#marissa seaward

[emerald194]

[exist101]

Ty I've just been having a lot of fun thinking about this stuff, you know?

Like Marissa's known Dr. Hare for a very long time, and is haunted by seeing the hypnotized children, and this scary man in a rabbit suit yelling orders.

And Director D... that adventure hurt. Spy Island was her first mission, and she initially really looked up to the Director...

Oough

Audrey's first adventure was Poptropicon, and tbh she doesn't really know what to think about Omegon. She's been doing research into the Code and its effects on people, it ain't pretty.

[darkwatercomics]

~ Issue # 6 ~ Book One: Chapter Six: When The Wheel Turns ~

PAGE 1, PANEL 1

Page width panel. High view of the Byzantine Academy with the Manhattan suburbs behind and the horizon with a sunset beyond. In the foreground seagulls and pigeons fly over the rooftops.

PAGE 1, PANEL 2

Page width panel. Close up of Tom’s hands bound together by restraints, fists clenched, the blue energy of magic building between them, more powerful looking than we’ve seen in past issues.

PAGE 1, PANEL 3

Two half page panels on this bottom tier. Head to waist shot of Tom dressed entirely in white as we saw him back in issue # 3. The energy in his hands is now a pure ice blue white, a bubble of blue energy expanding out from him as Ministry guards back away.

PAGE 1, PANEL 4

Full shot of him now breaking his restraints, spreading his arms outward, shouting out with a primal rage, a wave of blue energy erupting from him, blasting the guards backward across the courtyard.

PAGE 2, PANEL 1

FULL PAGE SPLASH: In the foreground is a full shot of Tom walking through the courtyard, his face bloodied, his expression filled with anger and power. There’s no border on this full page splash, instead the twisted main gates on either side are framing him. Behind him the front of the Academy is scorched and aflame and on the ground of the courtyard the guards lay dead. And now, with this wider shot we see there are also students laying dead nearby.

ARTIST NOTE: Written across the bottom of the panel between the open gates is the title, Book One: Chapter 6, When The Wheel Turns.

PAGE 3, PANEL 1

SPLASH: Exterior shot of a 17th century plantation style house, the kind often seen back in the old slavery days. This particular one is very much like the Seaward Plantation, Texas. On the porch area is an old wicker chair with Mother M waking with a start. This is a younger Mother M when she was a professor at he Academy and her name was Marissa Winters and shows she hasn’t aged.

MARISSA: No …  

CAPTION: North Carolina.

PAGE 3, PANEL 2

Three panels on this bottom tier. Full shot of her in an old study of the house. Its four wood panelled walls are filled entirely by shelves of books. The morning light is falling in through a mullioned window and directly onto a large mahogany desk. She’s bent over, studying a shelf, running her finger along a line of books.

PAGE 3, PANEL 3

Close up shot of a book she has chosen now open on the desk as she turns its old, yellowed pages. The words ‘Way Back When’ are written on the left hand page and on the right hand page are  Celtic and Runic markings similar to the Masque Of Magellan symbol.

PAGE 3, PANEL 4

Head to waist semi-profile shot of her with the morning light falling across her face. She’s talking into an old fashioned black telephone.

MARISSA: I don’t care if he is in a meeting. I need to speak to him now.

MARISSA: It’s urgent. I’m one of the Five. If I ask, you get it done.

PAGE 4, PANEL 1

Exterior shot of an old courthouse style building. Steps lead up to its front entrance and above its high open wooden doors a lopsided wire sign reads: HALOS. Cables snake out from the building to a series of generators placed nearby. Fire escapes have been welded to its façade, the style usually seen on buildings in cities like New York, with a series of tiered balconies between them, on these people are sat drinking, talking or just leaning and looking out at the surrounding shanty town. In the foreground is a full shot of Jesse and Izzie from behind as they walk toward it. On an old style bar sign are the words ’35 Years Later.’

ARTIST NOTE: I’ve used the lyrics to my own song ‘Hey, Do You Feel Loved.’ S.F.X: Baby faced angel, you’re honey for this swarm of bees. Inside, outside, red lights, shadow of your figure through a screen. You’re swinging your head, hair dripping like something you bled …

S.F.X: You’re in your own little world, everybody loves you. You’re dancing tip toes, you’re shedding all your clothes, everybody loves you …

JESSE: So this place is?

