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Sam's Big Fight
Gargax monster
The structure of any Hero story, whether it be Batman, Indiana Jones, James Bond, or Dr. Who, always follows the same shape. Intermittent periods of danger, which the hero has to survive by his own wits or strength.

A weak cop-out, which I see far too often in movies and TV shows, is when somebody shows up unexpectedly to save the hero. This is lazy writing, because it generally means that the writers can't think of anything else. How many times have you watched that same tired old scene, where the hero is saved by the intervention of third party, who usually shoots the villain?

So the problem I had in writing the Super-Sam sequence below, is how can Sam save himself against a powerful foe, when he's weak as a kitten, can't fly, and is inches from death.

I'm afraid you're going to have to wait until next Tuesday, when my solution will be posted on the Forbidden Planet Blog.

All previous episodes can be seen here. forbiddenplanet.co.uk/blog/?cat=21

Sam Fight 1

Sam Fight 2

Sam Fight 3

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Call me a nerd, but I noticed that your robot has three fingers on one hand and four on the other ... and I kind of like it!

I don't worry too much about small matters of continuity.

No, and that's great. I'm really struggling to strip my artwork down to a basic, but powerful form ... something that's more energy than precision. It isn't easy to do, since I learned trying to draw like John Byrne and the like way back. But I like the stripped-down, frenetic style you have. Do you think you'll ever put out a book (if you haven't yet, I mean)?

I've learned to keep it simple, because I'm never going to be Mike Mignola, John Byrne, Jamie Hernandez. In terms of detail, it's amazing what you can get away with. The mind fills in the blanks when looking at any drawing, so you can leave out quite a lot. Recently I've begun to experiment with leaving out people's faces, knowing that you don't always need even that detail.

As for publishing. I'm still looking for a publisher who take me seriously. I'm still working on that one.

I also liked the "negative" face you did on that first page ... black with white lines.

I know you're in the UK, but have you tried all the "usual suspects" for publishers? Fantagraphics, Top Shelf, Sparkplug, etc., and even some of the smaller ones, like Tender Loving Empire or Picturebox? Seems like you've definitely got a lot of material.

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