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Corrections

Touch-ups (A giant among men – Part IV)

Comic books are a collaborative enterprise. The writer can ask that corrections be made to an image to maintain the overall consistency. We asked the artist to reframe the scene so we can see Fabien better.

Touch-ups (A giant among men– Part III)

Comic books are a collaborative enterprise. The writer can ask that corrections be made to an image to maintain the overall consistency. We requested a different angle for Fabien’s blow using the coffee maker. We feel the new version has more impact.

Touch-ups (A giant among men– Part II)

Comic books are a collaborative enterprise. The writer can ask that corrections be made to an image to maintain the overall consistency. We asked the artist to add a chair in first panel so, when Fabien uses it in the fight against the giant, readers could see it hadn’t come out of nowhere.

Touch-ups (A giant among men– Part I)

Comic books are a collaborative enterprise. The writer can ask that corrections be made to an image to maintain the overall consistency. We asked the artist to reposition the villain’s head to draw more attention to the villain laughing.

Touch-ups (“The Knife in the Wound”)

Comics are a collaborative effort. The scriptwriter can ask for corrections to an illustration to maintain the overall consistency. In the beginning, this page was supposed to consist of four panels but the illustrator chose to create only one, and we decided it’s much more interesting this way.

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Touch-ups (“Clearly”—Part II)

The scriptwriter can ask for corrections to an illustration to maintain the overall consistency. When Benson leaves the airport, he turns around completely to be seen in profile. We asked the illustrator to have Benson turn toward the camera instead, to give a polarization effect between him and Eva, who had turned her back to him a few panels earlier.

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Touch-ups (Clearly—Part I)

Comics are a collaborative effort. The scriptwriter can ask for corrections to an illustration to maintain the overall consistency. In the heat of the action, our illustrator had confused two characters, so Valasquez had a well-knotted tie, and Markham’s tie was undone, rather than the other way around. Valasquez’s tie was important there, as it indicated his level of exhaustion.

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Touch-ups (“Psychological Warfare”—Part IV)

Comics are a collaborative effort. The scriptwriter can ask for corrections to an illustration to maintain the overall consistency. In this panel, we asked for a closer view than was in the original drawing, to draw more attention to Valasquez’s surprise.

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Touch-ups (“Psychological Warfare”—Part III)

Comics are a collaborative effort. The scriptwriter can ask for corrections to an illustration to maintain the overall consistency. For this panel, we had requested a square voiceover bubble, but the illustrator added some floating heads. We thought it was too early to introduce these ghost-like figures at this stage of the story, so we asked that the panel be cut.

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Touch-ups (“Psychological Warfare”—Part II)

Comics are a collaborative effort. The scriptwriter can ask for corrections to an illustration to maintain the overall consistency. We had several discussions with the illustrator about the size of the bars keeping the aircraft from entering the Bunker. The bars had to be large enough to keep intruders out but not be so massive that they couldn’t be deformed by human strength.

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