IZZIE: This place, Jesse Miller, is Halos. And it definitely ain’t no dive.

PAGE 4, PANEL 2

SPLASH:  Interior shot. In the background of the top right of the panel are Jesse and Izzie stood at the top of the elevated entrance and a double staircase that leads down onto a sunken dance floor. The interior is made up of the original courthouse pews with seated alcoves along the side walls. Also dotted around are Pool, roulette and card tables. The whole place has a grungy used, thrown together kind of look to it, it’s a scavenged kind of place, dingy, dark, with coloured disco lights that spot light the dance floor. In the foreground half naked male and female dancers cavort suggestively as they drag blue trails of magic using their hands.

S.F.X: You’re such a big splash, you’re a head long car crash, everybody wants you. You’re sister to my brother, you’re every son’s mother, you’re a little uptight until you get your fix. Got yourself your own little piece of heaven, got yourself the stuff you really love …

S.F.X: Hey sister tell me is it ever enough for you, sister, tell me do you really feel loved? Hey, do you feel loved at all, sweet baby child.

S.F.X: You’re a figure eight through the rising steam, inside, outside, red lights, shadow of your love behind a screen. You’re pouting through your lips, red rose tattoos upon your hips, you’re in your own little world …

JESSE: Jesus, this place is just so …

IZZIE: Yep, ain’t it just.  

PAGE 5, PANEL 1

Page width panel. Wide shot of them both sat in a semi-circle alcove booth. Both are sat back, sagged into the seating. On the table are a bunch of beer bottles dotted about two plates with  half eaten chicken pieces on them. They are clearly worse for wear.

ARTIST NOTE: I’ve used the lyrics to my own song ‘Little Miss Bombardier.’ S.F.X: She’s such a space age kinda girl, she knows it’s the future where it’s really at, she doesn’t want the latest fashion or any of that, it’s the real deal she’s after. She’s found her own style and you can be sure she knows it.

JESSE: So, where exactly do you live, Izzie Washington?

IZZIE: I live here.

JESSE: Yeah right, wait … seriously?

IZZIE: Yep, upstairs, in the penthouse no less. I got a deal with the owner.

PAGE 5, PANEL 2

Three panels on this tier. Similar to the previous panel but now a closer shot of them with Jesse holding a bottle beer, about to down it.

S.F.X: She’s never been part of the it crowd, but the it crowd can never really compare, she knows where she’s going and it’s so very far out there.

JESSE: Deal?

IZZIE: Well, she’s a business woman, and I’m kind of an entertainer. She makes deals, I dress up, I entertain her guests. I help the deal go through smoothly, grease the wheels, keep ’em sweet.

PAGE 5, PANEL 3

Similar shot of them but now Jesse is leaning her head on Izzie’s shoulder.

S.F.X: She knows just what it takes to really get ahead, she’s found her way and you can be sure she won’t blow it.

JESSE: When you say keep ‘em sweet …?

IZZIE: Whatever the deal requires, and I get pretty much whatever I want. Ain’t the best deal for sure but it’s mostly okay I guess.

PAGE 5, PANEL 4

Similar to the previous panel but now Jesse is sitting forward again as she spits her beer out, her surprise at Izzie’s comment clear.

S.F.X: Little Miss Bombardier, she’s going to war against the night. Little Miss Bombardier she’s flying so very high.

IZZIE: One of em’, he wanted me to stick my fingers up his arse and piss in his mouth, but we gotta make a living somehow, right?

JESSE: Uh, yeah, right.

PAGE 5, PANEL 5

There panels on this bottom tier. Head to waist shot of Jesse about to take another drink of her beer, with Izzie stood, gripping her arm.

S.F.X: Little Miss Bombardier, she’s a girl with her eyes on the sky.

IZZIE: Okay, come on, let’s hit the dance floor!

PAGE 5, PANEL 6

Full shot of them on a chess board like dance floor. Izzie is dancing suggestively, running her fingers through her hair, while Jesse is stood there stiffly, looking utterly and completely out of place.

S.F.X: Little Miss Bombardier, she hears the sound of the distant sitars. Little Miss Bombardier, she’s dreaming up among the stars.

