Bay 2

Bay 36 (Belford)
Pencil on photocopy paper.

I considered continuing the story of Bay (see Bay). So I considered creating a new look for Belford.



Bay 37 (Jess 1)
Pencil on photocopy paper.



In the Morgan period I considered converting Belford into a female character, sent to sabotage Bay's efforts. Otherwise the Belford character was too much like the Ziks character. Belford's head and shoulders would lift up and a woman would climb out of Belford's body. Thus was born the character Jess.



Bay 38 (Jess 2)
Pencil on photocopy paper.

So then I became interested in the Jess character.



Bay 39 (Jess 3)
Pencil on photocopy paper.

Jess was raised in a collective nursery to be a warrior. A droid floated after her wherever she went, yelling orders.



Jess 4
Black ink and colour pencil on photocopy paper.



Jess 5
Black ink and colour pencil on photocopy paper.

Much later (in the post-Newanda period) I revisited the Jess 4 image, with no particular relevance to the Jess character as she was originally conceived.

The walls, floor and ceiling are composed of a layer of polished synthetic cartilage over ceramic, the table of synthetic white marble. The pillar and the tabletop are wrapped in rubber. The table has metal fittings. The corridor outside is constructed in a regular, horizontal sinusoidal wave so that you cannot see how far it extends, but only as far as the next bend, but can hear for a long distance.



Bay 40
Black ink and pencil on photocopy paper.

Not long after finishing the Bay strip I also reimagined the alien battleship (see Bay 2 in Bay). The pair of tubes along the top of the ship are made of something like glass and there is water inside with fish and something like plankton that accumulates in particular zones.



Bay 41a
Pencil on photocopy paper.

I also toyed with the idea of continuing the story of the battleship's crew. In this scene, while they are wandering the corridors of the vast battleship, one of them notices a door to a room in which is an object that turns out to be a super weapon.



Bay 41b
Pencil on photocopy paper.

The crew member approaches the object.



Bay 41c
Pencil on photocopy paper.

He presses the button on the front of the object.



Bay 41d
Pencil on photocopy paper.

Another crew member follows him in and asks what he is doing.



Bay 41e
Pencil on photocopy paper.

The object begins to open.



Bay 41f
Pencil and black ink on paper.

Other members of the crew arrive as the object finishes configuring itself.



Bay 41g
Pencil and black ink on paper.

An appendage extends from the object. The object communicates by materialising a slab of solid iron with raised lettering.



Bay 41h
Pencil on photocopy paper.

While the device awaits a response it surrounds the crew with iron rams.



Sei Room
Pencil on photocopy paper.

To disable the tractor drones that brought them onto the battleship, Bay and Belford/Jess had to get to the Sei Room. The window from the Sei Room looked out into one of the water-filled tubes.



Arrival on Esde
Pencil on photocopy paper.

Bay proceeded to Esde alone. It was the planet he had been ordered to destroy. He set the explosive and took in the scenery before flying away.



Deathsheads 1
Pencil on paper.

Bay was originally sent on his mission by the paranoid General Deathsheads. The General was also redesigned. Barney added a mouth and two eyes to the protruding belly of the General and came up with the idea that the belly was sleeping, and that if it ever woke up it would eat the General.



Universal Solutions 1
Pencil on photocopy paper.

Universal Solutions is an early design for the fortress of General Deathsheads, located in a crater on an irradiated world, and surrounded by suburban homes.

The "Universal Solutions" (US) idea was about "one size fits all" solutions, and about the impact of "big picture" (geopolitical) considerations on all of the smaller elements of the world. Turned into a fantasy evil empire.

The image was drawn in the 1980s and was a bit dated even then. The Cold War era was a different time although it may not seem so. The Berlin Wall fell in 1991. But the 20 year long Vietnam War (Television's War) ended in 1975 around the time I was finishing primary school. President Nixon had resigned the year before. Not that I took an interest in politics or world affairs at the time, but the image reflects a feeling of the time.



