marvel method collaboration: soldier legacy’s strange … 3.12 3.10 figure 3.12: the cross over...

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APPENDIX 3: Marvel Method collaboration: Soldier Legacy’s Strange Tales

The Soldier Legacy , related images and illustrations © Paul Mason.

All images and characters © Their respective copyright holders, and included as examples of concepts and ideas discussed within

the body of thesis. For educational purposes only.

3.01

1

3.02

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Figures 3.01 - 3.03: Original thumbnail sketches of page layouts, based on plot discussed by

Chris and I for Part 1 (of 3 part story). These layouts changed on discussion, such as the

examples of Figure 3.03 in relation to Figure 3.04 below).

3.03

3.04

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Figure 3.05 (All images):

This page features a

sample of reference

images gathered for

environments and

character designs for

those characters and

locations featured in the

story, including Australian

Militia soldiers (Victorian

Mounted Rifle men)

formed in 1885. Story is

set in 1887.

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3.06

Figures 3.06 - 3.08: Cleaned up finished pencils (page 1-3 of 6) from part 1, left “open” (i.e.: no

inking spot blacks) for colouring.

212

3.07

213

3.08

214

3.09

Figure 3.09 – 3.11: Pages 1 -3 digitally coloured. These were then sent to Chris to dialogue.

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3.10

216

3.11

217

3.12 3.10

Figure 3.12: The cross over with another Black House Comic title (Dark Detective: Sherlock Holmes)

meant an 1880s version of the Australian hero from my comic book series had to be created. (See

reference images from figure 3.05)

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3.13

Figures 3.13 – 3.15: Lettering guide pages (1 to 3 of 6) sent back from Chris, featuring

dialogue- word balloons, caption boxes and Sound effects (where applicable) were indicated.

Wording needed to be emphasised in ‘bold’ was often given over the phone as I lettered the

dialogue balloons, or after I sent the draft lettered pages.

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3.14

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3.15

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Figure 3.16: Notes from phone discussion with Chris regarding Part 2. Not all the story beat ideas

ended up fitting/translating in the final 6 page layout, but the core ideas were kept. The last page

indicates the idea of a Dr. Nikola one-shot.

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3.17

3.18

Figures 3.17 & 3.18: Thumbnails of poses and possible layouts/panel compositions for Part 2,

based on plot (3.17). 3.18 is page 1 and 2 of the roughs sent to Chris for approval of pacing and

story.

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Figure 3.19: Rough pencils/Work in progress of page 5 (of 6) from Part 2, before clean ups

occurred.

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Figure 3.20: Top of page 4, cleaned up. Until I had upgraded to a A3 scanner to scan the 11” x

17” blue Line art board comic pages used to draw the sequential pages on, I had to rely on an A4

scanner, meaning pencilled pages were then joined up in Adobe Photoshop before darking levels

and colouring could occur.

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PAGE 4

1

NIKOLA

Learn what years of physical

discipline can deliver, fool!

HAI!!!

2

SOLDIER

UNF!! I’ll be the one doing the

teaching, Doctor!

3

SOLDIER

Damn! Where’s Smeight – I need to

find out if-

4

NIKOLA

If he knows who killed your friend?

He DID that himself, you idiot!

5

NIKOLA

Which is why he’s escaping!

6

SOLDIER

Seems you have a point.

7

NIKOLA

Then let’s shelve our differences.

8

SOLDIER

But that stone goes back to my dead

mate’s family, understand?

9

SOLDIER

Blimey – look at this hole in this

factory wall!

10

3.21

226

NIKOLA

There are stories about what

happens if the ring is properly

‘charged’..

11

SOLDIER

What the flaming Hell are you

talking about?

12

NIKOLA

Smeight may have charged it - with

the LIFEFORCE itself.

PAGE 5

1

NIKOLA

I’d recommend extreme care.

2

SOLDIER

You need care alright!

3

NIKOLA

We need to stop…

4

NIKOLA

…strategise…

5

SOLDIER

Are you daft? He’s here somewhere!

6

SOLDIER

I’ll box your damn ears in-

6b

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3.22

Figure 3.21 (previous pages): Two page sample of Chris’s dialogue script, based on the

pencilled/semi-coloured pages of illustration I sent as I worked.

Figure 3.22 & 3.23: Word balloon/sound effect placement guide to accompany the dialogue

script. Completing it in this method meant not only less errors coming from misunderstanding in

handwriting or visibility issues (that come from the pencilled overlays used in Part 1, but also

quicker lettering time, as I could copy and paste lines of dialogue, rather than having to re type.

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3.23

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Figure: 3.24 & 3.25: Colouring work in progress from pages 4 and 5 of Part 2. Also shows where

attempt is made to differentiate a scene change by colour by using a dominate colour in the

environment.

3.24

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3.25

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PAGE _5

PANEL _1:

SMITE

Ye cheeky beggars!

PANEL _2:

SOLDIER

Whew! Can’t remember the last time I

threw like that!

PANEL _3:

NIKOLA

Indeed. But we still have pressing

concerns…

3.26

3.27 Figure 3.26 & 3.27: Lettering guide and sample dialogue script piece from Chris for Part 3, based on

pencils sent via email.

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3.28

3.29

Figure 3.28: Page 4 colour work in progress images

(Part 3).

Figure 3.29: Flats progress for panel on page 2.

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Figure 3.30: Sample clean pencil panel from page 3, darkened in Adobe Photoshop, ready for

colouring.

Figure 3.32: Rough preliminary cover design

work for one-shot edition of parts 1 -3, done as a

homage to the late 1940s Captain America’s

Weird Tales or the early Sci-Fi/Monster titles

from late 50s to early 60s Stan Lee/Jack

Kirby/Steve Ditko Atlas/Marvel comics.

Figure 3.31: Pencilled page 5.

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Figure 3.33 (above): Final Cover version, with attempt at complimentary colours/using colour

temperature to emphasis the main figure. 3.34 (whole next page) features experiments in

colour. Ultimately, the green was used for its “eerie” connotations.

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3.34