miércoles, 6 de abril de 2016

Salón del Cómic de Barcelona: Entrevistas con editores.

Como comenté ayer en FB, este año vienen 4 editores al Salón del Cómic de Barcelona. Quiero hacer un recordatorio de como presentar pruebas y proyectos: 



  • Empecemos con los dos editores franceses. De Dargaud viene Philippe Ostermann, y de Glénat viene Olivier Galli.



En un portafolio de plástico, incluye fotocopias o impresiones de las siguientes cosas: Una breve sinopsis de 4 o 5 líneas del proyecto. -nombre del proyecto, duración del proyecto en álbumes, etc- Un resumen del primer volumen (sí el proyecto es de una serie) de una docena de líneas. Algunas fotocopias de páginas en blanco y negro, entintadas y maquetadas. Estas páginas deben ser del principio de la historia. También es interesante ofrecer varias páginas de otros proyectos. En lugar de treinta páginas de una historia, es mejor ofrecer unas pocas páginas de otros proyectos. Al editor podría no interesarle necesariamente que trabajes en tu proyecto, y que colabores con un escritor de renombre en otro proyecto.

Fotocopias en color de las páginas, si es que existen, pero no son esenciales. Tenerlas en una tablet a mano por si las impresiones no son muy fiables, es una buena idea. 
También incluir un story-board, pero tampoco es esencial. Un estudio de los diferentes personajes, con bocetos de apoyo.

Ejemplos de trabajos ya publicados, en caso de que existan. Recuerda también algo importante: sé que es obvio, pero los franceses leen en francés, y quizás en inglés o español.

  • Continuemos con los dos editores americanos, uno de IDW (Ted Adams), y otro de Vertigo.

Para estos editores presentar un proyecto puede ser bastante fútil, pero puede que les guste el arte secuencial del proyecto. Sobretodo buscan autores secuenciales que hagan dibujo y tinta.
Si eres entintador pon la versión de lápiz junto a tu tinta. Y si eres colorista, pon la versión de la página de tinta junto a tu color. 

Un editor americano necesita como mucho 6 páginas de arte secuencial para ver tu capacidad. 

Ahora voy a poner páginas de guiones de la editorial:

IDW Publishing:

PAGE ONE
SPLASH
NIGHT
Four Joes paddle a black Zodiac rubber raft through oil-skimmed water between two cargo ships at anchor. The raft is black with black outboard motor with the screw out of the water. In the raft are Duke, Beachhead, Flint and Ripcord. The Joes are heavily armed and camo-painted on face and hands. They have all close-quarters firearms. Your choice of MP-5s, cutdown M-16s and 12 guage pumps. Handguns, knives and the rest. Beachhead wears night-vision equipment. All wear caps except Duke whose head is bare. Whatever angle you choose make Duke your focus.
                1 CAPTION: AFTER ACTION REPORT CLASSIFICATION ULTRA-ULTRA.
                2 CAPTION: OPERATION DESIGNATE: PAINTED HORSE
                3 CAPTION: AREA OF OPERATION: HAYADARPASA LTD SHIPPING YARD, INSTANBUL
                4 CAPTION: REPORT AUTHOR AND OPERATION LEADER: CODENAME: DUKE
                5 CAPTION: Stealth insertion via Zodiac at GMT 0100.
                6 CAPTION: Target: suspect illegal arms shipment bound for USA port.


PAGE TWO

PANEL ONE
The team climbs up the rusted hull of a container ship in single file. The raft is anchored below. The team uses inset hand and food holds in the hull. Duke in the lead.
                1 CAPTION: We boarded the Benin Pearl (Liberian registry) without incident.
                2 CAPTION: I assigned myself to point.

PANEL TWO
Some kind of creep leaning back on a railing and looking bored. Make him an central Europe type guy. Thuggish type who needs a shave and probably a shower. He wears a wrinkled print shirt over a tank top and has an AK-47 slung over his chest.
                3 CAPTION: Personnel on board reported as members of the ZOGC militia.
                4 CAPTION: They have some kind of grievance with the Macedonian government.

