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Page 1
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Panel 2
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Panel 3
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Panel 4
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Top Left Rectangle. Man in bottom left third,
mid-shot, we can see his back. He's staring
through a cylindrical glass window (that we can
also see out of) into the sea. He's staring down,
from a high place.
I am Basil Elton.
Top right hotdog-oriented rectangle. Profile of
the man in previous panel from a lower angle. He
looks like he's thinking powerfully about
something. Some might even go as far as to say
he's contemplating.
And like my father's fathers, I am keeper of
the North Point light.
Middle long hamburger-oriented rectangle. An
older man in the top left is speaking in the ear
of a younger man in the middle who is speaking
into the ear of a child in the bottom left. All
profile. Inbetween each head is a boat from a
different culture.
(top of frame) And with the lighthouse (bottom
of frame) came the lore of eastern shores.
Lower-Mid to bottom of page. A view of the
lighthouse from the ocean's perspective. Foamy
water but not violent.
(top) My mind never lingered long, however, on
strange gardens and gay temples. (bottom)
After all, I was in love with the sea.
Page 2
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Panel 2
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Panel 3
Top hotdog-oriented rectangle. The sea again a
little more wild. The bottom of this frame isnt
lined in, it's the sea and it goes down and
behind the other frames.
I loved contemplating the sea's moods.
Small narrow panel crammed together with other
mood panels. Ocean's perspective of the
lighthouse during stormy weather.
Whether angry
Small narrow panel crammed together with other
mood panels. Ocean's perspective of the
lighthouse during a cloudy, gray day.
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Or calm
Panel 4
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Panel 5
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Panel 6
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Panel 7
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Small narrow panel crammed together with other
mood panels. Ocean's perspective of the
lighthouse during a sunny day. Tide all the way
in.
Or happy
Small narrow panel crammed together with other
mood panels. Ocean's perspective of the
lighthouse during low tide.
Or sad.
Mid to upper bottom page rectangle. Lighthouse
perspective again. Man's also in the picture in
the bottom left hand side. Back-perspective. It's
nighttime and we can see the moon.
(top) But her most lovely face appeared at
twilight.
Long, thing hotdog-oriented panel at very bottom.
Man in profile silhouetted by the moon, reaching
out for a ghostly appendage coming from the
water.
At twilight the sea was reaching out.
Page 3
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Panel 2
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Panel 3
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Top left small rectangle. Just see the mast of a
white ship in the top right hand corner of the
frame.
And one night it sent me a boat.
Top right small rectangle. The rest of the ship
from the other panel, continuing in the top left
hand corner. The moon is right behind the ship,
and we are seeing it from a lower angle. It's
pretty intangible looking.
The barque appeared from the waves disguised
as a swell.
Long hamburger-oriented rectangle mid-page. Ship
fills out whole frame, some of it bleeds out.
There is a man the frame focuses on in the upper
left third. He's staring at something a bit above
him and far away.
And prominently displayed a wizened old man as
cargo.
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Hotdog-oriented rectangle from left mid-page to
left bottom. Old man is totes twirling his beard
while tilting his head and holding a cane. All
the while keeping eye contact with whatever is
slightly above him. He's not looking at the
"camera."
Caption
Panel 5
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His demeanor beckoned
Hotdog-oriented rectangle from right mid-page to
right bottom. You just see feet in profile. One
foot is stepping off this intangible white
cloud-like substance while the other one is
already on planks of wood. The feet is wearing
new boots.
And I had no choice but to follow.
Page 4
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Panel 2
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Panel 3
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Panel 4
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1/3 page panel top left. In the bottom right
foreground, an amazing landscape with a golden
castle with fantastic proportions. The landscape
surrounding it doesn't seem to follow the laws of
physics and there are trees growing ontop of
nothing or other trees. In the top left is the
ship coming in.
He first took me to Zar, land of forgotten
dreams.
1/3 panel bottom left. Old and young man in
foreground. Glimpsing at old man looking
disapprovingly at young man from behind young
man's back. In the far background is the city and
the ship appears to be sailing away.
But warned that those who set foot on Zar
never return to native soil.
1/3 page panel mid left. In the middle of the
panel in the foreground is a huge walled in
island with sculptures and roofs emerging from
the top of the wall all haphazardly but
interesting. The ship is coming in from the left.
There are some small swells on the left.
We then sailed to Thalarion, the land of
unrealized dreams.
1/3 page panel mid right. ship in midground,
mid-panel, sailing past island in the far
background. Two people staring at the island as
they go past.
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But while beautiful, Thalarion is riddled with
daemons and madmen. We sailed on.
Panel 5
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Panel 6
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1/3 page panel bottom left. Trees surrounded by
mist are coming up in the extreme foreground and
in the background to the left the ship is sailing
in.
We eventually reached Yura, land of pleasures
unattained.
1/3 page panel bottom right. Ship in midground to
the right sailing away from trees and mist in
extreme middle foreground.
But gagged on the smell of plague stricken
towns and unearthed cemetaries.
Page 5
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Panel 2
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Panel 3
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Top rectangle. The boat in extreme foreground,
Hanging gardens of babel-esque city in extreme
background, taking up the background of the
entire panel. Midground is water.
At last we came to Sora Nyl, the land of
fancy.
Mid rectangle. Montage illuminated manuscript
style with a repeated character engaging in all
sorts of creature comforts.
And I spend many days engaged in unparalled
happiness.
bottom rectangle. The man's head in the bottom
left of the extreme foreground looking over a
natural port with super placid water while the
moon is shining down on it. In the port is the
white ship.
I wasn't until I glimpsed the ship that I
realized something was missing. I wanted more.
I wanted the land of hope: Cathuria.
Page 6
Panel 1
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Panel 2
Top half of page. The harbor is in the left side
of the panel and the moon is highlighting the
ship coming towards the viewer on the right side
of the panel.
As we sailed away the old man warned me
against leaving the utopia.
Bottom half of page. Close up of man's face and
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the moon behind him.
Caption
But I did not heed him. I had hope in my mind,
my heart, and soon, my eyes.
Page 7
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Panel 2
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Top half. Old man in extreme foreground. He is in
front of massive pillars in the background, he's
looking at someone offscreen with pleading in his
eyes. He has a dialogue box that says, "Please
turn back."
After 31 days at sea, we came upon Cathuria's
pillars.
Bottom half. Old man in bottom left foreground
looking a bit dejected. Yound man in midground in
a charge pose, pointing towards the pillars. They
got a bit closer.
But I could already hear the sweet siren songs
of singers and lutanists and plunged onwards.
Page 8
Panel 1
One whole page panel showing the man sailing to
the pillars and finding and falling off the ends
of the earth. It's fiery and a bit bloody and
overwhelming. No text.
Page 9
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Panel 2
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Panel 3
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Top 1/3. Young man washes onto shore. It's
daytime. His lighthouse is in the top left corner
of the panel, in the extreme background to the
left. He's in the foreground to the right.
In hindsight, it had all happened so fast.
Mid 1/3. young man in profile opening the door to
his lighthouse.
There was no pain.
Bottom 1/3. Man looking out at sea from
lighthouse perch. Similiar to first panel. It's
night out and the moon has risen to the right.
But when I look out at the empty waters of
twilight, I can't help but feel the sting of a
wound.
FIN