JESSE: Um, it’s been awhile.

IZZIE: All the more reason ‘en. Now shift that southern booty Jesse Miller.

JESSE: I’m kinda stiff, not sure I can …

PAGE 5, PANEL 7

Floor level shot, looking up at both of them as they’re pulled upward into the air toward a bright shimmering watery light above.

S.F.X: She’s a dreamer, she’s a dreamer.

JESSE: Whoah!

PAGE 6, PANEL 1

FULL PAGE SPLASH: Full shot of them suspended in the air, holding each other, about to kiss, their hair floating like they’re underwater. Jesse is now fully in the moment, smiling as she leans in for the kiss. All about them lights glimmer and sparkle, full of colour, with the shadows of other figures faintly seen through the glow. The blue energy of magic twists and twirls about them, and at the top of the panel a glass ceiling, showing the starry night sky.

S.F.X: She’s a dreamer, she’s a dreamer.

JESSE: Oh.

IZZIE: Like I said, ain’t it just.

JESSE: Ain’t it just indeed.

PAGE 7, PANEL 1

Page width panel. It‘s night and it‘s raining heavily.  Wide exterior shot of the Norwood Club. P.O.V is from the opposite side of the street. The words ‘Way Back When’ are written on a nearby street sign.

CAPTION: 14th Street, Lower Manhattan.

CAPTION: The Norwood Club.

AGATHA ( O.P ): I’m not exactly clear why you called this meeting, Marissa.

MARRISA ( O.P ): I called it, Agatha, because this council has taken its eye off the ball.

PAGE 7, PANEL 2

Page width panel. In the foreground is a head to waist shot of Marissa from behind with eleven members of the Council sat around a long wooden table, including prominent members Agatha Richmond and Nathaniel Sparrow. Their speaker, Noah Hawthorne is sat at the head of the table facing her. Michael Valentyne stood by the wall, calmly and silently observing what’s going on.

NOAH: How so?

MARISSA: You’ve been focusing on the wrong enemy.

AGATHA: We only have one enemy.

VALENTYNE: If only that were true.

PAGE 7, PANEL 3

Page width panel. Head to chest shot of Noah from behind with a head to waist shot of Marissa at the other end of the table facing him.

NOAH: If you have a point, Marissa, please make it.

MARISSA: The point, Noah, is that yesterday I had a vision.

NOAH: A vision?

PAGE 8, PANEL 1

Three panels on this top tier. Full shot of Valentyne by the wall, observing.

VALENTYNE: Noah, if I have learnt one thing in my time on this planet, it is that when Marissa has something to say it wise to listen.

PAGE 8, PANEL 2

Head to waist shot of Sparrow, his expression arrogant, full of hubris.

SPARROW: Visions are not in the purview of this council, we deal in facts …

PAGE 8, PANEL 3

Similar to panel 1 but now it’s a head to chest semi-profile shot of Valentyne.

VALENTYNE: I once ignored one of Marissa’s visions to my lasting regret. I, for one, want this council to hear what she has to say.

PAGE 8, PANEL 4

Three panels on this bottom tier. Head and shoulders shot of Valentyne from behind with a shot of Noah looking across the table.

NOAH: Magellan.

VALENTYNE: Exactly.

PAGE 8, PANEL 5

Head to waist profile shot of Agatha, her expression one of scepticism, turning to Marissa, who’s still stood at the end of the table.

AGATHA: Are you saying I’ve travelled five hundred miles just for a …

MARISSA M: Yes.

PAGE 8, PANEL 6

Head to waist shot of Noah sat at the table, his hands resting on it.

NOAH: Okay, so what did this vision entail?

PAGE 9, PANEL 1

Half page panel. Exterior shot. Elevated shot through the rain, looking down on Marissa, now stood at the window and looking out.

MARISSA: A boy.

PAGE 9, PANEL 2

Two panels on this vertical tier. Head to chest shot of Marissa  stood at the window, with the others in the background behind her.

SPARROW: A boy?

AGATHA: Marissa, we are only willing to entertain your flights of fancy …

PAGE 9, PANEL 3

Head to waist shot of Noah turned to Agatha, now gazing directly across the table at her, his intent upon her, as he flicks a lighter on.

NOAH: Agatha?

AGATHA: Yes.