PANEL THREE
Repeat panel. Duke has come up behind him and claps a hand over the thug’s mouth and has the thug’s throat in the crook of his arm in a chokehold. The thug looks surprised. His hands spasm.
                5 CAPTION: Goes back to when Alexander was in diapers.
                6 CAPTION: Long story short; they’re thugs with connections to the global underworld.

PANEL FOUR
Duke moves down the deck with weapon raised and looking wary. Behind him, Flint drags the inert thug into the shadows between two containers. Beachhead is on deck and covering behind them. Ripcord climbs over the rail.
                7 CAPTION: Beachhead takes drag.
                8 CAPTION: Flint and Ripcord stay on me.

PANEL FIVE
Gloved hands use a cutting torch on the hinges of a ISO container’s doors.
                9 CAPTION: Cargo aboard has been cleared for transship to Port of Tampa by US Customs.
                10 CAPTION: But you can still open an ISO container’s doors without breaking the seal.


PAGE THREE

PANEL ONE
Largest panel.
Eastern European thugs have a container open on the open fore deck of the ship. They’ve cut the hinges and have pulled both doors aside. The container’s still rigged up to lines from a crane. The hatch covers are off the front hold. The idea is that these guys lifted this container out of the forward hold. The rear deck is piled three-high with containers. The thugs have dragged crates from inside the container. They pry one open. Packing material spills from it. The thugs are all armed to varying degrees and dressed in a mix of military clothing, soccer jerseys and ugly print shirts. There are other (weapons) crates piled on the deck.
                1 CAPTION: They cut the doors and re-weld them after they’ve re-loaded the ISO with their contraband.
                2 CAPTION: On paper the cargo is toys manufactured in Ceylon.

PANEL TWO
One of them pulls a silly-looking stuffed animal from the packing stuff and frowns at it. A cartoon elephant or whatever. Juxtapose with the seriousness of what’s going on.
                3 THUG 1: Какво е това? Глупави кукла?

PANEL THREE
Another thug grins as he pulls a shoulder-held rocket launcher from a weapons crate. The other thugs look at the launcher with open lust.
                4 THUG 2: HA HA!
                5 THUG 2: Бихте ли скоро играят с това,?

PANEL FOUR
All react as a pair of canister grenades bounce across the deck at them. The grenades spray smoke and sparks.
                6 CAPTION: Turkey’s a NATO member and this mission is strictly off-the-books.
                7 CAPTION: The goal is a non-lethal intervention.
                8 THUG 2: uh?


PAGE FOUR

SIX PANEL GRID

PANEL ONE
The thugs react as the grenades go off in bright flashes of light and lots of smoke. They stumble back. They cover their mouths. They cough and hack. The one holding the rocket launcher backs away.
                1 CAPTION: XM-84 Stun grenades.
                2 CAPTION: Maximum flash and bang. Minimum slash and bleed.

PANEL TWO
Duke leads Flint and Ripcord through the smoke with guns raised.
                3 DUKE: Позволете ми да видите ръце! Хвърлете пистолети веднага!*
                4 BOX CAP: * LET ME SEE HANDS! THROW THE GUNS AWAY!

PANEL THREE
Beachhead is atop a container and aiming his weapon down at two thugs who drop their weapons.
                5 BEACHHEAD: Ужасна идея, господа.*
                6 BOX CAP: *BAD IDEA, GENTLEMEN.

PANEL FOUR
Flint stands with his foot on the back of a thug facedown on the deck. He presses his shotgun to the back of the thug’s head. Duke shoves coughing thugs into line as he tosses their weapons aside. Ripcord stands and covers them. The smoke dissipates.
                7 FLINT: MY BULGARIAN’S RUSTY. YOU UNDERSTAND THIS, HOTSHOT?
                8 DUKE: WE HUSTLE THEM OFF BOARD AND APPLY THE THERMITE TO THIS SWAG.
                9 RIPCORD: THIS MISSION IS A CHICKEN-CHASER, DUKE. I SAY WE SINK THIS TUB WITH ALL HANDS.
               
