The Null Device
(R; Crime/Horror) A lone agent must transmit data into enemy territory, fight an army, rescue a damsel in distress and save the world. Published in Outbound, a science fiction anthology by the Boston Comics Roundtable
Inky Stories #6: Front Cover

About This Cover
Since computing and UNIX are a big part of the story, this issue's visual design is based on the O'Reilly tech manuals. O'Reilly stopped selling printed books in 2017, saying sales declined since 2001. The internet is a faster and more reliable source for technical advice these days.
The O'Reilly legacy lives on as O'RLY parody covers. There's a public O'RLY cover generator, and a collection of covers written by Ben E. C. Boyter. Below are just a few of my favorites.
Page 1 of 26

About This Page
The Director's neighborhood is based on Bright Center, near Boston Massachusetts. His agency application is a merge of iTunes and a 2003-era FBI database.
Page 2 of 26

About This Page
The action starts in the Cambridge Massachusetts neighborhood Inman Square. In fact, the left-hand building is the Springfield Street side of the 1369 Coffee House where I drew most of these pages.
Page 3 of 26

About This Page
Our hero, who bears a faint resemblance to Yours Truly, is taken to the next scene in the form of a cluster headache. I suffer from these in real life. You can go from pain-free to the worst headache of your life in seconds, no matter where you are or what you're doing. The traveling essence is based on Kirby Krackle, a visual element created by innovative comic book artist Jack Kirby.
Page 4 of 26

About This Page
The term "dot-dot-dash" is UNIX for "traverse to parent directory" (jumping from your current folder/directory into its parent). Since our hero's getting moved against his will, this is actually a directory traversal attack.
Page 6 of 26

About This Page
Interior is based on my nephew's home in Peabody Massachusetts. The big-screen TV was state-of-the-art when I drew this in 2006. The Director's USB forhead port was a stream-of-consciousness pickup from my 24-hour comic book "Soaked".
Page 7 of 26

About This Page
This is the only page with unchanged art from my 24-hour comic book "Soaked". The quotes come from real-life sources, including Redd Foxx, Billie Holliday, Gabrielle Chanel and Artie Lange.
Page 8 of 26

About This Page
The photos are an attempt to reference Jack Kirby collages of the late '60s and early '70s. Perhaps not entirely successful here, but sets up reader expectations for future pages.
Page 10 of 26

About This Page
Long can be significantly stretched out with one-panel splash pages. To avoid making this look like a hack, use the same amount of effort as you do in other pages.
The burning car is my 1990 Ford Tempo. Elements for this and the next few pages come from war zone photo reference.
Page 12 of 26

About This Page
More influence from Jack Kirby on the first panel. Panel 2 is based on my web development work station, complete with Visual Basic screens. Last panel's in Oaxaca Mexico, where I saw random metal spike stuck through the sidewalks.
Page 13 of 26

About This Page
Both states of the panel one kitchen are based on my old Inman Square apartment.
The ray gun in panel two is important in future pages. I'm no Jack Kirby or Wally Wood at creating new science fiction gadgets, so had to research. The results from old toys and television shows didn't seem right. Luckily I stumbled on Greg Broadmore's Doctor Grordbort's Contrapulatronic Dingus Directory of steampunk props. The online catalog has high resolution photos of their various gadgets. The ray gun used here is the "FMOM Industries Wave Disrupter Gun". This stroke of good luck gave me more time to tirelessly research the bondage scene.
Page 14 of 26

About This Page
I tried merging my realistic war zone reference with the abstract feeling of George Herriman's Krazy Kat. Fight is referenced from Israeli army training manuals, boxing matches and Bruce Lee moves.
Page 15 of 26

About This Page
Fight reference includes Israeli army training manuals, boxing matches and Bruce Lee moves. Looking back now, I didn't realize that using sound effects from the 1960s Batman television show was a mistake 'til after spending hours making vector art by tracing low-resolution screenshots.
Page 16 of 26

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The sign in panel one is from Mayflower Poultry Co. in Cambridge Massaschusetts. Here's a better photo.
Page 17 of 26

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The terrain is a mashup of different war zones, including the middle east and World War II Europe.
Page 19 of 26

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The steampunk ray gun, USB transfer and the Director's attachment to Agent K start to make sense, right?
"18 inches of daylight" came from Chicago Bears running back Gale Sayers.
Page 21 of 26

About This Page
Panel one was a struggle. It needed to show the effect of The Director's sacrifice, yet not totally confuse the reader. After a couple of Kirby and Ditko false starts, I stumbled on Vincent van Gogh's Starry Night. It's movement, composition and exaggerated nature made it a perfect counterpart to my reality-based buildings. Van Gogh painted Starry Night while in an Asylum at Saint-Remy in 1889.
Another shot of Dr. Grorbort's steampunk raygun.
Page 22 of 26

About This Page
The distant gunshot idea comes from Milton Caniff, who used it a lot in Terry and the Pirates and Steve Canyon.
Page 24 of 26

About This Page
Merging a Jack Kirby space scene with the actual Asteroid Belt in panel one was a challenge.
Page 25 of 26

About This Page
Picked up Page 4 top panel with different weather to show the programming/environment change. Bottom panel's the Springfield Street side of the 1369 Coffee House (seen from a different angle on Page 2).
Inky Stories #6: Inman Square variant front cover

About This Page
Cover for the serialized version of this story published in Outbound, a science fiction comics anthology by Riverbird Studios. This variant cover features the Springfield Street side of the 1369 Coffee House, one of my favorite Inman Square haunts. It was also published as a cover for The Inman Review, a collaborative journal for art, writing journal based in Cambridge Massachusetts.
Inky Stories #6: pulp variant front cover

About This Page
Cover for the serialized version of this story published in Outbound, a science fiction comics anthology by Riverbird Studios. I tried combining Jack Kirby's universe, Alex Toth's drafting and superhero-kinky action. One reviewer comments on the "very attractive visual style".
Story Notes
This story is loosely based on "Soaked", my unfinished 24-hour comic of 2007. I really wanted to work on a comic for Spring of 2008, and started adding the missing lettering to "Soaked". Since this is an unethical violation of the 24-Hour Comics, I decided to create an entirely new story based on "Soaked".
The new script was researched and developed from March to October 2008. I tried expressing the irrational dreamscape qualtiy of "Soaked" with just enough realism to make it coherent. To that end, I needed a greater understanding of computing. Research started off as an unfocused time drain, but was ultimately saved by nearby MIT geeks eager to provide some much-needed direction. The plot, actions and even the new title are a direct result of their input.
Working in parallel with script development, I made the art from April 2008 to January 2009. Visual research included technology, war zones, weapons, military uniforms, software and more. Each page was created one at a time, digitally "pencilled" tightly as if someone else were inking it. I "inked" each page as if it came from another artist. With new research and script revisions, and working around my full time day job, each page took at least 2 weeks to draw.
Like "Zip’s Last Day" and "Dead by the Pool", no trees were harmed in the production or creation of this comic.
Dave M!, dot-dot-slashing his way to your root.