having captions left me out in the cold a bit, haha.
This whole moment is Eric’s Raiders of the Lost Ark moment where Indy shoots the guy with the sword. Why drag shit out when you can be efficient and effective. The look on Eric’s face at the end sells it all. Good ol’ Sami and his facial expressions, always the best in show.
Okay, this page is a masterpiece. This is the sort of thing that comes from knowing your collaborator, and collaborating with Sami Kivela. This page gets me excited to read comics, no less make them.
Realistically, there was a lot to unpack here, and showing lots of intricacies was going to clag up the whole works. So I asked Sami if we could do something fun here and he’s always down to be the best creator on the page, so he ran with it.
The overall layout is a thing of beauty, but it’s the little things, the details that prove Sami is the GOAT on this one. The panel with Eric using his hand wave to twist a wolf’s head around is genius, and the panel of the wolf being shot back and we see the cockpit behind it is insanely good. Sami is always thinking. His geography is flawless.
Our two leads then step into the cockpit and Tree changes the lighting, and thus the mood. Spectacular. And here, finally, Lon decided there’s a moment for them to talk and work out where they are standing. She’s been put onto uneven ground and she needs to get stability back to her world.
It’s interesting to note that Eric starts off by telling the truth. That stuff is all real. Then he starts to swerve, obfuscate, and straight up lie. But we do learn that the hit troupe from #1 was orchestrated by Eric, so that’s one Q A’ed. Then Eric gets back into the truth, that Alex represents a beginning, he’s the fuse, and it’s all about to get big.
The final line is really the summation of Milla’s plan. People looking deeper won’t find anything, this is just her expressing herself. As humans want to do, and are usually allowed to.
I love the geometrical design of this page. It’s kind of an inverted triangle, but the point at the bottom is an explosion of Milla’s full form. And the top is actually not a straight line, it’s wiggly, it’s erratic. It all reflects Milla getting things sorted, getting her place in line, and then it all points to her. It’s all for her.
This page IS Milla Albuquerque.
By this stage of the story, I’ve truly doubled down on Milla’s propensity to monologue to herself. She thinks theatrically, she lives that way, despite the lack of an audience, because she is her own audience. This is all for her, no one else. So you can’t silence a voice that doesn’t need to be heard, and you can’t hide her away or muffle what’s coming out because that’s not the point. Milla is all about doing it and enjoying it, the expression means much more than the reception.
Which is actually a good way to create art. Being dependent on the reactions of others is a dire way to put things into the world, but being able to be satisfied yourself in what you’ve done is wildly liberating. It’s insane, and also misses the point of art on so many levels, but it would also be so so much easier.
As Lon and Eric fight closer to her, she waits and honestly looks forward to it all. She has no idea what’s going to happen, but she’s down for whatever.
I packed so much into this page and Sami handled it all like a boss.
Milla is honest, she really does love what she’s created with these two.
Then she lets slip the big news moving forward – she can’t be allowed to die because it’ll awaken every pyrokinetic sleeper agent on her books. Which we know is a lot.
The escalation from entrance to the shot nearly hitting Lon’s head is too quick, I think, but it’s what we’ve got, and the rest of the pages all flow a lot better, so it gets us where we need to go and be.
And Eric finally reveals himself a little more. He’s not just here for the good times, he’s here to turn on Lon and kill Alex. Initially when he pinched off her suit he was going to crush her arm off and she’d be left with a bionic arm at the end of the story, but it didn’t work well for this scene to have her bleeding out insanely from the loss of a limb, so I scrapped it.
Then we end the page with the truth all tumbling out. Because Milla knows all about it…
Eric’s daughter is already dead. He’s lied about her. And if you paid attention to when Eric searched for his daughter, Eve Robinson, in the camera, you now know why he wanted to drop everything and watch that footage so much.
Was it worth discovering this now and then a reread will play that scene differently? Well, I hope so, ha.
Milla gets words and Panel Five is clearly too wordy, but I liked all the words, so bugger it – in they remained. So Milla explains it all to Lon in a page, and she also drops the fact that Eric’s daughter is also her daughter, and the way we do that means, yes, I want you paying attention. Read. Every. Word.
The final panel is all about Milla finally making a connection with Lon – she’s hinting that Lon’s daughter is a sleeper agent also. Again: I’m not gonna have her state it all in so many words. I just can’t bring myself to do that, but I hope people jump into this with me [my rally cry since issue #1 – I want people interrogating these pages].
