The big image of Tanya happening to a Dracula on this last spread was interesing to do. I knew I wanted a big dramatic image that felt like the climax to a fight in Hellboy; I stared off into space for several minutes before deciding to just go to the source and pulled out some of Mike Mignola's comics to maybe just rip a pose straight out of. I tried doing quick studies of a couple of panels I liked, substituting Tanya and some anonymous Old Dracula for the puncher and punch-ee, and wasn't feeling them - but in the process of looking through several books for good panels to steal, and in thinking about what I was doing as I was attempting to steal, I managed to refresh myself on Mignola's style enough to rough this out.
I also totally traced the apartments off of some pretty buildings I found in a book of photos of Barcelona. Just went to the library, wandered around the architecture section, grabbed a few likely books, and flipped through them.
"Never draw anything you can copy, never copy anything you can trace, never trace anything you can cut out and paste up." - Wally Wood
Aaand while I'm posting roughs and stuff, how about my original notes and sketches for this, from somewhere in 2014?
The whole thing with September showing up at the end didn't happen until last month, when I was working on the final pages. And I think it's really what makes it all come together - Tanya's offhand comment that September got staked years ago is clearly false, and drives home what she tells us on the second page. She's lying constantly in the stories she tells.
If I do more stories about Tanya, she will probably be seen to tell different lies to different listeners. And maybe there'll be an actual truth to piece together under them. Or maybe I'll just tell some stories about vampires and demons and reanimated patchworks and all those other staples of B&W horror films and not worry about contradictions at all.