Heavy on content today, but light on my spouting. Win/win!
I thought I'd continue the Union Station promoting today, by showing some behind-the-scenes process stuff. So, we're going to look, over the next several days, at script and art for a scene from Act II.
I am still, six years or so after I finished Union Station, probably a little wordy in my scripting. During US, I was probably a lot wordy. I'm learning how to strip things down, but this early effort shows how much I had to learn.
Art, of course, by the incredible Eduardo Barreto. You could not ask for a better, more professional, or more gracious collaborator on your first graphic novel. What a lucky prick I am!
So, we're going to look at a scene from early in Act II. It's a quiet little scene, in which the local KS FBI agent (Vetterli), a man who was wounded at the Union Station Massacre, meets Hoover's surrogate (August), and realizes that his life is taking a turn he's probably not going to be very comfortable with. I sympathize with both parties here. Vetterli was in over his head, and needed firm assistance. On the other hand, Hoover was incredibly heavy-handed and consumed by self-promotion.
One other note: I told Ed to draw August as Mike Mignola. He did a decent job of it. Oh... you won't see August for several panels yet. Well then, dear reader, consider that a tease!
Oh, and remember, ask your retailer to order you a copy of the Union Station re-release. It drops in June. It's on page 281 of this month's Previews!
Thanks, and have a great weekend!
We’re transitioning to a new scene here. The setting is a small room in the same building as the Kansas City FBI office… the office we saw at the beginning of the book. This space is barely larger than a closet, but it contains a cot, a set of shelves, a chair, and a small table next to the cot. There is one window, as well. An alarm clock sits on the table. The shelves contain file folders, books, and a few empty coffee cups (I think the ‘30s are too early for mugs). A suit jacket is draped over the back of the chair, along with a shirt. A tie and pair of pants sit on the seat of the chair. Black shoes sit under the cot. There are Venetian blinds over the window, and early morning sunlight streams in.
Asleep on the cot is Reed Vetterli. He wears socks, underwear (boxers, of course), and a t-shirt. He is covered by a sheet and a plain blanket. There’s a small pillow under his head. He does not look comfortable on the cot. One hand hangs off the edge of the cot, and his head is barely on the pillow. Some light from the window is hitting him in the face, but his eyes are still closed.
Pull in closer to Vetterli. He raises a hand to shield his eyes from the sunlight. His eyes are barely open. We can also see the time on the clock… ten after seven.