- Empecemos con los dos editores franceses. De Dargaud viene Philippe Ostermann, y de Glénat viene Olivier Galli.
En un portafolio de plástico, incluye fotocopias o impresiones de las siguientes cosas: Una breve sinopsis de 4 o 5 líneas del proyecto. -nombre del proyecto, duración del proyecto en álbumes, etc- Un resumen del primer volumen (sí el proyecto es de una serie) de una docena de líneas. Algunas fotocopias de páginas en blanco y negro, entintadas y maquetadas. Estas páginas deben ser del principio de la historia. También es interesante ofrecer varias páginas de otros proyectos. En lugar de treinta páginas de una historia, es mejor ofrecer unas pocas páginas de otros proyectos. Al editor podría no interesarle necesariamente que trabajes en tu proyecto, y que colabores con un escritor de renombre en otro proyecto.
Fotocopias en color de las páginas, si es que existen, pero no son esenciales. Tenerlas en una tablet a mano por si las impresiones no son muy fiables, es una buena idea.
También incluir un story-board, pero tampoco es esencial. Un estudio de los diferentes personajes, con bocetos de apoyo.
Ejemplos de trabajos ya publicados, en caso de que existan. Recuerda también algo importante: sé que es obvio, pero los franceses leen en francés, y quizás en inglés o español.
- Continuemos con los dos editores americanos, uno de IDW (Ted Adams), y otro de Vertigo.
Para estos editores presentar un proyecto puede ser bastante fútil, pero puede que les guste el arte secuencial del proyecto. Sobretodo buscan autores secuenciales que hagan dibujo y tinta.
Si eres entintador pon la versión de lápiz junto a tu tinta. Y si eres colorista, pon la versión de la página de tinta junto a tu color.
Un editor americano necesita como mucho 6 páginas de arte secuencial para ver tu capacidad.
Ahora voy a poner páginas de guiones de la editorial:
IDW Publishing:
PAGE ONE
SPLASH
NIGHT
Four Joes paddle a black Zodiac rubber
raft through oil-skimmed water between two cargo ships at anchor. The raft is
black with black outboard motor with the screw out of the water. In the raft
are Duke, Beachhead, Flint
1
CAPTION: AFTER ACTION REPORT CLASSIFICATION ULTRA-ULTRA.
2
CAPTION: OPERATION DESIGNATE: PAINTED HORSE
3
CAPTION: AREA OF OPERATION: HAYADARPASA LTD SHIPPING YARD, INSTANBUL
4
CAPTION: REPORT AUTHOR AND OPERATION LEADER: CODENAME: DUKE
5
CAPTION: Stealth insertion via Zodiac at GMT 0100.
6
CAPTION: Target: suspect illegal arms shipment bound for USA
PAGE TWO
PANEL ONE
The team climbs up the rusted hull of a
container ship in single file. The raft is anchored below. The team uses inset
hand and food holds in the hull. Duke in the lead.
1
CAPTION: We boarded the Benin Pearl (Liberian registry) without incident.
2
CAPTION: I assigned myself to point.
PANEL TWO
Some kind of creep leaning back on a
railing and looking bored. Make him an central Europe
type guy. Thuggish type who needs a shave and probably a shower. He wears a
wrinkled print shirt over a tank top and has an AK-47 slung over his chest.
3
CAPTION: Personnel on board reported as members of the ZOGC militia.
4
CAPTION: They have some kind of grievance with the Macedonian government.
PANEL THREE
Repeat panel. Duke has come up behind him
and claps a hand over the thug’s mouth and has the thug’s throat in the crook
of his arm in a chokehold. The thug looks surprised. His hands spasm.
5
CAPTION: Goes back to when Alexander was in diapers.
6
CAPTION: Long story short; they’re thugs with connections to the global
underworld.
PANEL FOUR
Duke moves down the deck with weapon
raised and looking wary. Behind him, Flint
7
CAPTION: Beachhead takes drag.
8
CAPTION: Flint
PANEL FIVE
Gloved hands use a cutting torch on the
hinges of a ISO container’s doors.
9
CAPTION: Cargo aboard has been cleared for transship to Port of Tampa
10
CAPTION: But you can still open an ISO container’s doors without breaking the
seal.
PAGE THREE
PANEL ONE
Largest panel.