Also, that negative space in the bottom is the best. Love how empty it is, and where Ferrier drops the caption.
Eric slings the bullet away and reveals his inner truth – he feels like they’re all damned. He feels this because Milla made him something else, and that caused the death of his daughter, and I was never ever gonna show you what happened, because the idea of it should be enough to give you chills. What a horrible turn of events, and I hope it sticks in your guts.
At this stage, Asia has awakened – presumably the shooting at Alex jolted him which caused reverb back into Asia, so she’s here, and she leaps at Eric’s back like Voorhees coming outta the lake in Part I and she floods Eric’s mind with Eve. This is what pauses the whole situation, which also allowed the pause off Alex. Unfortunately.
Lon screams for Asia to return to Alex, because she knows this will kill him, and she’s torn on that front, but Asia is resolute, and she’s making the bigger decision that Lon hasn’t been able to.
All points converge through Lon’s POV as she sees the three things before her, and must choose what will live and what will not.
Excuse me, the FOUR things before her.
Then Lon makes her decision, in as few words as possible. Again, trying to keep things clean and not overexplain. Let her actions speak more than anything else. So into the uncontrolled fire goes Eric. And so too does Lon, hoping she’ll survive.
The thick white section is time passing and that’s the kind of thing you can script all you want, but the whole team has to work to pull it off. Thankfully, Sami changes up the angles on the shot for the next panel, and Tree dominates with her colours, and the result is a very clear transition of time.
That movie caption came very late in the game. I wasn’t listening to the song though, I promise.
This final panel is so well laid out, so much space around the characters, so much world still out there hogging the frame. And their words are going to be true forever and for everything moving forward.
I scripted this page as a conversation. I had to get it all out. Then I edited it. Then I broke it across panels. Then Sami wanted to kill me. But then he came around on this stupid over-panelled idea. And then, once drawn, I edited the script again. Thinking about the truth of the moment, the stuff that was Capital N Needed, and also thinking of Ferrier on letters, ha. These are the beautiful moments of collaboration.
I also dig how that final panel runs full down into the bleed, as Lon looks back into the zephyr. That’s art storytelling well beyond my pay grade.
This kind of summarises how to combat trolls, and how to fight against the world, and how to stay upright through the resistance. Tl;dr – fear is for fools, and fear is their tool.
Lon is completely resolute here in this sequence. My idea is that ever since she found out she’d be a mother, Lon has grappled with violence. She wanted to step away from it, she wanted to rise above it, be better than it. A parent protects.
But, the thing is, protection can be a violent game. Retribution can occur, and you can’t always remain passive. We hope and wish for such a thing, but it’s just not true. It sucks, but it’s not always an option. Lon finally understands that, she realises violence doesn’t mean you aren’t protecting, and parents aren’t a passive shield. So she steps up to make the world a better place, for her kid, but also just in general.
This page is the culmination of Lon’s growth.
The zig zag of the final tier of panels is glorious as it focuses on Lon, and the movement, and not the actual violence.
And so Milla becomes the one with the metal plumage now. That whole throne, her death, everything was built to this moment of flipping the intro.
The rest of the page is Lon dealing with the cathartic pain of what she’s become, and the world in which she has to become in. And Sami handles it all perfectly. The absolute carnage of Alex and Eric, and her one delicate hand says it all. She’s accepting, but that’s still a painful internal transformation to undergo.
Beside Lon, always with her, is Asia. Accepting, supporting, they are a team. As good parents should be. While the world twirls around them, they must hold fast. Their one true goal is the same, and becoming violent, seeing the world vastly change with these sleepers awakened all around, this changes nothing for a parent.
A parent protects their child, that’s the job. Protect, teach, lead, love.
The future is safe. It’s unsafe for man people, but the actual concept of the future, the time ahead, is safe now. Things can still be amazing.
That part is probably just wishful thinking from me. I’m happy to cop to that.
This final image is the close of the story, really. The zephyr floats above, the city burns below, and will only get worse, and our two ladies are allowed a moment. Because if you pull back enough, you’ll see the world is a melting pot of emotion and action, and yet we endure. We find a way to move forward and find a way. We have to, there is no other option.
You search it out, you carve your own space, and you make a little piece of the universe yours. This is what Lon learn and hopefully we do, too. Keep moving and defend yourself, your ideals, and your love forever. Because on the horizon, you’ll find your island.
Okay, Coda time.