PAGE 9, PANEL 4

Two panels on this bottom tier. Head to chest semi-profile shot of Noah lighting a cigarette, his gaze still focused entirely on Agatha.

NOAH: Perhaps now would be a good time to get out of your own way.

NOAH: Marissa, please continue.

PAGE 9, PANEL 5

Head to chest semi-profile shot of Marissa, the shadows of the raindrops on the window on her face, her troubled thoughts are clear.

MARISSA: Well, basically if you think we’re in a shit storm now, then there’s a far bigger one coming up on the horizon, one that’ll bring this little house of cards of ours tumbling down to the ground.

PAGE 10, PANEL 1

Three panels on this top tier. Full shot of Marissa M now turned from the window, facing them again, with the rain falling outside.

SPARROW ( O.P ): How could a boy?

MARISSA: Hitler was a boy, Stalin, Genghis Khan. Even Magellan a very long time ago. It always starts with a boy, or a girl, every one of them born with the potential to do something good or bad.

PAGE 10, PANEL 2

Head to waist profile shot of Noah, smoke pluming up from his cigarette.

NOAH: And this boy will do something bad?

PAGE 10, PANEL 3

Similar to panel 5, page 9, but now it’s a head and shoulders shot of Marissa.

MARISSA: Well, that’s the thing, these visions aren’t ever totally clear, it’s almost always bits and pieces, kind of vague. Far as I can tell, this boy, he’s either going to save us all or he’s going to damn us.

PAGE 10, PANEL 4

Three panels on this bottom tier. Wide shot of her from behind, with the council members facing her in the background of the panel.

VALENTYNE: There’s something else though, isn’t there?

MARISSA: Well, you see, he hasn’t exactly been born yet.

AGATHA: Are you saying you had a vision about someone who doesn’t exist?

PAGE 10, PANEL 5

Forehead to chin semi-profile shot of Marissa, her face filling the panel.

MARISSA: I have to admit, it’s certainly a new wrinkle.

PAGE 10, PANEL 6

Head and shoulders semi-profile shot of Valentyne, partly in shadow.

VALENTYNE: It is that.

VALENTYNE: But maybe there’s a way to straighten out that wrinkle.

PAGE 11, PANEL 1

SPLASH: Wide shot of a small town street. Maybe something similar to one of the streets in a place like Jacksonville, Oregan, with red brick buildings either side. It’s deserted with empty shops, bars and cafes. Windows are smashed, cars abandoned, the road full of debris. The first hints of sunrise show at the street’s end with an orange tint. In the foreground rats scurry for food and a fallen bus stop sign that has the words ‘35 Years Later’ written on it.

PAGE 11, PANEL 2

Three panels on this bottom tier. High view of the camper van from issue # 2 approaching the town along a cracked, overgrown highway that has wrecked and abandoned vehicles all along its way.

CAPTION: “Will there be food here?”

CAPTION: “Yes, I would think anyway.”

PAGE 11, PANEL 3

In the foreground is the parked camper van and beyond it is a full shot of Jobe and Matilda from behind walking down the main street.

MATILDA: I’m hungry.

JOBE: I know.

PAGE 11, PANEL 4

Full shot of them from the front as they continue along the street, shafts of sunlight falling onto the road between the buildings.

JOBE: Just remember, feed small, feed slowly.

MATILDA: Small. Slowly.

JOBE: Yes, I will show you, just as we did before. It will be hard at first, but in time it will become second nature to you, as if did for me.

PAGE 12, PANEL 1

Half page panel. In the foreground is a full shot of Matilda crouched in an alleyway, holding a dead rat in her hands and biting down into it, her mouth bloodied, dripping down her chin. Her eyes have that familiar yellow tinge that represents Dark Magic. She resembles a feral animal. Jobe is stood nearby watching her.

JOBE: That’s it, bite slowly. Feed the hunger you feel but don’t let it consume you. Feel your heartbeat, that’s it, slow your breath, push the feeling down. You’ll feel it’s pull on you subside, that’s it now.

PAGE 12, PANEL 2

Two panels on this vertical tier. Head and shoulders semi-profile shot of Matilda, her eyes with a yellow tinge but fainter than before.

MATILDA: I can feel it, but not like before, I … I couldn’t control it before.