PANEL FIVE
Duke and Ripcord hustle the thugs into a kneeling line. They have hands on the backs of their heads. Flint looks off panel and raises his shotgun.
                10 DUKE: YOU LIKE INTERNATIONAL INCIDENTS, RIP?
                11 RIPCORD: DO SWEDISH BIKINI MODELS COUNT?
                12 FLINT: DUKE, WE GOT A TOUGH GUY.

PANEL SIX
Flint holds his weapon on the guy still holding the rocket launcher. Duke shouts at him. The guy looks angry and stressed as he backs away by one side of the open hold.
                13 FLINT: DROP THE STINGER, CHIEF!
                14 DUKE: Загубят това!
                15 THUG 2: Преминете към ада!
               


PAGE FIVE

PANEL ONE
The guy with the rocket launcher fires it down into the hold of the ship. Lots of smoke and a big flash from the rocket and the tube.
                1 CAPTION: Mission intel reached the Pit less than six hours prior to kick-off.
                2 CAPTION: This operation was run on rough guesstimates and urgent need.

PANEL TWO
Duke, Flint and Ripcord are turning as a fiery blast explodes up from the hold.
                3 CAPTION: We went with what we had.
                4 CAPTION: The risk factor took over from there.

PANEL THREE
Pullback shot. The container ship is rocked by a blast that consumes the foredeck and blows the hull plates outward. Crap is thrown skyward along with human figures. The concussive wave roils the water and rocks the other ships at anchor.
                5 CAPTION: And Hell yawned wide when that Stinger lit up the HE belowdecks.
                6 CAPTION: Messy but the mission goals were achieved.



PAGE SIX

SIX PANEL GRID

PANEL ONE
Beachhead is in the Zodiac as burning crap falls all around in the water. He’s dropping the outboard’s prop into the water. Flint is clambering into the raft. Ripcord swims for the raft. Beachhead calls out.
                1 CAPTION: All that was left was to get gone.
                2 BEACHHEAD: SING OUT!
                3 FLINT: FLINT COMIN’ IN!
                4 RIPCORD: RIPCORD, YO!

PANEL TWO
Duke backstrokes for the raft dragging a wounded thug through the choppy water. Beachhead is starting the outboard.
                5 DUKE: DUKE, YO!
                6 DUKE: GOT A LIVE ONE!

PANEL THREE
The others help Duke pull the wounded thug on board as the raft takes off. The thugs clothes are scorched and tattered and stained with oil.
                7 FLINT: THIS GUY’S BOUGHT IT.
                8 DUKE: WE JUST NEED A LEAD. THE SUPPLIER OR THE END USER.

PANEL FOUR
Duke has his head down with his ear close to the dying thug’s mouth.
                9 DUKE: Кажи ми нещо, приятел. Отидете на Бог в мир.*
                10 DYING THUG: (WEAK) …
                11 BOX CAP: *TELL ME SOMETHING, FRIEND. GO TO GOD IN PEACE.

PANEL FIVE
Duke raises his head to look at the others.
                12 FLINT: WHAT DID HE SAY, DUKE?
                13 DUKE: COBRA.
                14 BEACHHEAD: THAT’S ALL? THAT A WHO OR A THING?

PANEL SIX
The raft races from the harbor with the burning container ship blazing away and sinking by the bow.
                15 FROM RAFT: NO IDEA, BEACH.

Para Vertigo, no os preocupeis de usar un guión que no sea de la linea "Vertigo", uno de DC Comics o Marvel Comics será aceptado igual. Pongo dos de prueba.

