Scott Bieser posts
Posts: 450
Files: 1061
1937/205/137
Long conversations like this one compel me to come up with more view angles. The problem with Carmen is her hat makes it tough to do high-angle shots.
1936/204/136
Carmen Raynal is friendly, attractive, and dangerous.
1934/202/135
What I did in the 3rd panel was use a photo of Churchill Downs as a scale reference, to get the relative sizes of stands, track and horses done realistically enough to emphasize that in-story, this place really does look "real" despite being something floating in a giant bubble. But then I put in my own details...
1933/201/134
Diana's gotten very tired of being pushed around
1931/199/133
Jacques Bouissou is sort of a cross between Beldar and Zippy The Pinhead. Coneheads have some variation in their head-shape, but they all have a Point.The tiles on the wall in the background were a "color image material" in Clip Paint Studio.
1930/198/132
Well of course they have ice cream parlors in Bubbleopolis. Why wouldn't they?
1928/196/131
While designing all these mercenary characters I tried to keep in mind that I'll be using them again fairly soon.
1927/195/130
Diana is still learning how to do negotiations.
1925/193/129
TFW you get home from a long day of work and want to chill but your house-mate has decided to throw a party.
1924/192/128
These "cyberspace" scenes look simple but there was some chellenge in sorting out all the angles without either having to cross balloon tails or violate the "180 rule."
1922/190/127
I'm really liking some of the free brushes and effects I can collect with Clip Studio Paint. If it handled text properly I'd switch all the way over from my aging Photoshop. The backgrounds in the last two panels of this page and all of the next page in the "inks" image were created in CSP.
1921/189/126
Every now and then it's fun to watch Alyss blowing her stack. From a distance, anyway.
1919/187/125
Oh, bother. I've just realized the numbering sequences I've been using having been lining up right. I've corrected it with this one. It's supposed to be TotalStrips/StripThisArc/PageThisVolume.
1916/186/124
No perverts here.
1914/184/123
Dominic has a curious style of flirtation, to say the least.
1913/183/122
A few days before writing this stretch of the script I saw a docu on Julius "Groucho" Marx that was fairly engrossing. I loved the Marx Bros' anarchic style of comedy. And all of that has nothing to do with the character of Dominic Martello, nothing at all.
1911/181/121
Don't you just hate it when you're having a nice sit-down and a bomb pops up under the towel rack? That's why you should always keep your Oresme Shield up to date.
1909/180/120
We only get the slightest taste here of how fast gynoid-Alyss is. We'll see more of her capabilities in the next story arc. Maybe a bit later in this one.
1908/178/119
I love the scenes where Diana and Alyss interact. I hope readers like them, too.
1907/177/118
Yes, I did some shameless cut-and-paste here. But shit was happening in my personal life and I needed to save time.
1905/175/117
Making sense of extra dimensions is not for the faint of brain.
1904/174/116
Never forget to back yourself up.
1902/172/115
Peter Piper picked a peck of pickeled hyper-cubexahedrons.
1901/171/114
And so we say adieu to Kimberly, who is modeled on a friend of mine. Who also happens to enjoy assembling doll-hou ... I mean, miniatures.
1899/169/113
Our first glimpse of Le Château Périlleux. Or a reasonable facsimile anyway.
1898/168/112
Of course the last few words out of Diana's mouth was heard through the door.
1896/166/111
Belbenoit can sneak away as well as sneak up on you.
1895/165/110
Those Smith & Holder characters are a bunch of grabby sumbitches, aren't they?
1893/163/109
Belbenoit, you sneaky so-and-so.
1892/162/108
At the inking stage I realized I needed to ramp-up Otto's reaction to Diana's joke in the last panel. Hope I didn't overdo it.
