I opted to use a different vantage because I didn't want to do the usual Marathon dam shot. I used this photograph for reference. It kind of looks wonky architecturally in the comic but so it does in the reference too, perhaps it wasn't such a good idea to use unreal-looking reference but it did suit my purposes on a few higher levels. One is that is gives the page a nice overall construction, panel segments slotted into natural divisors. The other is that I wanted to place the monologue of Stephan on top of the pillar that supports the bridge because his doubts are shaking up the foundation of the relationship between the two of them. The black/white contrast between them in the establishing shot is a further indication of distance, of the here and the beyond. I don't expect anyone reader to read my comic and go "oh, the doubts are over the foundation of their relationship, nice!" because I think these things work best - and are most worth it - when they leave a subconscious mark. I only mention such here because I know that some readers enjoy post-analysis of an the art as a separate joy to actually reading the comic.
Marathon's already looking better, by the way. I mean after we burned it down last summer. My friend Vasilis showed up out of the blue and gave me a ride over there, it was a very pleasant afternoon. I dreaded going back because of the summer fires but it seems the green is back at least. The trees will take a while. Possible dam walkers are invited back, I guess. I wonder if we'll burn it again this summer.
Next couple of pages end this story. I'll try to post them both at the same time (if not on next Monday then certainly a couple of days later) so as to not diminish the impact of the finale. Then it's revisions on the art and a cover left to do. I'm not looking forward to trying to shop this around but in the same time, I am, if that makes sense. The comic certainly feels as if it's over already for me even though I haven't drawn the next two pages. It's over in my brain and in my heart. Drawing the last bits and then fixing the badly drawn bits before them is just routine housekeeping now. What's strange (strange? perhaps not so much) is that it has brought some psychological issues on the surface it seems I have to tackle directly soon. I guess it's a good thing if your art surprises you, right?
-Helm
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