Senior at Attic High and unwitting half-goat mutant. Naturally feels like an outsider, even before the transformation. Changes hairstyle daily thanks to rapid hair growth.
This is the first actual use of Morty’s (and Noah’s) transformation ray since the final chapter of Phase One. I kept it away from the students in Phase Two because it’s kind of a miraculous device. It healed Jen’s mortal wounds after transforming her into a were-poodle and back again, and with the kind of dangers the kids face every chapter, it would have become the dreaded deus ex machina of this series. At that point I started coming up with the germ of the story that’s unfolding here, where the ray is at the crux of villain Ken’s ambitions, and created the subplot that ran through Phase Two where Jen had confiscated the ray to prevent this kind of misuse.
All of Katsuko’s bears are designed to protect children, so I figured it would make sense if some of them were capable of acting as baby monitors.
This page takes its title from the Star Trek: Deep Space Nine episode “The Changing Face of Evil.”
I like having a varied pool of background characters that can develop into contributing characters. July started as a friend of Keris’ to fit a single scene in “New Tricks,” and over the next few chapters she’s had a supporting role in establishing Ken’s plot. Obviously she’s gone from being somewhat supportive of Ken’s group to being so against it that she’s helping to thwart them. And she’s only had three pages in total devoted to this across four chapters. These types of storytelling tricks are still new to me, but I realize I should have been using them far earlier.
I hadn’t intended for Jen to be wearing pantyhose, but this felt like a great way to show how much she’s shrunk. From what I’ve heard, women sometimes wear hose under pants for comfort or insulation, and considering there is a full-on winter storm outside, it seemed pretty plausible.
I was a bit iffy on Keris’ self-defeating attitude here. It feels almost like a step back from her growth in “New Tricks,” but given the crushing circumstances and the fact that she doesn’t have an invention that can be used against Ken, I believe her decision to stay out of the fight is appropriate for this stage of her character arc.
The final panel should technically only include “Attic’s Six” because Cass is alluding to the ethics class only. But Flint had arrived with the others and I couldn’t leave him out of the group shot for something this dramatic. He’s much too closely involved with all that’s going on to be left out. Thirteen, less so, so I chose to exclude her even though it seems unfair since I already made that one exception.
The full concept for Katsuko’s bears was originally developed to be its own full story, but it got shelved early in UTC’s lifespan and I’ve had to resort to dealing aspects of the bears out piecemeal whenever there is an opportunity.
I don’t usually like seeing “…” balloons in comics to indicate silence–it seems like it’s overstating the point. Noah wasn’t going to have any speech bubble to indicate that he was gaping silently, but upon reviewing the page, I was worried it would give the impression that I had forgotten to put in a speech bubble. I wonder if that’s why most comics do this sort of thing?
This is the part of the story arc that many writers (particularly screenwriters of action/horror films) hate. At some point you need to assemble all of the various groups and they need to share information with each other that the audience has already learned. It can get clunky and repetitive. Robert Rodriguez brilliantly found a way to skip this section of his film Planet Terror by literally cutting it out and claiming that the theater had misplaced that reel of footage. I have no such fallback option, so I have to just make this as entertaining as possible. Cue crowdsurfing Flint!