Page: 116, 117 This scene, while extremely short, is deeply laden with meaning. We already know that Conrad also keeps a scrapbook, different from Nova’s in two regards. The first is the use of those fussy corner protectors. The second […] ↓ Read the rest of this entry…
Page: 118, 119, 120, 121, 122 This scene is taken straight out of Rachel’s childhood, and with similar reasoning behind it: Rachel’s father’s father was a doctor who lost two of his children as toddlers, a loss echoing through generations […] ↓ Read the rest of this entry…
Page: 123, 124 Ahh, a softer side of Anthony Conrad: The fact that this sketchbook exists speaks as much as what’s drawn in it. Nick sketched these illustrations from his perspective, using a different hand and rendering style than his […] ↓ Read the rest of this entry…
Page: 125, 126, 127, 128, 129, 130, 131, 132 In Constellation, we’ve deployed mostly newspapers as our world documents, but we do have plans to do one book using mostly recipes to express the greater world context. This scene also […] ↓ Read the rest of this entry…
Page: 133, 134, 135, 136, 137, 138, 139, 140 Writing the snatches of song in this scene was one of Rachel’s favorite parts of TRO. It’s all about the little touches, when building a world, and the interconnectivity of characters […] ↓ Read the rest of this entry…
Page: 141, 142, 143, 144, 145 In a real surgical setting, there would be so many more people, a veritable hive of activity so difficult to render realistically in the context of composition. A crowd is made up of individuals, […] ↓ Read the rest of this entry…
Page: 146, 147, 148, 149, 150, 151, 152 There’s something very special in a narrative when you finally put all your main characters in one room, as it were. We’ve seen this conflict build and reverberate and now the first […] ↓ Read the rest of this entry…
Page: 153, 154, 155, 156, 157 The prior scene was the fork in the road for Nova and Conrad. Now each takes the first step down a totally separate path…or perhaps realizes that they’ve been walking separate from each other […] ↓ Read the rest of this entry…
Page: 158, 159, 160, 161 In contrast with our Vitruvian Man “montage,” where the central figure was split across two separate and isolated spreads, in this second one, we chose to combine the two halves with a more direct face-off, […] ↓ Read the rest of this entry…
Page: 162, 163, 164, 165 Lots of flip-flops in this scene, as we see the “monster” revealed. But if behind Mercer’s mask there is an age-old shorthand for evil, then what do we make of the foundations of his attack […] ↓ Read the rest of this entry…
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