PAGE 12, PANEL 3

Head and shoulders shot of Jobe looking at her, shafts of daylight behind.

JOBE: That wasn’t your fault.

PAGE 12, PANEL 4

Three panels on this bottom tier. Similar to panel 1 but now Matilda is splitting the rat apart, her pale hands covered in blood.

S.F.X: Squelch.

MATILDA: Not my fault.

JOBE: Good, that’s it.

PAGE 12, PANEL 5

Head to waist shot of Jobe, the angle of the shot looking up at him, the broken sky of morning above him as he hands a cloth to her.

JOBE: Once we’re done here we’ll find some supplies, some proper food.

PAGE 12, PANEL 6

Shot of Matilda’s torn and frayed boots as she walks away, with the remains of the rat in the foreground, laying neglected in the alleyway.

MATILDA: Mmm, that sounds nice.

PAGE 13, PANEL 1

Half page panel. Overhead shot of them walking out of the alleyway and into an empty crossroads with long unused traffic lights.

JOBE: Has it passed?

MATILDA: Passed? Yes, I feel better now.

PAGE 13, PANEL 2

Two panels on this vertical tier. Head to waist shot of them in a main street, similar to the earlier one, but with more empty, parked cars.

JOBE: And it will get easier too. We can’t change what we are anymore than we can stop breathing, but we can at least control it.

PAGE 13, PANEL 3

Head to waist profile shot of them walking with Matilda in the foreground.

MATILDA: Will we always be like this?

PAGE 13, PANEL 4

Insert.

Head and shoulders semi-profile shot of Jobe frowning, thoughtful.

ARTIST NOTE: This insert is in the top left hand corner of panel 5.

JOBE: Always, at least as long as there is still Dark Magic in this world.

PAGE 13, PANEL 5

SPLASH: In the foreground is a full shot of him and Matilda from behind, looking across a car park to a Kmart building. They’re stood at its edge and it’s filled with empty rusted vehicles of all sorts and abandoned food carts laying about, many reclaimed by nature.

JOBE: But perhaps some day that may change.

PAGE 14, PANEL 1

SPLASH: High view shot of them now inside the Kmart walking along one of the aisles, Jobe pushing a food cart as Matilda walks beside him. Stock is strewn all over the floor, other food carts stand partly filled or just empty. There are cobwebs in the foreground.

MATILDA: What was the world like before?

JOBE: It was different, neither was bad or really good. It wasn’t perfect. There were things that needed to change, but I  think it was better.

PAGE 14, PANEL 2

Three panels on this bottom tier. Head to chest shot of Matilda leaning forward curiously and with a sense of wonder, studying a glamorous model on a hair dye product, the tips of her fingers on it.

MATILDA: Will it ever be like that again.

PAGE 14, PANEL 3

Full shot of them from behind near the tills. Above them is a big sale sign that has graffiti spayed over it that reads: MAGIC IS DEAD.

JOBE: No, I don’t think so, whatever comes next will be different, different to now, different to how it was before. We can’t go back now.

MATILDA: But it could be better?

PAGE 14, PANEL 4

In the foreground is the sale sign seen from the opposite side with a shot of Jobe and Matilda in the aisle below, Jobe looking up at it.

JOBE: It can always be better, but it’s up to us. If we want it to be better…

JOBE: …Then we have to change it.

PAGE 15, PANEL 1

Page width panel. Night. Broken cloud illuminated by moonlight. Exterior shot of the Norwood Club. In the foreground in a full shot of Elijah from behind, stood across the street, watching as various males and females enter and exit the building, going up and down the steps. The words ‘Way Back When’ written on a street sign.

CAPTION: 14th Street, Lower Manhattan.

CAPTION: The Norwood Club.

PAGE 15, PANEL 2

Three panels on this tier. Shot of Elijah stood in front of wooden study doors, the ones that lead into the inner sanctum of the council.

PAGE 15, PANEL 3

Full shot of Marissa, framed by the doorway as she opens it for him.

MARISSA: Come in, Elijah.

PAGE 15, PANEL 4

Full shot of them stood by the study doors, P.O.V from the interior the room, with Marissa holding the door, Elijah framed by it.

ELIJAH: There’s a lot of activity going on outside, Marissa. I assume it’s connected to why you’ve called me here at this ungodly hour.

