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I swear, this was written before the epidemic was a thing!

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So, this segue has been an...interesting experiment.

In comics, you generally want to have as few words on the page as possible. Otherwise you have no room for artwork and it overwhelms the reader. But when you're writing a children's book, you should make room for a little bit more wordiness to make sure the story isn't super sterile.

Turns out when you combine these two media, IT'S REALLY HARD.

This script went through so many revisions, and I was still rewriting it up through finishing this page. There was so much I wanted to get across, without retreading territory you guys have already heard a million times, and while making sure the story still made some sense. It was not easy, but I think it came out... okay. Certainly much better than the final script.

Then, besides that, I wanted to set it apart with a more kids' book style, using pencils instead of inks and having kind of a watercolor feel. I've never had much success with digital watercolor brushes, personally, but I managed to find one in the base CSP brushes that worked okay for me. 

Good news: it doesn't have to look perfect and in fact the messiness adds to its charm. Bad news: ow, my hand, haha.

Anyway. I hope this little glimpse behind the curtain, both at making the comic and at the story itself, is exciting! If you have any questions, let me know, and I'll try to answer best I can.

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Comments

Wilford B. Wolf

The more pastel look of the children's book really works here. And I certainly wasn't quite expecting the storybook to be quite this direct. Interesting that going Abroad will "corrupt" and "taint" the traveler, which would explain why even now those that do go cannot return. But what that corruption is (is it physical like radiation or is it cultural contamination?) remains unclear; enough to freak Belfry out either way.

Benjamin Buckingham

The art changes really got me off guard, but was needed. Keep up the great work.