De Marvel Comics

ALL NEW X-MEN script
BY Brian MICHAEL BenDIS

Page 1-2
Double page spread
Ext. Latervia courtyard- dusk
Battle Royale.  We are flashing forward to a giant battle where the reconstituted and regathered ALL NEW X-MEN AND THE ULTIMATE X-MEN AND ULTIMATE SPIDER-MAN VERSUS DOCTOR DOOM AND AN ARMY OF DOOMBOTS.
That's right! Jean Grey, Iceman, Angel, Beast, X-23, and Miles are teamed up with Jimmy Hudson/ Wolverine, Ultimate Jean Grey, Kitty Pryde, Ice man (Ultimate), Rogue, Firestar and a very angry Storm who are all overwhelmed but fighting the good fight against a gigantic army of fully operational Doombots.
On the ground, on the bottom right of the spread, in front of his castle, fighting but not letting the X-Men get anywhere near him, is Dr. Doom.
He has excellent weaponry. Futuristic. Stuff he had been working on since his Baxter building days.  He is taking aim at anybody he thinks he can take out.
But his swarming army is getting in his way of a good shot.
You can literally do whatever you want here. Enjoy the madness. Make it your own. Wolverine and X-23 is slicing and dicing.  Angel is flying in between them and letting them attack each other.  Storm is using lightning like a ray gun from the sky.  Kitty is phasing through any Doombot she can get her hands on and short circuiting them when she does.
Jean Grey is flying around and using her telekinetic bolts of energy. Both iceman are sliding and attacking. Beast is pissed off and really going at it.
Reads: LATVERIA, CASTLE DOOM, NOW.
Ice man
I have to tell you today did NOT turn out like I thought it was going to AT all.
Ultimate ICE MAN
I know, right?

Page 3
1- On the ground, Rogue slams down on a couple of Doombots who are just about to jump on SpiderÐman.
She slams it down so hard the mask pops off and the circuitry is sparking and visible.
Chaos in every panel.
Spider-man
Whoah, thanks Rock.
Rogue
No problem, Spider-man...and it's Rogue.
SPIDER-MAN
Rogue? I thought it was rock this entire time.
ROGUE
How embarrassin' for you.
2- Sky- Ice man spears slices through the back of the neck of another Doombot as Angel flies right for us...distracting them.
Spx: chuck  chucckk
Angel
Nicely done, Bobby!

Oh wait, you're not my Bobby.

You're the other one. 

No wonder you did that so well.
Ultimate ice man
Uh, thanks?
3- On another part of the courtyard, Ultimate Jean Grey is down.  Her arm is smoldering.  Burnt.  She can't fight.
Beast is just seeing it and is disengaging his attack and is about to help her.
Ultimate jean grey
AGGH!
Beast
Jean!
ULTIMATE JEAN GREY
I'm okay, Beast!

Get Doom!
4- From behind SpiderÐman, in the middle of the now filthy courtyard chaos is Dr. Doom.  Powered up and blasting away. Backing up his own army.
SpIDER-MAN
Doctor freakin' Doom...

Crazy.
5- X-23 has Spider-man's back.  They are both sweaty and getting filthy.  Chaos all around them.Crashing Doombots.
X-23
Watch your back, kid.
SPIDER-MAN
I'm going to try something. 
X-23
Well, do it then.
SPIDER-MAN
Cover me, lady wolverine.
X-23
Call me that again and see what body part I take.

Page 4
1- Across the courtyard, All New Jean Grey is up behind the hurt Ultimate Jean Grey and is sending out purple powerful psychic blasts to keep any and everything away from her.
Jean grey
Oh my god, you're hurt.
ULTIMATE JEAN GREY
I'm okay.
JEAN GREY
We're both psychic and pretty much the same person, Jean, so you can cut it out with the brave face. 

We need to get you off this field.
2- Spider-man is dodging two Doombot blasts and running right towards us.  X-23 is following him.
Spx: sham shamsham
X-23
Go!
SpIDER-MAN
Don't follow me, just watch my back.
3- Same.  Spidey is running for us and turning into cammo mode.  Chaos all around.
4- Over Spidey's cammo mode shoulder, At ground zero of the fight, in the chaos, Doom, glowing with power and snarling in rage, looks right at us with snarl and sinister.

Page 5
1- Across the courtyard, all new Jean Grey is up behind the hurt Ultimate Jean Grey and is sending out purple, powerful psychic blasts.  But she sees or feels what Spidey is doing.
JEAN GREY
Miles...