VALENTYNE ( O.P ): It is.

PAGE 15, PANEL 5

Page width panel. Wide view of the study. Full profile shot of Elijah and Marissa stood by the doors on the right of the panel. On the left of the panel is the council table as seen earlier now only Noah is sat at it with Valentyne stood by the wall in the background.

ELIJAH: Michael.

VALENTYNE: Elijah.

NOAH: Please, sit.

ELIJAH: No thank you, I prefer to stand.

PAGE 16, PANEL 1

Two panels on this top tier. Head to waist shot of Elijah from behind at the end of the table, with Valentyne and Noah facing him.

VALENTYNE: You’ve never been comfortable here, have you, Elijah?

ELIJAH: Honestly, no.

NOAH: An open seat remains for you on this council.

ELIJAH: And my answer is still the same.

PAGE 16, PANEL 2

Similar to the previous panel but now it’s a closer shot of the three.

NOAH: Of course, shall we begin.

ELIJAH: I’m listening.

VALENTYNE: Marissa has had a vision.

PAGE 16, PANEL 3

Two panels on this vertical tier. Overhead shot of Elijah and Marissa.

ELIJAH: I see, not what I was hoping to hear. No offence Marissa.

MARISSA: None taken. Not what anyone wanted to hear, I’d say.

PAGE 16, PANEL 4

Head and shoulders semi-profile shot of Elijah. He’s frowning, thoughtful.

ELIJAH: So why call me?

PAGE 16, PANEL 5

Half page panel. This is a forehead to chin semi-profile shot of Marissa.

MARISSA: Well, it’s really kinda simple, we have a very special request of you, Elijah. One that may take you years of your life, but in doing so, you just might potentially save the lives of millions.

PAGE 17, PANEL 1

Page width panel. In the foreground is the interior of a rusted and wrecked pick up truck with a head and shoulders shot of a skeleton, and through it’s side window we see Jobe and Matilda walking past an overgrown basketball court. Jobe is pushing the food cart he has taken from the Kmart. A fence sign reads: ‘35 Years Later.’

MATILDA: Are you my friend?

JOBE: I can be if you want me to be.

MATILDA: Yes, I’d like that.

PAGE 17, PANEL 2

Two panels on this tier. Full shot of them walking along the sidewalk.

MATILDA: Have you had a friend before?

JOBE: Once, I’m not sure I was such a good friend to him though.

PAGE 17, PANEL 3

Similar to the previous panel but now Matilda is looking up at the sky.

MATILDA: Why not?

JOBE: He tried to help me, but I didn’t listen when I should have, I made a mistake and it cost him dearly. I can never repay that debt.

PAGE 17, PANEL 4

Two panels on this bottom tier. In the foreground a rat is scurrying ahead of them, and Matilda’s gaze is now clearly upon it.

MATILDA: But you’ll try.

PAGE 17, PANEL 5

Head and shoulders semi-profile shot of Jobe, half his face in shadow, the other half in sunlight. The sadness and regret clear in his eyes.

JOBE: Yes … I’ll try.

PAGE 18, PANEL 1

Page width panel. Overhead wide shot of Izzie’s penthouse apartment. It’s kind of high class but kind of trashy too, with leopard prints, bean bags, a large fireplace and rug. In the centre of the panel is a round bed. Jesse is lying face up as she wakes, stretching sleepily. There’s a satin sheet over her, her naked leg hanging out. The other side of the bed sheet is turned down and empty. Beer bottles, clothes and her NASA cap are strewn over the floor.

JESSE: Damn, I’ve had some nights, but last night, that was just …

PAGE 18, PANEL 2

Two panels on this tier. Head to waist semi-profile shot of her now sat up and squinting heavily as she holds her hand to her forehead.

JESSE: Izzie?

PAGE 18, PANEL 3

Overhead full shot of her, naked, her hair all over the place, looking down at her clothes on the floor, beer bottles lying about them.

JESSE: Okaaay.

PAGE 18, PANEL 4

Three panels on this bottom tier. Exterior shot through the penthouse window, her figure obscured as she puts her clothes on.

PAGE 18, PANEL 5

Full shot of her, now fully dressed, walking down the main stairs of Halos. It’s early, shafts of light falling in, and pretty much empty.

