Without Fear

Ryan K Lindsay – Writer

Tag: triona farrell

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:

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RKL Annotations – BEAUTIFUL CANVAS #2

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

Issue the number #2 is live in the world, and we are all exceptionally proud of our work. I actually think it’s one of my better second issues, and I know if you’ve already scoped that final page that you know we’re leaving things with a big ol’ boom, so we hope you’re hooked by now.

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

I think this is my favourite cover for the series.

Maybe.

Man, I never can tell with Sami. His cover game is so airtight, I had this problem with CHUM, too. I could never pick a favourite cover.

I loved #1, but this one is just truly beautiful. The layout/design is spectacular. And yet it’s so seemingly simple. I think it’s this striking balance that draws me in every single time. Lon is front and centre, and Sami has her covered in pencil shadings. Like she doesn’t belong to the pop funk world around her. She’s looking down, she’s thinking, she’s all brain.

But the ground is electric with colour, and with hidden danger. That puddle of a dragon is subtle enough, but still enough to be emblematic. And I love pink as the colour to tie it together. Between the Evorah in NEGATIVE SPACE and this book now, pink has become a colour I am loving for my projects.

That pink logo also pops like crazy, it’s my favourite colour variation of it so far.

PAGE ONE

Maybe just put the comic down right now and raise both hands in a little round of applause for Sami and Tree here, right? This dream sequence is just all kinds of brutal, and the ink wash approach was completely right, and Tree just makes it feel haunted.

From memory, I initially scripted this brain dalliance as just a smash cut from the end of last issue, but somewhere along the way [and let’s be honest, it was probably at the suggestion of Dan Hill] we put Lon into the first panel, dead in the water, because I think it would connect things better, as well as raise the stakes if the audience thought she was dead.

Alex sinks into the water and Sami drew those tears in as he drops and it’s just…brilliant. He’s dropping away, but then looks up one last time. And the way Sami layers all of these panels, everything overlaps, juts into, maybe hides behind. It’s got this fractured quality to it, like still images that appear around and after one another and not quite a linear flow of storytelling. It’s a dreamlike quality.

I love that Sami drew Alex’s mum with a ‘#1 MOM’ logo on it, makes this callback to her work way more effectively.

We get the two hands about to touch through the surface of the water, a little touch of creation to foreshadow a touch of destruction.

Sami draws a nasty looking evil mother turning into a dragon, doesn’t he? That final panel makes one hell of a page turn, and I’m actually proud of the phrase that splits the page. It’s this weird dichotomy so many characters feel in this book, and here it’s finally given words.

PAGE TWO

I sent Sami the script and the next day woke to an email of him cursing me out. Because of this page :]

But I told him I knew he’d slaughter it [and he knows if not, then he’s got complete carte blanche to change the page up, because I trust him], and he told me he also knew he’d kill it – but it was gonna be crazy work. And I’m sure it was, but tell me this page wasn’t worth it.

That dragon is so intense, Sami really brings each line into play, and the hand/claw pushing Alex down deep into the darkness across those panels is just gorgeous. The faces surrounding that central strip are haunting. Everything on this page builds tone, including Ferrier’s letters for the disembodied voice. This page is a design beast in regards to placing the reader into the world.

And then we end with Alex on the shores of a distant land – so far, they are the antipodes of where he was. The page being upside down was a way to really reorient the reader, show they how drastic this move for Alex is. He’s getting away from that old life.

PAGE THREE

I’d assume by this page, away from the dragon, away from the funk, when the reader sees we are still in this muted landscape they will assume something is amiss. This isn’t real.

I love that dragon silhouette in the sky beyond the building, like Alex’s subconscious up there, never far away, never forgetting, always dangerous, but something you can hide from.

I considered making it Room 237, or something, but went against the urge.

This here is our real introduction to Asia Benchley. As she walks through Alex’s mind. The apartment full of water should be the dead giveaway. It’s an idea I’ve used more than once in my head and on certain pieces of paper. It intrigues me, and I don’t even truly know why.

The final line from Asia brings so many truths home. Truths about Lon, as well as Alex. No one wants to kill anyone here, but if they felt they needed to, well…what would happen?

