Aug 26 2014

Turning the Table

Here we see the continuing confrontation between C and M.

I had no idea how to lay out this page at first. After awhile, it gets difficult to imagine new ways to show talking heads. I went ahead and drew panel 1 based on a sketch I had in my notebook. At that point, the Muse responded…

In this scene, C catches M in an admission that he (M) knows something that he shouldn’t know, namely that Fortunato was drunk at the time of the murder. This is an important slip-up (and just the kind of thing that C relies on with his quirky investigative technique). So the viewpoint moves from M’s point of view and power position behind his desk (panel 1) all the way around to C taking the power position (panel 4 is effectively a mirror image of panel 1). So the scene literally turns the table on M (as M’s desk rotates a full 180*).

Furthermore, because of the way the sunlight comes through the window and casts shadows, M goes from being almost all white (pure) to being almost all black.

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1 comment

  1. Mark!

    What a great idea with the light and the idea of “turning the tables”! Very clever and something I’m not sure I’ve seen before. The light definitely works, but I feel the “power position” is flawed. C is frontal, the first things you see (reading left to right), and speaking in the first panel and while that is not true by the end, C is still the first thing you see, and M has become dark and small, but gets a line. To me there are enough similarity in power position to not indicate a change–or radical enough change–especially in the direction you wish. If C was on the right without a line in the first panel and you saw M’s face somewhat, and C had a line in the last panel, while M was slightly more obfuscated, then I think you would really have the effect.

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