…What are you doing?
2- From behind Doom, Miles is in cammo mode and leaping for Doom.  Trying for a hail Mary venom blast.
3- Miles' p.o.v.  Doom turns and looks right at us/ Miles and opens fire.
DOOM
Child.
4- Same as panel 1, but tighter on a horrified jean.

De DC Comics

Red Hood and the Outlaws #1

PAGE SIX

PANEL ONE
EXTERIOR of the PRISON. Everything is calm out here compared to the CHAOS going on in the courtyard
PANEL TWO
WHAM! WHAM! The TWO MERCENARIES that were guarding ROY are now TOSSED through the WOODEN DOORS, splintering them!
PANEL THREE
Like BUTCH and SUNDANCE, ROY and JASON come running out FIRING their WEAPONS at “us”… (NOTE: ROY has taken the QUIVER and slung it over his own shoulder by now… and RED HOOD has torn away the remains of his OVERWEIGHT
PASTOR COSTUME.
Roy is annoyed by all the gunfire out here as he asks “Did you spend two minutes actually THINKING about an escape route or was it just enough to break into prison for your friend?”
“Friend?!” Ask RED HOOD…
PANEL FOUR
… he indicates a PRETTY BEAT-TO-SHIT JEEP that LOOKS as if RED HOOD has just purchased it from a local villager. Seriously, Kenneth, it looks like it is held together with duct tape and toothpaste! ROY is like “You are shitting me, right?!

PAGE SEVEN
PANEL ONE
But JASON is already leaping behind the wheel (still firing at even MORE SOLDIERS who are just showing up…) even as ROY is LEAPING OVER HIM, firing his BOW and ARROWS so ROY is about to land in the PASSENGER’S SEAT.
PANEL TWO
A MOMENT LATER, RED HOOD and ROY are SPEEDING across the DESERT – on such a bounce, ROY is almost having to hold on for his life. Even though things look TERRIBLE for these two, ROY is smiling as he asks his friend why he came for him? “I
thought you said if I took this job I was on my own!” (He loves teasing his friend - -always pushing his buttons.)
PANEL THREE
RED HOOD is twisting and turning the wheel aggressively as he says the “Only reason I’m here, Roy, is because if you die that would leave ME the World’s Most Fucked-up Former Sidekick” (Or words to that effect.) ROY, we see, can GIVE IT better than he can TAKE IT: He’s annoyed by HOOD’s “tease,” pouting. (This remains a sensitive subject to ROY!)
PANEL FOUR
ROY screams and points as he shouts “TANKS!” to which RED HOOD says “You’re welcome.”
PANEL FIVE
But then we see, NO, Roy was talking about the THREE OLD TANKS that are ON the “road” in front of them!!!! All three TANKS have their GUNS aimed at ROY and RED as they speed towards the tanks. ROY is NERVOUS, RED is not.
“I hope you have at least one good back up!” Roy shouts. 
“38 of them” smirks Jason.

PAGE EIGHT
FULL PAGE SPLASH
The TANKS explode as STARFIRE appears BEHIND the TANKS with BURSTS of her STARFIRE POWER detonating all three tanks at once.
(STARFIRE, here, is a warrior princess: She is FIRM, as she always is, yes, but she is not necessarily enjoying this. She may BE quite the warrior, to be sure, she isn’t WOLVERINE, she doesn’t LOVE it. In fact, she probably feels the way I feel when I use RAID on ants – that I am being unfair to the ants. )
Either way, it is QUITE the SPECTACULAR introduction to this character.