PAGE FOUR

The transition to Lon’s line here is meant to show that Alex is somewhat hearing what’s being said. He might be passed out on the couch, but it’s all sinking in. As happens with all little kids.

It’s also me trying to play Lon’s transition into this new scenario with as much honesty as possible. I didn’t want her certain she’s made the right choice. This kid just took out a kill squad, he’s clearly pretty messed up. This shouldn’t be an easy decision, this was something she rashly did, and now she’s honestly dealing with the feedback it’s giving.

Because when I write impossible worlds, that feature pyrokinesis, I want to be as honest as possible :]

Then we just drop a tonne of exposition through Asia. Though I still try to make it sound like honest conversation. So Asia talks about knowing what’s in Alex’s mind, but she doesn’t outright say she was walking around in there. I think it’s clear enough on the page, but I couldn’t stand to have her explaining something to her girlfriend that Lon would so clearly know.

With enough of that out of the way, we then cut to the character meat of the page. Lon is not only prepared to kill Alex if she needs to, but she’s open enough with Asia to admit such a thing. That should be two bombs dropped in the one line.

And after such a line, Asia gives her a kiss on the head. If you can’t figure out their relationship from this page then you really aren’t reading.

PAGE FIVE

The line here where Lon tells Asia to step into her head, yeah, *this* is the expositional line explaining what Asia can do. This is where I work it in, and how. I don’t think it’s clunky, it’s pretty clear, and it informs an actual new element of the scene, not just sitting there to explain itself.

And Asia’s reply [“I told you I’d never do that, because you told me I’d never have to.”] is a line also serving dual purpose. It really doubles down on how much these two love/trust each other, but it also allows me to build a gap between them. A divide where Asia won’t just have her all figured out. Or won’t go in there and tweak until she’s fixed things.

I love the way Sami weighted the page. The top half giving us the build up, and the bottom half giving us the payoff. And what a bottom panel – I think this harkens back to the structures Sami and I played with in DEER EDITOR. The top half being one page, the bottom half another. So the top here works on its own, and kind of page turns into that half-page splash. I mean, a better writer would have had that kiss on a full splash, but honestly, who has that real estate lying around?

So we cut the page and give the emotional beat space in the bottom half and Sami just lays it out perfectly. Lon and Asia kiss and it isn’t salacious, or full of lust, this is just two people in love looking after each other. The space around them is so well weighted, and then the image of the girl in the window brings it all together for us. Lon’s head still isn’t on straight, there are still problems floating along. This just isn’t going to be a fun ride for her.

PAGE SIX

Establishing shot of a new location, a tailless balloon with no character in sight, and that person using a sarcastic nickname. Yeahhh…it’s like I’m daring the reader to keep up as I try to confuse them.

A caption here would make things so so clear, but I just couldn’t do it.

I was never sure about this set up, I feel like it’s a big swerve to get Moore to figure out where Lon took Alex, but I fell in love with the idea of the toothpaste delivery of this weird city-ambience connectivity drug. THAT part I just had to do.

I must have scripted that interaction he has with the guy on the toilet a dozen times. I never felt like I was making anything clear through their chat, I really stressed it, but I think we kinda got there in the end.

Hopefully the bottom half of the page gets us there anyway because Tree’s funky red background for the toothpaste is so wild, and then she and Sami just jam so well on that mirror turning into this weird circuit board in his mind as he freaks the fuck out.

PAGE SEVEN

FLAKK is one hell of a SFX for toothpaste spitting. Enjoying hearing it for the rest of your life now.

That second panel with Moore post-freaking out, that background, those eyes, hell, that skin tone. C’mon, like Tree isn’t your colouring idol now. She brings so so much to this book, she’s a phenomenal storyteller.

Moore comes out of his buzz the exact same way I come out of unlocking a major piece of any story – swearing and tapping furiously into my phone.

And so now we have a great way for Milla to know where Lon and Alex are, but they also get connective tissue on another plot element…

PAGE EIGHT

So now we know Eric Robinson is connected to this in deeper ways. And he’s back into the narrative stream, loitering around the building where Lon and Asia are.

Man, I’m still digging so hard on this rad jacket Sami gave to Milla. It’s just one of those beautiful things that happens on the page and you gotta smile. Then there’s her crude response to her snivelling assistant. Again, she is so much fun to write.