Eastern European thugs have a container
open on the open fore deck of the ship. They’ve cut the hinges and have pulled
both doors aside. The container’s still rigged up to lines from a crane. The
hatch covers are off the front hold. The idea is that these guys lifted this
container out of the forward hold. The rear deck is piled three-high with
containers. The thugs have dragged crates from inside the container. They pry
one open. Packing material spills from it. The thugs are all armed to varying
degrees and dressed in a mix of military clothing, soccer jerseys and ugly
print shirts. There are other (weapons) crates piled on the deck.
1
CAPTION: They cut the doors and re-weld them after they’ve re-loaded the ISO
with their contraband.
2
CAPTION: On paper the cargo is toys manufactured in Ceylon
PANEL TWO
One of them pulls a silly-looking stuffed
animal from the packing stuff and frowns at it. A cartoon elephant or whatever.
Juxtapose with the seriousness of what’s going on.
3
THUG 1: Какво е това? Глупави кукла?
PANEL THREE
Another thug grins as he pulls a
shoulder-held rocket launcher from a weapons crate. The other thugs look at the
launcher with open lust.
4
THUG 2: HA HA!
5
THUG 2: Бихте ли скоро играят с това,?
PANEL FOUR
All react as a pair of canister grenades
bounce across the deck at them. The grenades spray smoke and sparks.
6
CAPTION: Turkey
7
CAPTION: The goal is a non-lethal intervention.
8
THUG 2: uh?
PAGE FOUR
SIX PANEL GRID
PANEL ONE
The thugs react as the grenades go off in
bright flashes of light and lots of smoke. They stumble back. They cover their
mouths. They cough and hack. The one holding the rocket launcher backs away.
1
CAPTION: XM-84 Stun grenades.
2
CAPTION: Maximum flash and bang. Minimum slash and bleed.
PANEL TWO
Duke leads Flint
3
DUKE: Позволете ми да видите ръце!
Хвърлете пистолети веднага!*
4
BOX CAP: * LET ME SEE HANDS!
THROW THE GUNS AWAY!
PANEL THREE
Beachhead is atop a container and aiming
his weapon down at two thugs who drop their weapons.
5
BEACHHEAD: Ужасна идея, господа.*
6
BOX CAP: *BAD IDEA, GENTLEMEN.
PANEL FOUR
7
FLINT
8
DUKE: WE HUSTLE THEM OFF BOARD AND APPLY THE THERMITE TO THIS SWAG.
9
RIPCORD: THIS MISSION
PANEL FIVE
Duke and Ripcord hustle the thugs into a
kneeling line. They have hands on the backs of their heads. Flint
10
DUKE: YOU LIKE INTERNATIONAL
INCIDENTS, RIP?
11
RIPCORD: DO SWEDISH BIKINI MODELS COUNT?
12
FLINT
PANEL SIX
13
FLINT
14
DUKE: Загубят това!
15
THUG 2: Преминете към ада!
PAGE FIVE
PANEL ONE
The guy with the rocket launcher fires it
down into the hold of the ship. Lots of smoke and a big flash from the rocket
and the tube.
1
CAPTION: Mission intel reached the Pit less
than six hours prior to kick-off.
2
CAPTION: This operation was run on rough guesstimates and urgent need.
PANEL TWO
Duke, Flint
3
CAPTION: We went with what we had.
4
CAPTION: The risk factor took over from there.
PANEL THREE
Pullback shot. The container ship is
rocked by a blast that consumes the foredeck and blows the hull plates outward.
Crap is thrown skyward along with human figures. The concussive wave roils the
water and rocks the other ships at anchor.
5
CAPTION: And Hell yawned wide when that Stinger lit up the HE belowdecks.
6
CAPTION: Messy but the mission goals were achieved.
PAGE SIX
SIX PANEL GRID
PANEL ONE
Beachhead is in the Zodiac as burning crap
falls all around in the water. He’s dropping the outboard’s prop into the
water. Flint
1
CAPTION: All that was left was to get gone.
2
BEACHHEAD: SING OUT!
3
FLINT : FLINT
4
RIPCORD: RIPCORD, YO!
PANEL TWO
Duke backstrokes for the raft dragging a
wounded thug through the choppy water. Beachhead is starting the outboard.
5
DUKE: DUKE, YO!
6
DUKE: GOT A LIVE ONE!
PANEL THREE
The others help Duke pull the wounded thug
on board as the raft takes off. The thugs clothes are scorched and tattered and
stained with oil.
7
FLINT
8
DUKE: WE JUST NEED A LEAD. THE SUPPLIER OR THE END USER.