PAGE NINE
PANEL ONE
Racing TOWARDS the HOVERING STARFIRE – it is clear that ROY is staring up at her “best assets” and is stunned at the sight of her. He is just in awe at the sight of this gorgeous, sexy, nuclear reactor hovering over them.
RED is trying not to boast as he says something like “Yeah. I’ve had that.”
PANEL TWO
As they SPEED over the remains of the TANKS, ROY is incredulous – there is no WAY that Jason could EVER have a ‘Girl that hot! Never. No way. No how.” Jason gives him a look as if to say “What can I say? Chicks dig me.” (He knows he’s pissing off Roy . And
NOTE: Yes, I am avoiding the subject of DICK or anything that has to do with their past… we’ll discuss more and nail it in script!)
PANEL THREE
But an INSTANT later, a SEXY KORIAND’R is flying beside the JEEP as it speeds through the desert. She is pretty sweet and loving as she asks Jason if there is anything else she can do to help him. Jason asks her if she’d “be a sweetie and scoot up ahead and keep an eye out for helicopters between here and the border?” (The fact he is being quasiromantic and nurturing here, still in his RED HOOD outfit, is played for laughs: sort of faux domestic bliss amidst all this chaos.)
PANEL FOUR
She looks at him as if he was a cute three year old who just said the CUTEST THING IN THE WHOLE WORLD – as she promises everything will be fine!
PANEL FIVE
She SPEEDS ahead (leaving only a trail of Starfire-flame in her wake)… leaving JASON to look a little smug next to ROY who is sulking that she didn’t even say hi to him.
(Awww, it is kind of sweet the way they get along, like brothers.)
PANEL SIX
We are behind them as they SPEED into the sun – maybe we see STARFIRE up ahead of them. (It should feel like the ending of a movie, Kenneth.)

PAGE TEN
PANEL ONE
A stunning and pristine island in the Caribbean – the beach is BEAUTIFUL, the SUN is shining, white sand for as far as the eye can see. This is PARADISE! (NOTE: It is a PRIVATE BEACH so there is ALMOST no one else around.)
PANEL TWO
KORIAND’R (in anything BUT a purple bathing suit – PLEASE!) is walking out of the water looking like the most gorgeous creature in the whole universe…. Really, she is PAINFUL to look at, that is how HOT she is.) She is all smiles, though, clearly she has NO IDEA the effect she has on men. (We’ll learn in CAPTIONS she’s just happy to be free: any day where she goes to bed free and wake free is a good day.)
NOTE: This is a T1 book, maybe she is wearing a white top that plasters its wet self to her skin? Hmmm?
NOTE: We GET that SOMEONE is taking her picture with a CELL PHONE.
PANEL THREE
As she is swishing her hair around to get it to dry, we are HERE behind a PALM TREE with an 8 year old KENETH ROCAFORT: he IS NOT LUSTING AFTER the image on his cell phone, but he IS excited that he’s gotten a picture of the STRANGEST THING HE HAS EVER SEEN IN HIS LIFE: the orange-skinned, green eyed KORIAND’R.

PAGE ELEVEN
PANEL ONE
As ROY is sitting on the beach in a lounge chair, he is OPEN-MOUTHED SHOCKED at the sight of KORI emerging from the water onto the beach: seriously, it HURTS that she is so hot.
Roy, impressed by Jason’s simple island lifestyle, admits “ I always used to think of you holed up in, like, an old opera house in Gotham City, pounding on an organ and planning ways to kill Batman or shit like that."
"Pfft. Gotham sucks” confesses Jason. “Truth is, I spend as little time there as possible.
And the more of the world I see, I'll be honest, makes me think all the psychotic scumbags that live there deserve each other. And the villains too."
NOTE TO KENNETH: I think ROY probably likes sort of loud Hawiian shirts, but I think that could interfere with his tattoes? So maybe HE is shirtless and wearing swim trunks and Jason is wearing… a red T-shirt? Is that too much? We should really think about what they look like without their costumes. S!
PANEL TWO
ROY is now SERIOUS as he leans on one elbow to talk confidentially with JASON as he says “Seriously, Jason. What’s gonna happen when she finds out about you and her ex?” JASON shrugs as he says “Unfortunately, it won’t matter.”
PANEL THREE
As he talks, DARK CLOUDS are SUDDENLY FORMING BEHIND HIM. He ALMOST looks a “little evil” as he explains “It turns out Tamarans don’t see humans the way we do. To them we’re just lights and smells… and they have very short memories about all things Earth. Seriously, when you have a chance, ask her about that group you used to hang with. Nothing. No memory.”
PANEL FOUR
ROY smiles a slightly dark smile, as if to say “This could be fun.” (Sorry, he’s not the nicest guy in the world.)
ODDLY enough, there is a WOMAN IN BLACK in this panel, standing between them…. BUT Roy doesn’t see her. (We only see her from the elbows to her knees, sort of– we don’t see her head.) She is saying “Jason. A word with you…”
JASON is sitting up, excusing himself from Roy.
PANEL FIVE
But as JASON stands and starts to walk off towards us (THE SKIES above him are now PITCH BLACK but SUN still shines on ROY and farther away KORI) there is NO SIGN of the WOMAN IN BLACK from a moment earlier! This is a WIDE ENOUGH shot that it should STARTLE US – where the hell is this woman?! Could… could Jason be hallucinating?