I had to choose my lines from her here carefully – because I had a lot of options to choose from. How she spoke about Eric mattered, what analogies she used would show how precise I would or wouldn’t be. Dan flagged the double negative of “When you unlock a secret level, you don’t not enter.” And I looked at that line a lot, and I totally know what he means, but I hope it glides into your brain smoothly anyway.

I hope – because hope is all you have when you ignore your editors note :]

That bottom panel is so cinematic. It also gives the page this weird sweeping camera motion, like we start above the building, and each panel brings us lower, until we are looking up at the chopper as it takes off. It’s a really well laid out page.

As for the movie title – KILL YOUR DARLINGS, AND WRITE IN THEIR CHALK OUTLINES was a tweet I wrote like 3-4 years ago. I loved it then, I love it now, and I completely love how it works with this moment. It completely matches that idea that Milla is building a story here, she’s participating in art, and she’s totally down to ‘kill her darlings.’

I want to use this line again for my memoirs. #copyright [<—that’s legally binding, right?]

PAGE NINE

This page is all about setting up Milla’s mindset and methodology – I think maybe I give more time to that than just watching Milla chew up the scenery. It’s because Milla’s whole schtick is so large. She’s set all of this up just to watch it unfold, and when it goes awry, that’s okay, because the narrative swerve is merely to be absorbed and appreciated.

The whole narrative of the book hinges on the fact Milla sets this up, and then rolls with the punches. This story is her beautiful canvas. So I hit the point, and her point, more than once because it’s important to everything. This is who she is, and we have to believe it.

She would literally shoot a man in Reno just to watch him die.

But then, at page’s end, she kinda reverses it by telling her assistant to just shut up and enjoy the ride and not overthink it. Which is also my head, too.

PAGE TEN

This concept – the room tabula rasa, with the very first thing for their baby – there’s something poignant about this room. I’m sure it’ll be skipped over by half the readers, but hopefully a white room amidst this funk pop story stands out, and people look into it for a moment.

Lon is in here, with only the future around her, and yet she’s brought one thing in – the girl, the past, her problems. This is exactly what’s wrong with Lon at this point in time.

I think Asia mentioning the timeframe here is the first indication we get of when that very first scene took place, where Lon killed the girl and got the phone call from Asia, and where it related to the now. There was a week between, enough time to think, enough time not talking to be a problem.

Lon still doesn’t talk. Think how much time passes between Asia holding the ice creams, and then them being open and eaten. Lon is at such a loss.

I called for the centred panel with the floating text because I wanted it uncertain whether these things are spoken or just body language assumed. That relationship shorthand of silence is so powerful, and capturing it in a different way on the page intrigued me.

Oh, and I totally chose Cornetto’s because of Edgar Wright, don’t @ me.

Oh, shit, and notice how Tree uses those orange backgrounds to show love and connection, and the red/pink for danger. I just noticed that orange now. Damn, she’s so good.

PAGE ELEVEN

There’s a lot of info truncated here, basically for real estate. The idea is that Asia’s landlord is some kind of building overlord [I kept thinking like in THE RAID in my head] and he’s got his goons conducting a sweep of the building…ostensibly looking for something, most likely looking for Alex.

I rewrote these panels a bunch of times to jenga in what I NEEDED the reader to know, amidst what got it across smoothly.

Lon mentions a Betamax because it’s as ubiquitous in this world as Ello is. Just another perk of playing in your own reality.

The differing opinions/options given by these two parents-to-be is fascinating. Lon is over-protective, trying to prove herself, and Asia is pragmatic. Resourceful.

I love that red hand of violence.

PAGE TWELVE

The image of Lon suiting up, that this normal apartment had this funky sci fi suit in the cupboard, is just another attempt at subtle gonzo pulp integration.

Lon and Asia arguing across those tall panels just feels like great Sami storytelling. The relationship argument while getting changed taken to the next level. With a little dose of extra exposition about Alex and his powers.

The goons interacting through the door and its voice accessibility is yet more set-dressing for this future. But it also allows this moment where the script flips and the goons hear the door announce it’ll open. A great way to transition the page with that inset panel, it has this cinematic feel – you can see that moment occurring in a silent beat on the screen right before the noise starts, right?

