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We believe that the boundaries of narrative and illustration for webcomics can be pushed beyond what anyone currently expects.

Page: 146, 147, 148, 149, 150, 151

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 blow hangs in the air. But where will it fall?

And who will strike it?

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, but these individuals only need to be present so readers can count them subconsciously. We decided to streamline instead, and since we weren’t including a “cast of thousands,” we put secondary character, Dr. White at the helm.
Maybe this makes Adamant feel a bit on the small side–is he the only surgeon in the City? Ah, suspension of disbelief.

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 from different walks of life is better presented against a backdrop of flavor and detail.

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 references the prologue, in its hint at who amongst the family has carried on the Novoteny heritage.

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 own sketching; truly they’re Conrad’s work, alone.