Details make a difference.

This page is pretty standard as far as layouts go. Simple, to the point, and better for it. Early drafts of this page had more emphasis on the bad man at the head of the table, the old guy. He was much more shadowy and the scene was about the smaller officers trying to get his approval.

Veronica is still introduced as an upstart, but its evolved to be more about her. She takes center stage immediately and I think that fits with her personality quite a bit more. You see the first glimpses of her cunning and the makings of a mastermind villainess.

There are a lot of small details on this page too, easter eggs are scattered around. Design wise the screen displaying Ciro pulled the page together quite well for giving visual confirmation the scenes context: the ever present and yet elusive Whistler.

I’ve found that the more you can do to up the “show” quotient of the big show-and-tell that is the graphic novel, the better you are. It is sequential art after all. Script and the artwork both have important roles to play, but if the images can’t tell the story well enough on their own why not just do it in prose? And its not 50/50 … more like 75/75. Both sides have to put in more than half of the work for final piece to be compelling.


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