It’s good to be in, at times, in the right thinking when you did something in your comic. I go 99% of the time with my gut when I do anything on VIGIL. Mostly because thats the one project where I think “Fuggit” and don’t really care for ratings, fans, viewers ( or the lack there of).

But that aside, you do start thinking about little decisions here and there you may have made and wonder “well does that work, or do I want it to work so badly I’m going in on this no matter what?”

Thats what the ending of VIGIL (for the Hiatus) was all about in the sens of how do I end the current arc on a somber note, after all the blood, punches, and broken jaws, how do you breath in and just let go?

I thought of thetre, and my brothers experience in it ( he studied in New York) and my own recent thinkings and dealings with it (Been re-reading Camino Real by Tennessee Williams) and that how I ended up with the slow darkening of what was going on. The lights coming down, so to speak, like in thetre. That when you caught in the physical darkness, it makes things a bit more acute, even if it’s for a somber note.

Thats why it was neat to see someone going to the same conclusion, but from the other side, like Warren’s blog of recent on Orson Welles and his “Electric” Dissolve in pictures, and wondered how that worked so well.

I think comics and theatre, if comics if ever going to be virile and healthy can pick up some great cues from theatre and really bring some great visula stimulation into storytelling.

More to think about.