HighJump

A comic featuring a pulp heroine fighting Nazis, and robots, and mad scientists, and femme fatales. Maybe Nazi femme fatales with robots. Because you never know.

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I hope everyone is having a safe and good new year. Enjoy the new comic!

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Personal concerns and now, you know, a pandemic have slowed me down, but here we are with a shiny new HighJump! The next episode is penciled and the inks will be starting soon.

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Sorry for the delay in getting the comic up! Please enjoy!

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We're getting another view of the final scene from the end of Chapter 01, and ending the info dump that we all already witnessed firsthand.  Now we start moving forward, unraveling plot points, and tangling up a few more. 

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There's not a LOT here that wasn't already touched upon visually in the first chapter of HJ, but we do find out more about who was in Antarctica, ostensibly why, and specifically where.

But other mysteries and questions of course arise. Also, I'm very pleased I got to use the footnote asterisk.

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Here it is, finally! So many apologies for the many delays. I won’t make excuses beyond, a lot has been going on (of course). But we’re back now and heading on!

The look of the room is modeled after reference for both U.S. and Soviet nuclear science and observation rooms from the 1950s. It’s a good while after the “now” time in the comic (1946), but I’m hopefully showing that something has happened in the past to push technology both forward and off to the side. Add to that my additions of a few scifi elements and most making everything more vast, and there you go. Base things in reality and move out from there is the primary approach for the scifi/punk elements of HighJump.

A welcome is in order!

Please welcome Gab Contreras onboard as our new colorist! She’s amazing and has been the colorist over on A PRINCESS OF MARS for quite a while. We work really well together and she brings a lot of thought to her work.  as you can see, her work is amazing.

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There's a few things I can talk about in relation to this comic. In contrast to the previous pages, which were all dark and claustrophobic, we're suddenly in a bright area, with ridiculously wide and tall spaces.  The click of her heels against the terrazzo tiles is also meant to work as a transition from the previous comic, with the clanging of the many feet upon the floor. That one would probably be more apparent in the eventual (knock on wood) print edition.

From the first caption you can see that I'm not avoiding or glossing over the fact that I'm dealing with a woman in the 1940s. Hopefully as a novice scripter I'm neither clumsy nor ham fisted with what she has to deal with.