Blog

The Better to Find You With page 24 is up.

If you’d like to read the comic pages early click here! Right now page 28 is up

I said yesterday I wasn’t happy with Robert’s injury. It’s not said in the story but his knee cap was shattered while working with Connor. Since it’s the future I didn’t want his dealing with that to look the same way it looks here. I looked at some current day full leg prosthetics, knee replacement diagrams, knee braces, and a hand full of robotic leg designs. It’s kinda a more advanced knee brace that is providing strength and stability to his leg. He can take it off but isn’t as mobile without it.

Hey folks! I’ll be at ECCC this week. I’m at table 208 right near the sky bridge. I’m tabling with Sloane Leong, Kory Bing, Jose Pimenta, Evan Dahm, and Meredith McClaren.

I also got two panels I’m on.

How to Run a Anthology and Not Screw It Up – Thursday at 1:30 – 2:30 in room WSCC 604

D20 Dames podcast – Saturday at 1:15 – 2:15 in room WSCC 210

The last bits I needed to sit down and design for the next City Between book are some more minor characters. Roberts is an older cop who was injured while working with Connor and is mostly on desk duty. I wasn’t happy with how I was showing the injury but I like how his face and body turned out.

Page 155 – 160

Here’s the last team meeting at the diner. I wanted to quickly establish that the other girls are aware that Cu is missing. Also Rae is having trouble hearing them. There are a few times where Rae says something that isn’t quite an answer to their question. I wanted her dialog to be slight disjointed from what everyone else is saying. Her not hearing them completely is why she doesn’t pick up on Morgans “find” bit

I feel like Elsie calling Billy a monkey, him calling her a horse face, and there mom telling them both to shut up is basically their whole life.

I always like that bits of food coming from Elsie’s mouth when she talks with her mouth full.

page 161 – 163

I like Elsie’s face when she realizes what Morgan is up to. Showing Kimber slowly warm up to them now that this book is finishing up. And oh hey it’s because they are listening to her! Funny that.

page 164 – 167

I had fun drawing Elsie’s wind up and then ricochet off the invisible barrier while Morgan leans on it. And then I like Elsie leaning on her hammer. As Morgan finally reveals her dream stuff and they come up with ideas I wanted to show that Elsie and Morgan know Rae is the weak link in the teamwork department. Sometimes there doesn’t need to be a big conflict to figure out you don’t like someone or they don’t like you.

page 168 – 172

Elsie’s confusion at being called a villain I think is funny. It’s also a big part of the book. As a team they are being Morgan le Fay but they (and no one really) don’t think of themselves as the villain. It might be a little on the nose but it’s in character for Elsie.

In general I like how this fight came out. That three tall panels for Elsie’s attack breaks of the panels nice and is fun to draw. It’s why I went back to it over and over in the series.

When Arthur grabs Morgan’s cape and yells at her is supposed to be when Morgan realizes it’s Billy. I made sure we could see that the same tooth is clearly missing in that shot. So after drawing attention to it all book, the reader could see what Morgan notices.

That CRK is cause I wanted it to be clear that Elsie is really hurting Billy here.

page 173 – 176

The tone of the fight changes and slows down here. I wanted it to sink in that this is the first time they hurt a person and not weird animal monsters from the last book.

I used a lot of down shots and pulled away to make them seem smaller while they take things in. The exceptions being when I wanted a clear look on their faces like Elsie’s “Well… maybe” panel. And when she leaves worried. Also, Morgan doesn’t really move after it hits her which is supposed to be a contrast to Elsie moving a lot. Elsie keeps looking back and forth at Morgan and Arther and fidgets and pushes back her hair. They are a lot a like but I wanted to show that contrast when faced with something serious.