Since this story is almost entirely mood driven, concentrating heavily on dialogue, the trick has been to develop sequential panel arrangements that serve the dialogue while also enhancing it. My concern was that it would become tedious to maintain panel sequences that didn't change for eight pages (at which point there is finally some physical action); but on the other hand, to overdo the arrangement of panel sequences for the sake of drama could be just as bad, ultimately causing distraction from the psychological tension intended through the dialogue, counteracting it's impact. I really love these kinds of challenges in comics. It ignites my fantasies of being a film director. In this case, I turned to both film and comics for ideas: In comics, the perrenial Will Eisner and Jack Cole (specifically "Murder, Morphine & Me"); in film, the great Orson Welles.
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