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

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All images and characters Their respective copyright holders, and included as

1 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

These layouts changed on discussion, such

2 3.03 Figures : 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 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 Story is set in

4 3.06 Figures : Cleaned up finished pencils (page 1-3 of 6) from part 1, left open (i.e.: no inking spot blacks) for colouring. 211

7 3.09 Figure : Pages 1-3 digitally coloured. These were then sent to Chris to dialogue. 214

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) 217

11 3.13 Figures : 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. 218

14 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. 221

compositions for Part 2, based on plot (3.17). 3.

15 Figures 3.17 & 3.18: Thumbnails of poses and possible layouts/panel compositions for Part 2, based on plot (3.17) is page 1 and 2 of the roughs sent to Chris for approval of pacing and story

16 Figure 3.19: Rough pencils/work in progress of page 5 (of 6) from Part 2, before clean ups occurred. 223

17 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. 224

18 PAGE NIKOLA Learn what years of physical discipline can deliver, fool! HAI!!! SOLDIER UNF!! I ll be the one doing the teaching, Doctor! SOLDIER Damn! Where s Smeight I need to find out if- NIKOLA If he knows who killed your friend? He DID that himself, you idiot! NIKOLA Which is why he s escaping! SOLDIER Seems you have a point NIKOLA Then let s shelve our differences. SOLDIER But that stone goes back to my dead mate s family, understand? SOLDIER Blimey look at this hole in this factory wall!

19 11 12 NIKOLA There are stories about what happens if the ring is properly charged.. SOLDIER What the flaming Hell are you talking about? NIKOLA Smeight may have charged it - with the LIFEFORCE itself. PAGE NIKOLA I d recommend extreme care. SOLDIER You need care alright! NIKOLA We need to stop 4 5 strategise NIKOLA SOLDIER Are you daft? He s here somewhere! 6 SOLDIER I ll box your damn ears in- 6b 226

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.

20 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. 227

22 3.24 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. 229

But we still have pressing concerns Figure 3.26 & 3.

24 3.26 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 Figure 3.26 & 3.27: Lettering guide and sample dialogue script piece from Chris for Part 3, based on pencils sent via

25 Figure 3.28: Page 4 colour work in progress images (Part 3). Figure 3.29: Flats progress for panel on page

Photoshop, ready for colouring. 31: Pencilled page 5.

parts 1-3, done as a homage to the late 1940s Captain America s

26 Figure 3.30: Sample clean pencil panel from page 3, darkened in Adobe Photoshop, ready for colouring. Figure 3.31: Pencilled page 5. 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. 233

27 Figure 3.33 (above): Final Cover version, with attempt at complimentary colours/using colour temperature to emphasis the main figure (whole next page) features experiments in colour. Ultimately, the green was used for its eerie connotations. 234

APPENDIX 2: Studio work- Soldier Legacy, script writing and concept art examples.

APPENDIX 2: Studio work- Soldier Legacy, script writing and concept art examples. The Soldier Legacy, related images and illustrations Paul Mason. All images and characters Their respective copyright holders,