PANEL FOUR
Duke has his head down with his ear close
to the dying thug’s mouth.
9
DUKE: Кажи ми нещо, приятел. Отидете на Бог в мир.*
10
DYING THUG: (WEAK) …
11
BOX CAP: *TELL ME SOMETHING,
FRIEND. GO TO GOD IN PEACE.
PANEL FIVE
Duke raises his head to look at the
others.
12
FLINT
13
DUKE: COBRA.
14
BEACHHEAD: THAT’S ALL? THAT A WHO OR
A THING?
PANEL SIX
The raft races from the harbor with the
burning container ship blazing away and sinking by the bow.
15
FROM RAFT: NO IDEA, BEACH.
Para Vertigo, no os preocupeis de usar un guión que no sea de la linea "Vertigo", uno de DC Comics o Marvel Comics será aceptado igual. Pongo dos de prueba.
De Marvel Comics
ALL NEW X-MEN script
BY
Brian MICHAEL BenDIS
Page 1-2
Double page spread
Ext. Latervia courtyard- dusk
Battle Royale. We are flashing forward to a giant battle
where the reconstituted and regathered ALL NEW X-MEN AND THE ULTIMATE X-MEN AND
ULTIMATE SPIDER-MAN VERSUS DOCTOR DOOM AND AN ARMY OF DOOMBOTS.
That's right! Jean Grey, Iceman,
Angel, Beast, X-23, and Miles are teamed up with Jimmy Hudson/ Wolverine,
Ultimate Jean Grey, Kitty Pryde, Ice man (Ultimate), Rogue, Firestar and a very
angry Storm who are all overwhelmed but fighting the good fight against a gigantic army of fully operational Doombots.
On the ground, on the bottom
right of the spread, in front of his castle, fighting but not letting the X-Men
get anywhere near him, is Dr. Doom.
He has excellent weaponry.
Futuristic. Stuff he had been working on since his Baxter building days. He is taking aim at anybody he thinks he can
take out.
But his swarming army is getting
in his way of a good shot.
You can literally do whatever you
want here. Enjoy the madness. Make it your own. Wolverine and X-23 is slicing
and dicing. Angel is flying in between
them and letting them attack each other.
Storm is using lightning like a ray gun from the sky. Kitty is phasing through any Doombot she can
get her hands on and short circuiting them when she does.
Jean Grey is flying around and
using her telekinetic bolts of energy. Both iceman are sliding and attacking.
Beast is pissed off and really going at it.
Reads: LATVERIA, CASTLE DOOM,
NOW.
Ice man
I have to tell you today did NOT
turn out like I thought it was going to AT all.
Ultimate ICE MAN
I know, right?
Page 3
1- On the ground, Rogue slams
down on a couple of Doombots who are just about to jump on SpiderÐman.
She slams it down so hard the
mask pops off and the circuitry is sparking and visible.
Chaos in every panel.
Spider-man
Whoah, thanks Rock.
Rogue
No problem, Spider-man...and it's
Rogue.
SPIDER-MAN
Rogue? I thought it was rock this
entire time.
ROGUE
How embarrassin' for you.
2- Sky- Ice man spears slices
through the back of the neck of another Doombot as Angel flies right for
us...distracting them.
Spx: chuck chucckk
Angel
Nicely done, Bobby!
Oh wait, you're not my Bobby.
You're the other one.
No wonder you did that so well.
Ultimate ice man
Uh, thanks?
3- On another part of the
courtyard, Ultimate Jean Grey is down.
Her arm is smoldering. Burnt. She can't fight.
Beast is just seeing it and is
disengaging his attack and is about to help her.
Ultimate jean grey
AGGH!
Beast
Jean!
ULTIMATE JEAN GREY
I'm okay, Beast!
Get Doom!
4- From behind SpiderÐman, in the
middle of the now filthy courtyard chaos is Dr. Doom. Powered up and blasting away. Backing up his
own army.
SpIDER-MAN
Doctor freakin' Doom...
Crazy.
5- X-23 has Spider-man's
back. They are both sweaty and getting
filthy. Chaos all around them.Crashing
Doombots.
X-23
Watch your back, kid.
SPIDER-MAN
I'm going to try something.
X-23
Well, do it then.
SPIDER-MAN
Cover me, lady wolverine.
X-23
Call me that again and see what body part I take.
