|
Cover: Greg’s last issue and I think this is my favourite cover in his run.
Page 1: I was wondering whether people would buy this, but I appear to have got away with it. It’s definitely a bit where we’re rubbing various conceptions of “high tech” against one another, and it’s more fun than losing the suit entirely.
Like the fade out in the last two panels.
Page 2: Trying to work the silence here.
Page 3: The full figure portrait overlapping panels is one Greg likes to play with occasionally. Its strength is very much getting a strong intro for a character. Looking at it now, gives the impression of 451’s planning somehow, being above something somehow?
Page 4: That really is a very big mace.
Page 5: For this sort of chase sequence, I felt it important for everyone to really understand the situation and what’s at stake, and how it moves around. It’s kind of a DIE HARD situation but in such an alien environment, you can get disconnected. This – as well as showing the GOD KILLER to remind us of it all – brute forces a schematic in there. It’s not a naturalistic solution but I’m fine with that.
Page 6: The third panel is probably the key image I had when thinking about 451 and Death’s Head – this one small robot and one hulking one. Like all the shadows.
Pages 7-8: The tone is a little playful here. Death’s Head leaking the truth that I declined to mention last issue, giving Tony at least a plan. Thanks, DH!
Page 9: Shutting up to let the actions do the work, except where I need the extra clarity (The last panel).
Page 10: Small time jump here. Probably transition I’m least happy with, but it just about holds together.
Page 11: For some reason I find the bold on 451’s DOING funny.
Notice Tony’s burned out repulsor.
Page 12: I wasn’t orginally planning on doing this to Death’s Head, but when I reached this point in the issue I realised it was by far the best choice. Man!
(I did mention to Simon Furman I was doing it before it happened.)
Page 13: 451’s emotional confusion over this is key. This is restating 451’s stakes here, and his limitations.
Page 14: We start dancing between the hero and villain here, as they both piece together the problem.
Hope’s Pustule – the only other planet in the arc – was chosen for the shape of elegance. I don’t bring in anything outside of the story unless I absolutely have to. Minimum parts, etc.
Page 15: Tony’s last chance to dodge what 451 has planned for him. He’s been wriggling in this straight jacket since issue 9. Now, with all those lives on the line, he decides what’s really important. It’s probably the most heroic moment in the story for me, where Tony decides that he’s far less important than saving lives. While this is all about him, it’s not all about him.
Page 16: And when he’s decides on that, it goes wrong. Neither he or 451 get what they want. I suspect what’s most unusual about this sequence is both hero and villain 100% wanting the same thing.
Duelling captions is mirroring and drawing connections between the two. Also attempt to build pace and draw out the moment.
Once again, a nice alien panel at the bottom. Lovely aliens!
Page 17: And they’re gone. Silent panel after all the rush.
Page 18: Which we extend the moment. Greg actively mirroring the panels draws the connection here.
451 has crossed all kinds of moral rubicon to get here, but the one on this page is key.
Page 19: First panel is 451 deep in villain mode, despite his neurosis. Look at Greg’s choices on the panel.
Remind readers that it’s not the first world that’s died in this adventure. What’s that about bad news coming in three?
Page 20: I’m normally quite down on &%&ing swearing, but it just seemed appropriate here.
Love the colour choices by Guru eFX here.
And that’s it. Stakes are on the table. Everything’s set up for the confrontation between 451 and Tony, and Carlo takes over from Greg.
Gillen, Kieron (14 August 2013). Writer Notes On Iron Man 14. Kieron Gillen's Workblog. Retrieved on 9 January 2017. |
I really don't like you. 