Pero si quieres enseñar algo de Vertigo... aquí tienes el Invisibles vol.3 issue 2

Page 12, Frame 1: Jack is walking with Satan - as seen in V.2:20 - through the devastated London of the Outer Church.
Frame 3: Jack and Satan walk across the dreadful wasteland past the girl with the baby. We follow them. Up ahead, there are huge grotesque Chris Weston bug-things glimpsed through a swirl of toxic mist. Beyond that, we see what could be towers like Westminster in the haze of the bleached horizon. This is a world of endless repeating horror, defoliated and bombed and roamed by the monsters of the Outer Church.
Frame 5: Jack and Satan walk under the hideous flea-monstrosities. Jack looks up at the horrors which really don't seem so horrible after all.
Page 13, Frame 2: Jack and Satan. The great flea-things seen in background are reaching up to pluck fruit from luscious trees that grow here. Grass emerging from the cracks and ruin in the distance as the landscape subtly changes, flushing with life. Greenery beginning to appear between the cracks.
Frame 3: Longshot following Jack and Satan towards the Invisible College, alive with lights in the wonderful twilight. Three figures wait ahead, silhouetted by the green light of an eerie floating circle. We've never seen the Invisible College from here before. We're behind it and there's a river with a bridge and the general ambience is of dreaming spires and scholarly evenings.
Frame 5: Jack turns his head and we see the movement as a process through time, like a solid timelapse, bone merging to bone, the turning mouth like a yawning gash of teeth, the eyes repeated.
Page 14, Frame 1: With the head of the creature in the foreground, the time maggot that is Jack Frost stretches towards us.
Frame 2: Pull back from the moment, Jack extends into the future also and the future is seen as a steaming amniotic information broth in which potential forms are curled in wait.
Frame 3: And back in a great knotted life cast - the shape we make in the surrounding space as we progress through time.
Frame 4: And back - a huge centipedal tree of time, human lives extended back - the whole thing glimpsed through the smoky red light of the seething crystal sphere in which the whole monstrous anemone of all life on Earth and all the failed branches...a great timetrack expressed back to the mitochondrial roots. The true shape of life on Earth. The spheres intersect and swallow one another like hungry sphincters, collapsing and whirling tunnel vortices across the structure of the time solid - the universe as a single entity.
Frame 5: And a final glimpse of the beyond - the time crystal itself with its great and monstrous coiled, twitching anemone of life is growing into whorling electric-coloured infospace. The crystal is attended by glowing silver blobs, metamorphic magic mirror entities of the 5th dimension - our true selves - the adult form of which we and all our ancestry are but the larva.
Page 15, Frame 2: ...The Harlequinade are still behind but they've changed and are in their traditional costumes. Pierrot and Columbine make hand shapes. More images vibrate off them - Edith, Tom, Robin, King Mob...
Frame 3: Now they are the King In Yellow and his dwarves, making hand movements. Behind them, a whole crowd seethes - everyone who's ever appeared in the series...
Frame 5: "Helga looks up off panel - a final word falls, dislodged by someone high in the vaulting. We can read 'Murderer.'" 




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