Page 4
1- Across the courtyard, All New
Jean Grey is up behind the hurt Ultimate Jean Grey and is sending out purple
powerful psychic blasts to keep any and everything away from her.
Jean grey
Oh my god, you're hurt.
ULTIMATE JEAN GREY
I'm okay.
JEAN GREY
We're both psychic and pretty
much the same person, Jean, so you can cut it out with the brave face.
We need to get you off this
field.
2- Spider-man is dodging two
Doombot blasts and running right towards us.
X-23 is following him.
Spx: sham shamsham
X-23
Go!
SpIDER-MAN
Don't follow me, just watch my
back.
3- Same. Spidey is running for us and turning into
cammo mode. Chaos all around.
4- Over Spidey's cammo mode
shoulder, At ground zero of the fight, in the chaos, Doom, glowing with power
and snarling in rage, looks right at us with snarl and sinister.
1- Across the courtyard, all new
Jean Grey is up behind the hurt Ultimate Jean Grey and is sending out purple,
powerful psychic blasts. But she sees or
feels what Spidey is doing.
JEAN GREY
Miles...
…What are you doing?
2- From behind Doom, Miles is in
cammo mode and leaping for Doom. Trying
for a hail Mary venom blast.
3- Miles' p.o.v. Doom turns and looks right at us/ Miles and
opens fire.
DOOM
Child.
4- Same as panel 1, but tighter
on a horrified jean.
De DC Comics
Red Hood and the Outlaws #1
PAGE SIX
PANEL ONE
EXTERIOR of the PRISON. Everything is calm out here compared
to the CHAOS going on in the courtyard
PANEL TWO
WHAM! WHAM! The TWO MERCENARIES that were guarding ROY are now TOSSED
through the WOODEN DOORS, splintering them!
PANEL THREE
Like BUTCH and SUNDANCE, ROY and JASON come running out FIRING
their WEAPONS at “us”… (NOTE: ROY has taken the QUIVER and
slung it over his own shoulder by now… and RED HOOD has torn away the
remains of his OVERWEIGHT
PASTOR COSTUME.
Roy is annoyed by all the gunfire out here as he asks “Did you spend two
minutes actually THINKING about an escape route or was it just
enough to break into prison for your friend?”
“Friend?!” Ask RED HOOD…
PANEL FOUR
… he indicates a PRETTY BEAT-TO-SHIT JEEP that LOOKS as if RED HOOD
has just purchased it from a local villager. Seriously,
Kenneth, it looks like it is held together with duct tape and toothpaste! ROY is like “You are shitting me,
right?!
PAGE SEVEN
PANEL ONE
But JASON is already leaping behind the wheel (still firing at even MORE
SOLDIERS who are just showing up…) even as ROY is LEAPING OVER
HIM, firing his BOW and ARROWS so ROY is about to land in the PASSENGER’S
SEAT.
PANEL TWO
A MOMENT LATER, RED HOOD and ROY are SPEEDING across the DESERT –
on such a bounce, ROY is almost having to hold on for his
life. Even though things look TERRIBLE for these two, ROY is smiling as he
asks his friend why he came for him? “I
thought you said if I took this job I was on my own!” (He loves teasing his
friend - -always pushing his buttons.)
PANEL THREE
RED HOOD is twisting and turning the wheel aggressively as he says the
“Only reason I’m here, Roy, is because if you die
that would leave ME the World’s Most Fucked-up Former Sidekick” (Or words
to that effect.) ROY, we see, can GIVE IT better than he can TAKE IT: He’s
annoyed by HOOD’s “tease,” pouting. (This remains a sensitive subject to
ROY!)
PANEL FOUR
ROY screams and points as he shouts “TANKS!” to which RED HOOD says
“You’re welcome.”
PANEL FIVE
But then we see, NO, Roy was talking about the THREE OLD TANKS that are
ON the “road” in front of them!!!! All three TANKS have their
GUNS aimed at ROY and RED as they speed towards the tanks. ROY is NERVOUS,
RED is not.
“I hope you have at least one good back up!” Roy shouts.
“38
of them” smirks Jason.
PAGE EIGHT
FULL PAGE SPLASH
The TANKS explode as STARFIRE appears BEHIND the TANKS with BURSTS of
her STARFIRE POWER detonating all three tanks at once.
(STARFIRE, here, is a warrior princess: She is FIRM, as she always is,
yes, but she is not necessarily enjoying this. She may BE
quite the warrior, to be sure, she isn’t WOLVERINE, she doesn’t LOVE it.