JESSE: Izzie?

IZZIE ( O.P ): Oh hey, Jesse J.

PAGE 18, PANEL 6

Full shot of Izzie sat on a bar stool, dressed in underwear and a vest. On the counter are discarded vials and she appears to be using a steam punk style needle of some sort to inject into her arm.

IZZIE: Just getting a little after party fix up, ya want some?

PAGE 19, PANEL 1

Three panels on this top tier. Head to chest shot of Jesse staring at Izzie, her expression a mixture of hurt, disappointment and confusion.

JESSE: Wait. What the hell is this?

PAGE 19, PANEL 2

Head to chest semi-profile shot of Izzie glancing over her shoulder.

IZZIE: Magic, what else.

PAGE 19, PANEL 3

Similar to panel 1 but now Jesse looks more annoyed than anything.

JESSE: You’re injecting it?

PAGE 19, PANEL 4

Three panels on this tier. Head to waist semi-profile shot of Izzie, looking down at the needle, pushing her thumb down on it as she injects.

IZZIE: One hundred pure percent I am, only the best around here.

PAGE 19, PANEL 5

Full shot of them both by the bar, Jesse slamming her fist on the counter.

JESSE: Sonavabitch, the first person I get under the sheets with in months and you turn out to be nothin’ but a godamn magic junkie?

PAGE 19, PANEL 6

Head and shoulders profile shot of them, Jesse up close, just staring.

IZZIE: Hey, if you was under any illusions, Jesse Miller, that’s your problem. Either get that stick outta your arse or exit the same way ya came in.

PAGE 19, PANEL 7

Two panels on this bottom tier. Head and shoulders semi-profile shot of Izzie, her expression changed, now disinterested and icy cold.

IZZIE: Comprende?

PAGE 19, PANEL 8

Head to waist shot of Jesse in the foreground, walking away, stone faced, with Izzie in the background looking down at the needle again.

JESSE: Yeah, comprende.

PAGE 20, PANEL 1

Half page panel. Full shot of Jesse walking along the main street. All about her the town coming to life. People stand on the street, others open window shutters, a beggar with a bowl, riders attending to their horses, dogs roaming, a juggler juggling blue balls of magical energy. Behind her are stables and a rusty old garage. Her head is bowed, the NASA cap throwing a shadow over her face.

PAGE 20, PANEL 2

Two panels on this vertical tier. Full shot of Mother M in the foreground with a full shot of Jesse stood by the front door of the hotel lounge, her face contorting as she yawns and stretches herself.

MOTHER M: Damn, either you had a bad night, or a really good one.

JESSE: I think it was a bit of both.

JESSE: *Yawn* Where is he?

PAGE 20, PANEL 3

Head to waist profile shot of them facing each other, Jesse looking blinkered as she rubs her tired looking and puffed up eyes.

MOTHER M: He came in last night looking just like you. Up with the sun though.

JESSE: He’s out already?

MOTHER M: Yep.

JESSE: Great.

PAGE 20, PANEL 4

Two panels on this bottom tier. Full shot of them now at the lounge bar, Mother M is stood behind it pouring orange juice from a big jug into a glass, and Jesse is leaning tiredly on the counter.

MOTHER M: I heard you two had words.

JESSE: He had words, I kinda listened, then I just left. Listen, if you’re gonna tell me he’s not such a bad guy I really don’t give a shit.  

PAGE 20, PANEL 5

Forehead to chin semi-profile shot of Jesse. Her face filling the panel.

JESSE: I just need to know I can trust him.

PAGE 21, PANEL 1

Three panels on this top tier. Mother M from Jesse’s P.O.V, now looking a lot more serious, a whole unknown history written on  her face.

MOTHER M: You can trust him.

PAGE 21, PANEL 2

Head to waist profile shot of them facing each other across the counter. Mother M now pushing the full glass of orange over to Jesse.

MOTHER M: You’re both wrong you know.

JESSE: About what?

MOTHER M: About magic.

PAGE 21, PANEL 3

Head to waist shot of Jesse, the glass in the foreground as she looks at it.

JESSE: Yeah? Someone else tried to tell me that lately. Funny thing is, they’re kinda dead, and it was magic that got them that way.

