Page 7. This panel takes up half of the first row. This panel is mostly black, with a jagged Panel 1. white bolt splitting the center, like lightning. There should be grey, chaotic shapes around its edges. With one eye gone, and the other intact, I felt like my mind was being rent in Caption: two. This panel should be almost completely dark, but should be a close-up, frontal-shot of a Panel 2. fork, liquid at the tip with blood. For a moment, I imagined myself sitting one-eyed at an easel trying to Caption (top): capture this. This seeing double. I wondered, if I did, whether Annie would understand. ANNIE/off: god. You’re insane, you’re—oh But it was an animal pain. I have what it took. I took the easier Caption (bottom): didn’t route. This panel takes up half of the third row. It is from perspective as she rushes Panel 7. ANNIE’s towards SHEYNA (zip lines to show the motion if that too distracting). SHEYNA has one isn’t eye a mess of crunched glass and blood, oozing something awful (it should not be drawn in the skeletal ANNIE-perspective style, but rather the gore should stand out against a shot that otherwise would be how SHEYNA sees the world without the glasses). The other eye is wide in surprise, not unlike the shocked shot of it before. A wave of relief hit me. Caption (above): Squish Sfx: ANNIE/off: This be happening. I be seeing this. can’t can’t As wave of pain hit me. Caption (below): This panel takes up the entire third row. Pitch black, a bead of dark red blood drips off Panel 8. the bottom right corner of the panel border. I was blind. I knew that someday, I would tell someone what I had seen, Caption (top): release it from my head onto their page. But right then, I would have given anything to be standing at the Caption (bottom): doorway, looking at Annie paint, with my own two eyes, having no real idea what I was seeing.
Page 7. Panel 1. This panel takes up half of the first row. This panel is mostly black, with a jagged white bolt splitting the center, like lightning. There should be grey, chaotic shapes around its edges. Caption: With one eye gone, and the other intact, I felt like my mind was being rent in two. Panel 2. This panel should be almost completely dark, but should be a close-up, frontal-shot of a fork, liquid at the tip with blood. Caption (top): For a moment, I imagined myself sitting one-eyed at an easel trying to capture this. This seeing double. I wondered, if I did, whether Annie would understand. ANNIE/off: You’re insane, you’re—oh god. Caption (bottom): But it was an animal pain. I didn’t have what it took. I took the easier route. Panel 7. This panel takes up half of the third row. It is from ANNIE’s perspective as she rushes towards SHEYNA (zip lines to show the motion if that isn’t too distracting). SHEYNA has one eye a mess of crunched glass and blood, oozing something awful (it should not be drawn in the skeletal ANNIE-perspective style, but rather the gore should stand out against a shot that otherwise would be how SHEYNA sees the world without the glasses). The other eye is wide in surprise, not unlike the shocked shot of it before. Caption (above): A wave of relief hit me. Sfx: Squish ANNIE/off: This can’t be happening. I can’t be seeing this. Caption (below): As wave of pain hit me. Panel 8. This panel takes up the entire third row. Pitch black, a bead of dark red blood drips off the bottom right corner of the panel border. Caption (top): I was blind. I knew that someday, I would tell someone what I had seen, release it from my head onto their page. Caption (bottom): But right then, I would have given anything to be standing at the doorway, looking at Annie paint, with my own two eyes, having no real idea what I was seeing.