I always love a good coda. And I came up with the brainchild that because it’s a coda, we could use a different storytelling method. So we were allowed to use captions. But not just any captions, we could go crazy, use big arcs of words like BWS did in WEAPON X. man, I loved writing these pages.
This coda is Lon applying her lesson, showing us she’s going to be alright, she hasn’t forgotten.
It also teases out what’s happened in the aftermath of this mess: people are hunting the names of the sleeper agents, because some have managed to go dormant, and that scares people. But should it?
Isn’t acceptance the key, much like Lon told Milla. Fear is the problem, so remove it’s teeth. So Lon wait, ready to act, if needed, but happy not to if she can avoid it.
Also, dig that bear design, obvs influenced by Weapon X as well.
PAGE TWENTY ONE
We get the time frame now because we see Asia’s belly. We can see months have floated by, and the world is still there. Lon and Asia are still there.
Asia gets to describe the flipside to Milla’s beautiful canvas, which makes the title of the story take on a new meaning now, I hope. Every person’s beautiful canvas is the life they create, that they foster, and respect, and love, and craft for the future.
As these two bicker, as lovers are wont to do, we see Alex as a spectre, but a rather content one. This is the personification of Lon’s state of mind. She’s able to come to grips with her past, all of it, and understand it all in a broader lifelong, worldwide context.
Which builds us to the final page…
PAGE TWENTY TWO
I love playing the end against the beginning, and I’m 100% happy with how we’ve done it here. This is a wheel turn, but the wheel has advanced, so it’s the same, but it’s different. This is life.
I also can’t overstate how much Tree’s colours bring this whole moment home. They are such a difference from the opening page of 31 – and that blue horizon behind them calms me and makes me smile every damn time.
The book on the table is another Argento jam. I’ll let you google it, but know it’s not chosen for specific reference to story moments here, but more as just a neat bookend, and important because Lon has put that book down. She’s moved onto something new, a little less violent and horrific. But the book is still there, ready to be picked up, if needed.
Ending with “This has been THE BEAUTIFUL CANVAS” was something I thought up and then couldn’t not do. It brought it all together for me.
And that’s the story. Many have asked if I will do a sequel, and you can see here that people survived, so I really could, but I don’t have anything to say as yet. Lon’s lesson is so important, and is so complete here that I’ve certainly closed the door on this. But I’d be interested in coming back to the characters a decade later, as the wheel has turned many times, and see how they are coping, how the world has transformed as it’s moved on, and what their daughter is like.
Hell, I’d give her a sibling, without this curse, and see what family drama that breeds.
Now that I think about it…hrmm…
Truth, Beauty, Erudition – choose one
Fun, as always. And always nice to gush about your amazing team when they so clearly deserve it.
Okay, this one was a beast. I don’t know what I expected when Dan Hill and I entered a room to talk about Matt Fraction. Maybe we should have limited ourselves to just 1-3 books. Maybe. But probably not.
Matt Fraction looms over most of my work, and not always in ways you might expect. I just dig his work ethic, his devotion, the fact he’s busy as hell and manages it, and his quality. I don’t specifically want to write books like him – I don’t think I could, nor should, nor would. I want to write RKL books, but I want to always strive for more, so he helps me think of what that ethereal more might look like.
There’s too much to cover, but this might be my favourite Jam Session we’ve done yet. Or maybe it’s the worst, I don’t know. But I enjoyed it, and I hope you dig it, and if it gets you to try out one Fraction book you hadn’t before, then it’ll have all been worth it.
Also: daaaamn, that Kivela illo. Love it, as always.
Fraction took all the space, so we scrapped this. But I have one written. Maybe we’ll put it in the tpb.
And that’s us done. How sad, how wonderful. If you came this far, especially with the annotations, you are wonderful. Thank you.
There will be a tpb collection of BEAUTIFUL CANVAS at some stage. I know when, but can’t confirm just yet – set phasers for 2018 and some present buying for your smart friends, though. I will tell you when I can, because you should buy 5 and give them out at birthdays and for Xmas and such because it’s probably a safe bet your friends didn’t get it already, and if they are your friends then they are probably smart enough to get it and good looking enough to love it. Just like you are.
But until then, thank you.
As someone who’s also written comics, I really like your annotations. It’s always one thing to envision a thing in your head and then when it comes to life through art … man!
Thanks for the kind words, mate. Yeah, that aspect of collaboration is one of the greatest things about comics. It’s true artistic alchemy.