In fact, she probably feels the way I feel when I use RAID on ants – that
I am being unfair to the ants. )
Either way, it is QUITE the SPECTACULAR introduction to this character.
PAGE NINE
PANEL ONE
Racing TOWARDS the HOVERING STARFIRE – it is clear that ROY is staring
up at her “best assets” and is stunned at the sight of her.
He is just in awe at the sight of this gorgeous, sexy, nuclear reactor
hovering over them.
RED is trying not to boast as he says something like “Yeah. I’ve had that.”
PANEL TWO
As they SPEED over the remains of the TANKS, ROY is incredulous – there
is no WAY that Jason could EVER have a ‘Girl that hot! Never. No
way. No how.” Jason gives him a look as if to say “What can I say? Chicks
dig me.” (He knows he’s pissing off Roy . And
NOTE: Yes, I am avoiding the subject of DICK or anything that has to do
with their past… we’ll discuss more and nail it in script!)
PANEL THREE
But an INSTANT later, a SEXY KORIAND’R is flying beside the JEEP as it
speeds through the desert. She is pretty sweet and loving as
she asks Jason if there is anything else she can do to help him. Jason
asks her if she’d “be a sweetie and scoot up ahead and keep an eye out for
helicopters between here and the border?” (The fact he is being
quasiromantic and nurturing here, still in his RED HOOD outfit, is played
for laughs: sort of faux domestic bliss amidst all this chaos.)
PANEL FOUR
She looks at him as if he was a cute three year old who just said the
CUTEST THING IN THE WHOLE WORLD – as she promises
everything will be fine!
PANEL FIVE
She SPEEDS ahead (leaving only a trail of Starfire-flame in her wake)…
leaving JASON to look a little smug next to ROY who is
sulking that she didn’t even say hi to him.
(Awww, it is kind of sweet the way they get along, like brothers.)
PANEL SIX
We are behind them as they SPEED into the sun – maybe we see STARFIRE up
ahead of them. (It should feel like the ending of a movie,
Kenneth.)
PAGE TEN
PANEL ONE
A stunning and pristine island in the Caribbean – the beach is
BEAUTIFUL, the SUN is shining, white sand for as far as the
eye can see. This is PARADISE! (NOTE: It is a PRIVATE BEACH so there is
ALMOST no one else around.)
PANEL TWO
KORIAND’R (in anything BUT a purple bathing suit – PLEASE!) is walking
out of the water looking like the most gorgeous creature in the
whole universe…. Really, she is PAINFUL to look at, that is how HOT she
is.) She is all smiles, though, clearly she has NO IDEA the effect she has
on men. (We’ll learn in CAPTIONS she’s just happy to be free: any day
where she goes to bed free and wake free is a good day.)
NOTE: This is a T1 book, maybe she is wearing a white top that plasters
its wet self to her skin? Hmmm?
NOTE: We GET that SOMEONE is taking her picture with a CELL PHONE.
PANEL THREE
As she is swishing her hair around to get it to dry, we are HERE behind
a PALM TREE with an 8 year old KENETH ROCAFORT: he IS NOT LUSTING
AFTER the image on his cell phone, but he IS excited that he’s gotten a
picture of the STRANGEST THING HE HAS EVER SEEN IN HIS LIFE: the
orange-skinned, green eyed KORIAND’R.
PAGE ELEVEN
PANEL ONE
As ROY is sitting on the beach in a lounge chair, he is OPEN-MOUTHED
SHOCKED at the sight of KORI emerging from the water onto the
beach: seriously, it HURTS that she is so hot.
Roy, impressed by Jason’s simple island lifestyle, admits “ I always
used to think of you holed up in, like, an old opera house in
Gotham City, pounding on an organ and planning ways to kill Batman or shit
like that."
"Pfft. Gotham sucks” confesses Jason. “Truth is, I spend as little
time there as possible.
And the more of the world I see, I'll be honest, makes me think all the
psychotic scumbags that live there deserve each other. And the
villains too."
NOTE TO KENNETH: I think ROY probably likes sort of loud Hawiian shirts,
but I think that could interfere with his tattoes? So maybe
HE is shirtless and wearing swim trunks and Jason is wearing… a red
T-shirt? Is that too much? We should really think about what they look
like without their costumes. S!
