One more Doom Patrol sketch. In this one too, Seth stayed so true to his sketch that there is almost nothing to compare between it and the final. He even drew in most of the machinery in the bottom frame, making the perspective right in his sketch.
We have talked before about the issue of size and shape of the frames on the page, but I think it bears repeating. Making the frame outlines work with the scene that is happening inside can make a page come alive. Here, in a very simple example, Seth has made Robotman wake up from his entree into The Past Made Present at the top of the page, where the wiggles and swirls from his mind bubble up and off the page, like the fizz from soda in a glass. The top two frames are horizontal and narrow, Robotman caught in the middle of a strange, though strangely familiar, land.
One very Sethy addition to the final page: the big computer in the middle of the bottom panel has a vertical thing added between the two reels, giving the machine the look of an observer in Robotman's wondering search through the laboratory.
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