Technically not OVS, but the sadly extinguished Solar Wind was a sibling book published by Paul Scott (publisher of OVS) so sort of exists in the same universe (or Omniverse if you prefer...). Drawn Oct '07, published March '08.
Written by Ben Clark.
The coloured version was done as a test for myself in exploring computer colouring.
First Strip for OVS.
When I first read the script (by Paul Scott) I thought about doing it in an Alex Raymond 'Flash Gordon' era style. Paul wasn't too keen so I went with a sort of Will Eisner vibe instead. For some reason I got a 1930's/40's feeling when I read it.
Drawn Nov 07, Published in OVS 4, May '08.
Drawn for OVS 4.
Used a mixture of styles - Brush for all present day scenes - pen for the flashbacks/notepad sections.
Written by Paul Scott.
Drawn Mar '08 using a style similar to David Lloyd in 'V for Vendetta' (read it if you haven't, read it again if you have) for OVS 4.
Might make a good short film - or the opening of a longer one - should anyone be inclined. Written by Ben Clark.
Appeared in OVS 5. Written by Paul Scott, I changed a few bits and pieces, mainly the fact that you never see the protagonist's face until the last page - and pushing that reveal onto a extra page. Also added the sequence at the top of page 4. Originally he just walked through the door and up the stairs.
Also thought of two shots that he could be watching in the cinema on Page 3 (It was written as Nosferatu, but not a specific scene) and sent both to Paul. He prefers the one used as it mirrors what is happening in the panel. I prefer the version shown below as it sets up the stair sequence on Page 4.
Drawn for OVS 5
Quite a lot of information in some of the panels (especially Page 3) , quite happy with the end result. At the time, Page 4 was my favourite page I'd drawn.
Written by Paul Scott and Gareth Whitty.
These strips for Dirk Despair appeared as a series of two page parts in both issues 6 and 7 of OVS.
Due to the nature of the strips, Paul wanted to letter these himself as he was prone to change some of the dialogue should he want to.
One of the most surreal things I've worked on. Quite enjoyed it as there were some tricky storytelling challenges to overcome.
Originally written back in '95 as an idea to submit to DC who were publishing a Sci-Fi imprint at the time (Helix) but never finished. Has gone through a few changes since then (haven't we all?) including an attempt to make it into a screenplay a few years ago.
The first two pages are how the original opened, then it goes into a short section that was about the third of the way in. (which was drawn as a sample package to submit in late '95ish) But I wanted to do a short complete story so this was the end result.
Appeared in OVS 5. Inked with a pen I haven't tried before, not bad end result.
I have the longer version written somewhere, may get around to it in the future...
Published in OVS 6. A tale set within the same universe as 'The Prisoner' TV series. Used the same location for reference.
Written by Paul Scott.
Devised as an experiment with a EC/Wally Wood style strip a few years ago. Created the character's names from some of the pioneers of Air and Space travel.
Has a big robot in it so it automatically becomes awesome!! Add to this that this changes into a Spaceship (wonder where that idea came from?) and this becomes the best comic ever!!!
Appeared in OVS 6.
Still needs a bit of development, but it's something I'd like to get back to in the near future.
Had an idea of a weird Sci-Fi fairytale type of thing about where the Sun rises, and then never sets, therefore forcing mankind underground. Couldn't really figure it out, but liked the idea of doing something in Iambic Pentameter so for some reason the image on the first page popped into my head and I went with that.
Quite like how it turned out.
Appeared in OVS 7.
I got wind of an article about the Orson Welles' radio broadcast of 'War of the Worlds' and offered my services to Paul if he wanted any art for it.
For quite some time now I've wanted to do an adaptation of the book in a similar vein to what Bernie Wrightson did with Frankenstein. Don't know why those that have adapted it haven't set it in Victorian England. I think it would be much better.
Saying that, although it has many changes, I do like Welle's version. Very compelling to listen to and a great example of how to use the medium. Listen to it if you can.
