Monday, February 16, 2009

Vertigo Pop Tokyo 4, page

This is one of those pages without any particular physical drama. It is a transition page, adding the information that leads us to the next page. Small points are made; steps are taken that add interest and tension to the story, but even the bottom panel--which is pretty striking--only hints at what is happening.

How did Seth deal with this sort of small-action recitative? The same way he did all the action in this book: every panel is shown from a different point of view, creating movement, intimacy, and telling the story as clearly and economically as possible. The artist's points of view are, in order (left to right, then top to bottom)--point blank range, bird's eye view, close chest level, a little more distant and crotch level, bystander eye level, and the bottom one, sort of a mixture of fans' eye level plus Maki's dream.


Anonymous said...

I've been a big fan of Seth's work for sometime and I'm truly grateful that someone like yourself is keeping it alive. Kudos for a great job and thanks.

Vicki said...

I appreciate the encouragement. It's a labor of love, but it's always nice to know that other people like what I am doing.