Universal Solutions 2
Black ink and colour pencil on photocopy paper.

A much later revision of the Universal Solutions idea (from the post-Newanda period). It no longer had any connection to General Deathsheads.



Deathsheads 2
Pencil on photocopy paper.

If Deathsheads' fortress was no longer the Universal Solutions office he needed a new fortress. A few designs were considered.



Deathsheads 3
Pencil on photocopy paper.

Deathsheads' fortress seen from the ground.



Deathsheads 4
Pencil on photocopy paper.

Another design for Deathsheads' fortress.



Bay 42
Pencil on photocopy paper.

Bay approaches the General's throne room.



Bay 43
Pencil on photocopy paper.

Bay meeting with the General.



Bay 44
Pencil on photocopy paper.

The view from the General's throne.



Bay 45
Pencil on photocopy paper.

An earlier but more complete draft of Bay 44. Anyone visiting the General stood inside a glass booth at the top of some stairs. On either side of the booth was a kind of directional sonic cannon. Together these could liquify the visitor if the General was displeased with them.

At this time, the General's throne room was built inside of the stomach of a giant alien lizard that lived in caves deep within a desolate alien planet.



Deathsheads' Lizard 1
Photocopy of a pencil drawing coloured in with colour pencils and some gouache.

The giant aquatic lizard the throne room of General Deathsheads is in the stomach of. Bay's spaceship approaches the lizard to be swallowed. The General has the lizard exploring vast caverns of this alien world, seeking a larger creature to swallow the lizard, so that he may rule from the belly of that creature.



Deathsheads' Lizard 2
Pencil on photocopy paper.

Deathsheads inhabits the same world as the Meek (see The Meek 1 in Clive India). The Meek lives in the Mushroom Cloud Forest (see Bay 47 below). The destructive vibrations of the Mushroom Cloud Forest prevent anyone from approaching the Meek. The only way to reach the Meek is via the caverns through which Deathsheads' lizard roams. In the roof of one of these caverns is a long vertical shaft leading to a chamber under a structure, on the top of which is a palace or temple. Another long vertical shaft connects this chamber to the temple high above. Deathsheads' lizard rests in this chamber after a long swim and climb. Light from the blinding Mushroom Cloud Forest outside shines down the shaft leading to the temple. Deathsheads has interrupted his quest to deliver Bay and Jess to the Meek.



Bay 46
Pencil on photocopy paper.

In the end, I wanted to make Bay a much more serious character, while retaining his look.



Bay 47
Pencil on photocopy paper.

Bay standing beside his parked vehicle. Thick shielding on the roof has been melted. The Mushroom Cloud Forest is visible in the distance.



Driving into the Mushroom Cloud Forest
Ball-point pen and pencil on paper.

Bay attempting to drive into the Mushroom Cloud Forest. His vehicle can be seen on the ground between the two colliding rocks. He had to give up on the attempt.



Bay 48
Pencil on photocopy paper.

Just a design for Bay's boot.



Deathsheads' Lizard's Cave 1
Pencil on photocopy paper.
(Post Newanda period)

A dinosaur gathering ape-men in the cave system inhabited by Deathsheads' lizard.



Deathsheads' Lizard's Cave 2
Pencil on photocopy paper.
(Post Newanda period)



Deathsheads' Lizard's Cave 3
Pencil on photocopy paper.
(Post Newanda period)



Spaceship 1
Pencil on photocopy paper.

Idea for a new spaceship for Bay.



At the End of the Universe
Pencil on photocopy paper.

There is a story that the Gobolon believe that at the end of the universe, everybody will be one of two people, a man and a woman. Each is accompanied by a sub-person of the opposite gender. At the end of the universe, all space will be a single room with two doors into darkness and one window into light. You won't be able to leave the room because outside consists of "Absolutely Anything", which is not anything. But each sub-person can go outside, and returns and tells you untrue stories about what is outside.



Tyranny College
Pencil on photocopy paper.



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