Friday, July 26, 2013

Wolverine - In the Dead of Night - J.D. Coughlan


Again, apologies for lateness. My internet should be fine now.

Panel 1: Flashback, tinted red. Logan stands in front of a frightened woman, protecting her from a dozen or so men in suits armed with swords. He looks enraged, his claws already out. Everyone's clothes indicate this is maybe 50 years ago.

NO DIALOGUE

Panel 2: Present, tinted blue. Logan, in Wolverine costume, perched on a rooftop, looking into a bedroom window of an adjacent building. We see only his silhouette.

NO DIALOGUE

Panel 3: Flashback, tinted red. Logan slaughtering those men, the woman cowering in the background.

NO DIALOGUE

Panel 4: Present, tinted blue. Inside the bedroom Logan was observing before. He stands framed in the window. In the foreground, the woman from the flashback lies on her side, facing us, sleeping.

NO DIALOGUE

Panel 5: Flashback, tinted red. Logan stands among the dead bodies of those men, his claws still out, coming down off his adrenaline high. Behind him, the woman calmly picks up a discarded sword.

NO DIALOGUE

Panel 6: Present, tinted blue. Logan now stands right behind the sleeping woman, his hand on her back.

NO DIALOGUE

Panel 7: Flashback, tinted red. The woman drives the sword through Logan's chest, much to his surprise.

NO DIALOGUE

Panel 8: Present, tinted blue. Exact same shot as Panel 6, except the woman's eyes are wide open.

SFX: (small) snikt

END OF PAGE

2 comments:

  1. It might take him until you're a 70+ year old woman... but he'll get you :D

    Cool page JD.

    ReplyDelete
  2. Great mood and tone to the piece, really capturing the darker side of Wolverine.

    I dug the use of the tints as a visual metaphor, the red showing the anger Logan felt looking back on those events and the blue a really great highlight for the coldness of his revenge. Super cool stuff.

    Oh and the fact that you managed to use the classic Snikt sfx in such a menacing manner at the end of the page is just wonderful.

    ReplyDelete

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