Page 2 out of 4. You can tell I was inexperienced here by how random the panel border rules are and how much the camera moves around. From the side, to the left, from above, toads view... a mess, really, heh. I wanted to be EXCITING with the camerawork. Much like a film director I know now that if the scene is low-key, then the camera-work should be low-key.
You may notice the comic-tone work ends when he leaves the city and this watercolor thing starts in its place. There is a reason for this to be explained soon enough. Keep reading and keep communicating!
-Helm
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2 comments:
I think most film directors wouldn't flip the 'camera' 180 degrees every second shot either, heh.
I still love the bevelled-edges brutalism of your future cities. Flashback influence? I mean, among other things.
Yeah of course, and also Yukito Kishiro (http://www.locustleaves.com/alita.png) and Moebius and that sort of thing.
As to flipping the direction of the action, the general rule is 'when the action is progressing favorably, go towards the right. When adversity strikes, go towards the right'. You know, progress and setback. There's a few pages by Herge's Tintin that show this extremely well. I generally do that these days, but this, this is old.
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