Wide shot, one-point perspective… It’s the first Stanley Kubrick tribute page!

Early on I was trying to work in a lot of Kubrick’s trademark shots, which usually incorporated a widescreen view of the scene and everything moving towards a central focal point. There was something so perfect and mesmerizing about it that I had to try it myself — to varying success. Films like Eyes Wide Shut (1999) and Barry Lyndon (1975) (My two favorites from Kubrick) both made excellent use of the detached camera; It’s always holding back, framing out a scene where the world becomes a painting.

This instance turned out okay; I liked the idea of using one background and having Marta move around it as the camera stayed in place. I had attempted something like this in the first version of the comic, but this time around was more successful. I don’t really tend to use this method a lot, as it works in very few circumstances I’ve found, but I enjoyed doing it as a one-off.

This scene works in particular because it allows Marta’s inner monologue to take over and really sink in. She paints a bleak picture of herself for the reader through her thought process; Marta makes it known where her problems come from, she creates them herself. Marta’s inability to act does turn out to allow space for destiny to take control.