I gave the Bride the same neck bolts as the Monster. In the film she doesn’t have them. There’s no explanation in the film why she doesn’t. It’s possible that Frankenstein and Pretorius improved on Frankenstein’s animation process and the bolts weren’t necessary. Or perhaps they put the bolts in a more discreet place?
I’ve read that the Bride (of Frankenstein) spends less than two minutes onscreen. In that short time she manages to be unforgettable. It does help that Bride of Frankenstein is a good movie and the Bride herself never got watered down or ruined by appearing in sequels.
I haven’t worked with photographs much when I create illustrations. I use them occasionally when I need to understand certain poses better or if I’m drawing an animal that I’m not familiar with. (I should use photos more often even with animals I think I’m familiar with! I’ve gotten some pretty obvious things wrong.) In the course of our discussions, that writer friend (who I’ve been discussing creating a graphic novel with) suggested that I use photos to create more detailed backgrounds. In this case we were discussing doing a period story and using photos that were in public domain.
I’m willing to try (almost) anything once (assuming I’ve got the time and resources (digress much?)). So he sent me some photos of early 1920s Los Angeles. I liked this one and worked up an illustration using it as the base.
I like the composition but the results are flatter than I intended. Practice, practice.
There are things that go bump in the night. There are things that bump them back. It’s not safe to assume that the second kind is any more friendly than the first.
A writer friend and I have, over the last couple of years, played with different ideas for graphic novels. So far we haven’t come up with one that works for both of us.This is one of those. No biggie. Part of the fun is the playing.