PANEL TWO
ROY is now SERIOUS as he leans on one elbow to talk confidentially with
JASON as he says “Seriously, Jason. What’s gonna happen when she
finds out about you and her ex?” JASON shrugs as he says “Unfortunately,
it won’t matter.”
PANEL THREE
As he talks, DARK CLOUDS are SUDDENLY FORMING BEHIND HIM. He ALMOST
looks a “little evil” as he explains “It turns out Tamarans don’t see humans
the way we do. To them we’re just lights and smells… and they have very
short memories about all things Earth. Seriously, when you have a chance,
ask her about that group you used to hang with. Nothing. No memory.”
PANEL FOUR
ROY smiles a slightly dark smile, as if to say “This could be fun.”
(Sorry, he’s not the nicest guy in the world.)
ODDLY enough, there is a WOMAN IN BLACK in this panel, standing
between them…. BUT Roy doesn’t see her. (We only see her from
the elbows to her knees, sort of– we don’t see her head.) She is saying “Jason.
A word with you…”
JASON is sitting up, excusing himself from Roy.
PANEL FIVE
But as JASON stands and starts to walk off towards us (THE SKIES above
him are now PITCH BLACK but SUN still shines on ROY and farther
away KORI) there is NO SIGN of the WOMAN IN BLACK from a moment earlier!
This is a WIDE ENOUGH shot that it should STARTLE US – where the hell is
this woman?! Could…
could Jason be hallucinating?
Page 12, Frame 1: Jack is walking with Satan - as seen in
V.2:20 - through the devastated London of the Outer Church.
Frame 3: Jack
and Satan walk across the dreadful wasteland past the girl with the baby. We
follow them. Up ahead, there are huge grotesque Chris Weston bug-things
glimpsed through a swirl of toxic mist. Beyond that, we see what could be
towers like Westminster in the haze of the bleached horizon. This is a world of
endless repeating horror, defoliated and bombed and roamed by the monsters of
the Outer Church.
Frame 5: Jack
and Satan walk under the hideous flea-monstrosities. Jack looks up at the
horrors which really don't seem so horrible after all.
Page 13, Frame 2:
Jack and Satan. The great flea-things seen in background are reaching up to
pluck fruit from luscious trees that grow here. Grass emerging from the cracks
and ruin in the distance as the landscape subtly changes, flushing with life.
Greenery beginning to appear between the cracks.
Frame 3: Longshot
following Jack and Satan towards the Invisible College, alive with lights in
the wonderful twilight. Three figures wait ahead, silhouetted by the green
light of an eerie floating circle. We've never seen the Invisible College from
here before. We're behind it and there's a river with a bridge and the general
ambience is of dreaming spires and scholarly evenings.
Frame 5: Jack
turns his head and we see the movement as a process through time, like a solid
timelapse, bone merging to bone, the turning mouth like a yawning gash of
teeth, the eyes repeated.
Page 14, Frame 1: With the head of the creature in the
foreground, the time maggot that is Jack Frost stretches towards us.
Frame 2:
Pull back from the moment, Jack extends into the future also and the future is
seen as a steaming amniotic information broth in which potential forms are
curled in wait.
Frame 3: And
back in a great knotted life cast - the shape we make in the surrounding space
as we progress through time.
Frame 4: And
back - a huge centipedal tree of time, human lives extended back - the whole
thing glimpsed through the smoky red light of the seething crystal sphere in
which the whole monstrous anemone of all life on Earth and all the failed
branches...a great timetrack expressed back to the mitochondrial roots. The
true shape of life on Earth. The spheres intersect and swallow one another like
hungry sphincters, collapsing and whirling tunnel vortices across the structure
of the time solid - the universe as a single entity.
Frame 5:
And a final glimpse of the beyond - the time crystal itself with its great and
monstrous coiled, twitching anemone of life is growing into whorling
electric-coloured infospace. The crystal is attended by glowing silver blobs,
metamorphic magic mirror entities of the 5th dimension - our true selves - the
adult form of which we and all our ancestry are but the larva.
Page 15, Frame 2: ...The
Harlequinade are still behind but they've changed and are in their
traditional costumes. Pierrot and Columbine make hand shapes. More images
vibrate off them - Edith, Tom, Robin, King Mob...
Frame 3:
Now they are the King In Yellow and his dwarves, making hand movements. Behind
them, a whole crowd seethes - everyone who's ever appeared in the series...
Frame 5:
"Helga looks up off panel - a final word falls, dislodged by someone high
in the vaulting. We can read 'Murderer.'"
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