OUBAPO Record Comic #1: Chelsea: No Escape
This morning I found myself getting ready to throw away a bunch of half sheets of paper left-over after mailing out the latest round of Nix Comic subscription books. (I couldn't figure out how to batch them on stamps.com so that the shipping labels were two up on a page.) That seemed wasteful, so I decided that I should use these half pages to make a series of short OUBAPO comics, which are essentially, comics made with a set of constraints to the process. The idea the artist must engage creatively to work through and with the constraints. The constraints I decided on for this project are:
I must draw the entire comic within the space of time I spend listening to one record. (Sides A & B)
I must draw each individual panel within the space of a single song.
I must draw with a cheap black pen. No pencil or erasing.
The record has to be one that I haven't listened to "in a while."
I can't use the lyrical content of the record in the text of my comic.
I must use the half sheets left over from printing shipping labels. (Duh! The whole initial point of this!)
Here's the first stab at it. Chelsea's No Escape LP. I think it ended up a little too earnest and grim for my tastes, but that is also the tone of the LP.
Page 1 notes: Drawing guitars is hard, especially with a time limit and no visual references. Think I did OK here, even if it's not entirely clear that in panel #2 all six strings are supposed to be snapping simultaneously. I like the guitar in panel 3 pretty well... Though it's a shame that I was so busy working it out that I didn't have time to finish the word "ridiculous" or make a word bubble.
Page 2: I picked No Escape out more or less by random (went to the "C" section of my collection and pulled records until I hit one that I hadn't listened to in my recent memory) but it does have a weird synchronicity with the public affairs class I'm taking right now, in that my class deals with the model of Exit, Voice, and Loyalty. Definitely a theme Chelsea explores with their anthemic songs. so I went with it full on.
Page 3: You know, when I finished this page I kinda thought it sucked, but now that I'm looking at it, the panels aren't bad for the amount of movement I was trying to work in. The individual panels aren't super sharp, but the layout is solid by me.
Page 4: "Cue the trombone... Escape isn't what he expected it to be." Damn, I'm corny. I knew my time was running out and had actually snuck a peek at the turntable about half way through page 3 to gauge how many songs/panels I had left... That's when a one page splash"twist" ending sprung to mind. I expect I won't be so smart as to look in the future leading to some incomplete looking pages.