Corrections
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.
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.
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.
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.