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Entry tags:
- adaptation,
- art,
- comics,
- ds
DS Comic: Speranza's "Interrogation," Part 2 (pp. 4, 5, 6)
Part 2, or "how many different ways can Ray yell at Fraser?" (And there's still more to come, people!) Story by Speranza, art by me. Part 1 here.
Page 4
Page 5
Page 6
Artist's Notes: Ha. Hr. Hm. These take a lot of work, but I'm a little bit addicted. (Okay a lot bit.) I've had to revamp some of my thumbnails because the amount of material I wanted to include per page was ridiculous. On the plus, I'm having to look at reference photos less, which either means I'm getting to know what the guys look like or I'm slowly straying from reality.
Today I remembered what doing this reminds me of. When I was about twelve, I did a comic book version of a sci-fi story my brother wrote when he was about fifteen. (By this time he was about twenty-two and embarrassed of his teenaged work, but I really loved it.) I don't know why it never occurred to me to do comics of my favorite fics before, as apparently that is my M.O.!
Page 4
Page 5
Page 6Artist's Notes: Ha. Hr. Hm. These take a lot of work, but I'm a little bit addicted. (Okay a lot bit.) I've had to revamp some of my thumbnails because the amount of material I wanted to include per page was ridiculous. On the plus, I'm having to look at reference photos less, which either means I'm getting to know what the guys look like or I'm slowly straying from reality.
Today I remembered what doing this reminds me of. When I was about twelve, I did a comic book version of a sci-fi story my brother wrote when he was about fifteen. (By this time he was about twenty-two and embarrassed of his teenaged work, but I really loved it.) I don't know why it never occurred to me to do comics of my favorite fics before, as apparently that is my M.O.!
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I adored comic books when I was a kid, and even when I was in college I kept a subscription to Spider Man, as relief from school work and work-work.
I'm really enjoying your adaption, and I'm going to wait to read the story until after the comics are finished. These guys are a great contrast, the way you've drawn them, Fraser so solid and steady and Ray so kinetic. Love the bracelet, nice detail.
I appreciate all the work you're doing. These are really fun to look at.
Laurie
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(THEY GET TOGETHER)
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I love how close-together Fraser and Ray keep standing. Was it really that close in the show? (Probably, huh?) I can see that I have to give the later seasons yet another watch-through. ;)
These comics also look a lot more . . . cleaned up than some of your other work? (I love your other work, but it stands out a bit.) The inking looks great.
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Close-together-standing - nah, maybe not quite that much in the show, but in the story. The first panel of the second page, with them standing super close and a bunch of brick wall behind them showing all the space Ray COULD be taking up but isn't, is meant to illustrate the passage: "Ray took a small step backwards and dropped his hands, giving Fraser some space, but not much. The sense of claustrophobia was intense..." Also, he has to stay in arm's reach if he's going to keep grabbing Fraser by the shoulders randomly!
Cleaned-up: Yeah, I'm doing more work on these than I do on L&E - because it's an adaptation, because it's for a person, and because it's Fraser and Ray and 1. they're real targets to hit, not characters I made up and can say, "good enough, that's probably what they look like," and 2. I love them. (Not that I don't love Lance and Eskimo, but I'm not fangirlish about it right now!)
Like for these I am actually doing thumbnails, roughs, and then a final pencil version, which I then ink. For L&E I just basically ink over a full size thumbnail.
Still, these still come out looking a lot less close to what I want then L&E does. Sigh. Probably due to that whole "real people" thing.
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Clearly I should read the story as well as the comic. Well, I keep saying I'm going to try some of Speranza's Fraser/Kowalski.
I hear you. When I was doing a lot of real people-based comics and illustration last year, I had to keep reminding myself that I am really not a portrait artist, and that if versions of characters in "my style" didn't look exactly like themselves, that was fine (even right).
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If Speranza's Fraser/Kowalski doesn't make you love them, I don't know what will. And the Zebra vid (http://www.intimations.org/vidding/). Which I think I've already told you is like my all time favorite love song to RayK. He could be a gentleman! He could be violent! He could be ignorant, or he could be informed! HE COULD BRING LOVE BACK INTO HIS LIFE. (Canonically he wants to.) Okay, I'm done.
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http://blip.tv/file/2296407/
And honestly, don't worry about ME--you be true to what YOU want to do. Its YOUR artistic vision at stake here: bend anything about the story to that!
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Trust me, the text is not an impediment to my artistic vision - it's giving me inspiration and focus and clear goals. I love clear goals! My ability to meet them to my own satisfaction is, well, I'm working on it. :)
I just now drew an awesome sketch of Ray's pointy face, btw. I think the next set is going to be good.
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you're really good at depicting that "body language" stuff, aren't you?
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Take page four, for example:
Panel one: From the story (http://www.trickster.org/speranza/Interrogation.html): "Ray was sitting on the edge of the interrogation table, arms crossed, jaw clenched. He looked up as Fraser entered the room."
Panel two: "Fraser stepped in and closed the door quietly. He took off his hat and placed it carefully on the table next to Ray." (Okay, I guess I added Ray kicking back the chair and pointing to it. I had to have him do something and I was going by his dialogue.)
Panel three: "To his surprise, Ray growled, jumped off the table, and slammed him back against the door." (I admittedly omitted the growl.)
Panels four and five are supposed to be, "Ray's hands were knotted in his jacket now; Ray was knocking him back against the door to emphasize all the important words..." From my picture you could probably get the impression it was more of a static push-back kind of thing, but I didn't want to use all kinds of panels showing the movement. I suppose I could use have used motion lines or something but I'd already used a cheesy "bang!" effect behind Fraser's head in panel 3 and it was just too much.
Panel six: Okay, for this one it's just facial expression trying to communicate a thought process; in case you were wondering, it's: "I'm missing something here, Fraser thought. There's something I'm not seeing, or not understanding, or not correctly interpreting."
Panel seven: "'If you insist, Ray,' he said finally, and Ray seemed to relax a little."
See, I have so much to work with!
(Sorry for, um, answering your sweet, short comment with like a Cambridge Companion to My Silly Comic type essay.)
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Also, the last panel in page 5 just kills me. It's RayK's eyes. He's so hurt that Fraser is pursing a quasi-investigation of his own . . . How hurty.
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Oh well! It works either way. :D *finds Ray's despair delicious*
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