However, the greatest moment here is that Dutch angle on Lon standing ready to fuck shit up. I love this panel, it’s an example [again] of Sami taking something simple written and just elevating it visually. Pure genius.

PAGE THIRTEEN

Fight. Page.

This right here is where you get out of Sami’s way.

You can draw the zigzag down the page repeatedly to follow the links between panels, the flow of weapons and blows and arms. It’s a masterclass. Then match it with those yellows from Tree, and you’ve got a wordless page that I find endlessly readable.

PAGE FOURTEEN

Lon is representing outside and Asia holds the party line with her, now protecting Alex.

These trancer goons just came out so damn well from Sami. Love those yellow visors. I wish I got to play with their joint speech a little more.

Asia reflected in his visor looks killer. But I hope I didn’t script for that. I doubt I did, I’m rarely that clever.

That inset panel of him grabbing Asia’s shirt is just a great segue to the quick mindscape panel of her going “full bane” on him and snapping his neck. But only doing it in his mind ,not actually in person. Which is something I hope people get.

PAGE FIFTEEN

This page came out so damn well. I did script this idea, but it was so damn easy to script, but then seeing how Sami and Tree pull it off, well, that’s just alchemy.

Lon is carving up that room, and is most likely punching that last trancer square in the dick [which I didn’t script, but really wish I had].

Asia is looking, but also very obviously missing Alex – great staging by Sami, and the helmet flying in is pure genius [def didn’t script that one].

Then Alex hiding and sneaking away is so well handled, and having the feet at the door wasn’t in the script, but it adds so much more to this page turn, as does the inset panel of Alex looking up with that face.

I also remember getting the page back and thinking Tree was a genius for the colour changes across tiers, and then checking the script and seeing that I called for it. One of the very very rare times I’ve been ahead of the curve with a colouring note.

PAGE SIXTEEN

I’m hoping this dick-punching action swerving into a talking heads page messes with the flow with enough of a jarring impact that we all kind of feel like Alex in this moment.

Tree made that drink pop green and I love such a bold choice.

This was yet another page where a tonne of redrafting finally got me there. That balance – what do I need to express, what’s going to feel natural, what’s just enough. Eric has to drop some knowledge, he confesses that he’s got something similar to Alex – which is a tease into his abilities. He talks about how shit it feels, and this all teases his past, also.

I also had to pick the right examples for what it felt like. Just the right levels of dirty.

And then we kick in the Junkie XL jams as we drop that final panel. Sami draws faces so damn well. It’s one of the main things I try to script for him, because he nails it every single time. Totally on point emotional, slightly overplayed so to be heightened, but never comical.

And then that red eye.

PAGE SEVENTEEN

The entire sequence of Lon smashing the window, grabbing Eric, dragging him in, and punching him was one I just couldn’t see. Mapping that out wasn’t something I had in my head – in fact, I so rarely see locations in my mind first, especially when it comes to buildings/rooms. I’m lousy for it. So scripting this was kind of a Hail Mary, and you hope Sami can land it.

I mean, of course he can, so it’s maybe a Hail Mary from 30 yards out, but it’s still this blind zone for me.

For me, this page isn’t as exciting as the others, it’s a scripted moment to transition us from one place to another. These are the pages I want to refine. I think Lon punching him in the face is fine, and their banter is fine, but this is what I need to tighten up.

Though Sami’s inset panel of Alex is dynamite, and a great springboard into that final callback line that pushes us across to the next page…

PAGE EIGHTEEN

I love the way Sami draws fire. I didn’t realise it so much until we got stuck into this book, but now it feels written for him because that fire is so good.

Asia running in to help Alex, too cool his mind, is something I wish we could have given more real estate.

I do dig the idea that Eric can’t speak because Lon has lifted him up, and so we use the caption, but I wonder if it’s…necessary.

Eh.

I think the bigger problem is Eric’s reaction to all of this. He’s subdued because the story needs him to be. This is my weakest moment.

PAGE NINETEEN

The pose of Lon, and that inset panel, are my two favourite things on this page. That Sami also got the helicopter into the background is the third.

I gave Asia that line to make it sound like she’s mentally helping with his pain, but I don’t think I nailed it with clarity. It’s a band aid solution to my hack writing, and it’s not sticking.