PAGE 21, PANEL 4

Three panels on this bottom tier. This is similar to panel 2 but now Jesse is holding the glass and is just about to take a drink from it.

MOTHER M: So, you’re going on that damn foolish quest then?

JESSE: You know about that, huh?

MOTHER M: Oh, I know.

PAGE 21, PANEL 5

Head to chest shot of Jesse from Mother M’s P.O.V, her gaze questioning.

JESSE: And you think we’re wrong?

PAGE 21, PANEL 6

Head and shoulders semi-profile shot of Mother M, her face partly in shadow, her eyes are full of wisdom. She knows about this.

MOTHER M: I think you’ve both got your reasons, but just remember, there ain’t nothing in this life ever goes the way you expect.

PAGE 22, PANEL 1

Insert.

Over the shoulder shot of Jesse about to down the rest of the glass.

ARTIST NOTE: The two inserts run along the top of the full page splash.

JESSE: Yeah, no shit. Do you know where he went?

MOTHER M: Yep.

PAGE 22, PANEL 2

Insert.

Head to waist profile shot of them facing each other across the counter, Jesse now cradling the empty glass and Mother M holding her hand up in a gesture of mock defeat, giving a wry smile.

JESSE: So, you gonna tell me?

MOTHER M: *Sigh* Yeah okay, I’ll give you the directions.

PAGE 22, PANEL 3

SPLASH: In the foreground is a full shot of Jeremiah from behind. He’s stood at the road end of an overgrown drive, broken fences either side of it, leading up to an old wooden house with a large elevated porch and steps. It’s an old place, full of neglect, broken boards, cobwebs, with creeping ivy all over its façade. Beyond it the morning sky is struck through with splashes of pewter.

CAPTION: “Not sure he’s gonna be in the mood for visitors though.”

[emerald194]

Poptropica's 404 Project Site Screenshots (Stills Only)

Marissa worked with some former Mocktropica employees to build this website, officially named "The 404 Project". This is a showcase of the screenshots of the website.

[emerald194]

Strawberry Compilation

Over the years, Marissa's learned to take the occasional day off for personal health. The world's always in danger. Take a break & pick some strawberries.

[emerald194]

AAHH

I love it! Thank you so much! 😁

@emerald194 HI SORRY THIS WAS RUSHED. i wanted to give back a little so uh here!! happy holidays

[emerald194]

Plot Twist: He did betray her in Act 3

Misc. Sketches feat. Marissa and her cat, Arthur

[emerald194]

"Remnants"

Click for better quality & larger size

[emerald194]

Poptropica's 404 Project Site Walkthrough

Marissa worked with some former Mocktropica employees to build this website, officially named "The 404 Project". This is a showcase of the site. Website stills shown below:

[emerald194]

Oooh I love it! Tysm!

If you're still doing the oc thing in Gacha, I'd love to see your take on Marissa. :^)

Here's my attempt with Marissa sorry if it's not that good there wasn't many good hair options for your amazing oc!

[emerald194]

⋆ Hello! I have a question about Marissa. Does she have a favorite food or snack? :0 ⋆

Hi! Lollipops are Marissa's favorite snack. She always keeps a few on hand in her jacket pockets. :]

🍭🍭🍭🍭

[emerald194]

Picture #1- The mug has the Monkey Wrench Island symbol on it; it was a gift from Amelia :)

Picture #2- Marissa getting some well-deserved rest

[emerald194]

Sword Infographic 🗡️

A bit of information on the boarding cutlass ft. Marissa. Close-ups under the cut :)

All the information here is correct to the best of my knowledge!

[emerald194]

Wild Safari Comic

Fun fact: Marissa is no longer allowed to compete on Wild Safari.

(Click for better image quality)

[emerald194]

Comic Strip

Marissa encounters a Glitch, who leaves her with a cryptic message.

[emerald194]

Poptropica OC Ask Game

Hey guys! Tell me about a song you associate with your oc. Is it a song they would like? Do the lyrics match their story?

Marissa: Fixing a Hole by The Beatles

Reasoning: a haunting song; this is something that would play while she's traveling in her blimp late at night over the ocean, with only the stars for company. Also the line "I'm taking the time for a number of things that weren't important yesterday" has an air of someone investigating a mystery.