Next round was a test page from a sample script Matt had written. A version of this was eventually run with the Hollywood Reporter announcement of the series. I love Matt's scripts -- brief, percussive, with highlight words to dictate the tone of the panel. Great to work from.
Lucky thing, too -- this Gil Elvgren painting became the basis for my Ellen Dolan, which apparently was one of the things that finally put me over the top. I had the gig! Now it was time to get to it, we needed the issue in a month. An appropriate start to a comics career.
More WILL EISNER'S THE SPIRIT by Matt Wagner, Brennan Wagner & me. Haven't actually looked at these in a while -- I'm appreciating how much Brennan's cool, lurid palettes do to make this really feel like the world of The Spirit, all damp and funky and uneven. He's GREAT on this. https://t.co/rAXJ9zZenr
That's right - I tend to think of it as the prime piece of information the page is meant to convey. In this first page, it's panel 1, where we realize the convo Bond and M are having is actually about M's daughter, while the 2nd page is all a setup for the comedy beat in panel 5. https://t.co/nrBfRWL1fh
@dancinaintfking That IS a good rule, although it's helpful to keep in mind that showing the environment doesn't always have to mean boots on the ground. Here's another page from SOLSTICE, in which Ibrahim Moustafa manages to move Bond from MI6 HQ to a train without drawing a single shoe.