Milla reading this whole thing like she’s reading a comic cracks me up.

This moment that finally ties Lon into this connection between Eric and Milla.

Though those two eyeball reactions to Eric’s line are for very different reasons, because each person hears the truth they know.

PAGE TWENTY

I’m hoping by this page, with Eric being so chill about his arm, that you think something extra is going on. Then Eric unpacks his story in as few words as possible, basically because. Who wants his whole life story? Hell no.

Milla is incredulous, and Eric is in charge again. He knows he’s in on this one, hook, line, and sinker.

Then we get Alex turning, with those eyes, which is totally just a metaphor. The dragon within him is alarmed. I wonder how many will take it literally, or hate that it’s not really. I wrote it as a lead in to what happens next. These eyes are the windows to his soul.

PAGE TWENTY ONE

The layered balloons was a gamble that I’m hoping pays off. It’s Alex hearing whatever the hell he’s going to hear, because in this current state he’s going to be pretty damn emotional, and also because it helps us justify what happens next. It’s all set up.

I think I scripted maybe 5, or 6, panels for this page. Sami truncated things and improved the flow so much. That second panel of Alex just looking out sells it all. You know what he’s thinking, so then your mind can fill in all the closure it needs between panels because you know the location and the character motivation, so you can participate and place the characters around the room a little.

PAGE TWENTY TWO

This page was an idea I had scripted, and I saw it taking place in complete profile, using the time of panels to show Alex falling. But then Sami did it from above…and it’s so much better, right?

But I think it’s the inset panels of everyone’s reactions that I love the most. Great idea from Sami.

Then there’s the colouring getting darker as the page descends, and Alex falls into darkness. I love it.

And I wonder if anyone noticed that the shards of glass coming out into the air kinda resemble a set of dragon wings. Because the dragon within is the beast to control.

I wanted to end this issue strong, make people definitely feel a whole lot about coming back for more, and so we planned this out quite early on. Alex jumping to his death, us watching him go down, it’s brutal. You have to come back next month to know more, right?

BACK MATTER

Truth, Beauty, Erudition – choose one

Fun, as always.

JAM SESSIONS

Damn, look at that LOOPER piece. Utterly stunning, Sami continues to crush it on these.

I liked doing this Jam Session with Dan Hill because I genuinely unlocked a few new things through the course of it. I also firmly had this flick’s aesthetic in mind when coming up with this world, the aesthetic, the genre mash up rules, the time period. Even had the score on a lot while scripting it.

THE TRUTH

Another fun page to put together. I can only hope some people dig these.

And that’s us for another month. Join us on the final Wednesday of August as #3 lands, you’ll see it on the stands because it looks like this:

EIR Kickstarter Launches

screenshot-2016-10-13-23-52-46EIR is here – an all ages sci fi one-shot comic for just $1

Enjoy.

THE CAMPAIGN JUST WENT LIVE – LINK

This all ages sci fi one-shot comic with:

Alfie Gallagher art

Triona Farrell colours

Ryan Ferrier letters

Dan Hill edits

and me writing is 24 pages of narrative we believe in.

And here’s why you should head along through the link and slap down some money, if you dig.

Backers in the first 24 hours at $3+ get themselves 4 extra all ages downloads that night for amazing books – MORE INFO HERE

This is an all ages sci fi story with a young female lead that’s got intergalactic adventure and is also deeply about how we deal with some of the hardest human emotions

If you make your own comics, you can pledge to get Alfie Gallagher to ink you one, and he’ll send you the art, while Triona Farrell colours the file and emails you that for use, strike quickly because this one won’t last – MORE INFO HERE

Oh, and every time we hit backer totals of 100 increments, I’m going to unlock 5 pledges to get:

EIR Post Parcel pledge level

@ $30, which will include:

  • EIR – the comic printed up
  • FATHERHOOD – a one-shot comic I wrote in 2013 for the parents out there
  • EIR Character Cards – I’ll print 3 character cards out, on card, just for you
  • EIR pin up print – an A4 print of the pin up!
  • A special, one of a kind, printed and signed script cover sheet with a 6 word story on it and a helmet sketch from Ryan K Lindsay.

So keep your eyes on my backer count and be ready to pounce, the first batch just went live, I wonder how long they’ll last. See you at 200, I guess.

