Notes: Talking
about weird hair ... I'm not sure WHERE Rob Adler's hairstyle came from
(must be a planet where they don't have wind, and the comb-over is still
in style).
There's a lot
of crosshatching experimentation on this page. In the first panel there's
the city-scape done without a border guideline. Not terribly original (or
effective), but it's something I hadn't done much of before this. Then,
if you look at each successive panel, the hatching lightens and the background
drops out. I was trying to achieve the effect directors do when they make
the lighting brighter while zooming in on the characters. In the end, we've
got Rob Adler and Mr. Omnivore nose to nose with everything else in the
room faded into fuzzy background. Today I could get the same effect with
one click of a keyboard ... but it was pretty instructive trying to figure
out how to do it by hand.
Also, look at
panels 2 & 3. You'll see my usual trick for making a "panning shot"
but there's something different about this one. Usually when I do this
the panel borders could be removed to make a single picture that makes
internal sense. In this case, though, panel #3 has a subtle bit of foreshortening
on Mr. Omnivore's face (to try to give the idea that he's turning to look
over his left shoulder at the same time the camera is panning right), and
his eye is focussed in a completely different direction than the other
one was in panel #2. (Check throughout the rest of the book ... they always
work in tandem ... I didn't want a villain with "googly eyes.")
It was fun writing
Omnivore's speech. I do so LOVE an intelligent bad guy, especially when
he's in control. I hope that his dialogue is reminiscent of Sydney Greenstreet
("the fat man" in The Maltese Falcon and Casablanca), or
comic book characters like Lex Luthor and the Kingpin. Hmmmm ... funny
how they're all bald.
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