This is my fourth Kickstarter campaign, raising over $10,000 for DEER EDITOR over 2+ years, and I’ve always delivered, and always make it a habit to make sure my backers get plenty and plenty of extras for their money.

This book is also insanely gorgeous, as Alfie/Triona just level up as an art team and bring everything out in beautiful four colour.

Still unsure, scope this great early review by LJ Phillips at Black Ship Books, where he says, “What makes the story so touching is the simplicity and sweetness of the conclusion. It ends with hope. Sometimes we don’t need to believe in monsters so much as to believe that we can defeat them.

Hit the campaign up, look around, get in cheap, get in for art, get in however you want, and please spread the word – indie DIY comics is a hard game, every recommendation matters, and books can die on the vine from apathy, so I hope we’ve excited you. EIR is something personal, and something wildly fun.

EIR KICKSTARTER LINK – $1 ALL AGES COMIC OR BUST

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EIR – Meet Your Next Comic Cover Team

EIR is an all ages sci fi one shot comic from Alfie Gallagher and myself coming to Kickstarter Nov. 01 – all basic details here.

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In our bid to raise a little capital for all of us in the EIR Corp Building, we are offering a very special pledge level, exclusive to 1 [one], and it’s of particular interest to those making their own DIY comics. Yes:

Meet Your Next Comic Cover Team

For $180 [Aussie dollars], you can work with Alfie Gallagher on inks and Triona Farrell on colours, to get a gorgeous cover for your own comic, and Alfie will even send you the OG inked artwork in the mail.

Putting together a DIY comic is hard, then getting it noticed is sometimes harder. Having a legit A+ cover helps that, and you can see from above, Alfie/Tree are a dream team. Need more convincing? here’s a cover style pin up they’ve also done for EIR:

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There are other opportunities to buy or request art from Alfie through the campaign, so scope his style here.

Our Kickstarter launches Nov. 01 @ 4pm EST [Australia] so set your alarms for that moment because I know this pledge will not last long, and it’s the sort of thing that will take your comic to the absolute next level, and also gets your office wall a superb slice of ink featuring your own character.

To consider Alfie’s level of cover game, just feast your eyes below. And prepare your November budget, because you will want this one, and want to get it quickly.

09 11 12 10

EIR – all ages sci fi comics for everyone, on Kickstarter, Nov 01.

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EIR is coming to Kickstarter in November

I’m heading back to Kickstarter in November with EIR

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This all ages sci fi 24 page one-shot comic is rocking Alfie Gallagher on art, Triona Farrell on colours, Ryan Ferrier on letters, Dan Hill editing, and me writing the script, all through my DIY imprint Four Colour Ray Gun.

The campaign launches on November 01, and there will be a sweet offer coming for those who back in the first 24 hours [more exciting info being released soon].

We’ll be starting the PDF of the comic at $1 – and we hope this lures in everyone who is, or has, a kid with a mobile device and who loves great genre fiction that doesn’t pander or talk down, has something important to say, and does it through insane intergalactic adventuring and a great young female lead in Sasha.

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The campaign will expand to more pledge levels:

  • a $3 PDF absolutely full of extras – process material/sketches/designs, the script, an essay about other great all ages comics, etc.
  • the chance to get some Alfie commissions @ $90, or a cover from him @ $110 [all crazy bargains, he’s just so good]
  • an Audio Commentary from me

At present, there won’t be any options to buy the book in print through the campaign [see my usual complaints about the Australian postal system/costs], though perhaps exclusive opportunities could become available throughout the campaign [and extras could come with those rare print copies]… :]

This will be my fourth Kickstarter campaign, after raising over $10,000 for DEER EDITOR with Sami Kivelä across 3 years, and I’m excited to launch something new, and completely standalone.

Also a reminder that you can VIEW THE EIR TEASER TRAILER HERE

The whole team at Helmet HQ is keen to get this book out into the world because it means so much to us, and we completely believe in it and love it.

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And we hope you do, too. DIY comics are fun to make, scary to make, and beautiful to get into the right hands. We hope you help us in November find all the people who need this and get us funded, and beyond.

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THANK YOU, and stay tuned for more news in the coming weeks to see all the reasons to get excited and how this campaign can also work for you.

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