Kerry's Kostume Komic

Notes on Page One

Frame 1: The house belongs to a friend of mine. That's my gold 1995 Saturn (the World's most generic car). If you look closely you can see a Siamese cat next to the car. It was a complete accident; it walked into the frame just as I took the shot! Note a bit of snow remaining on the ground. This was shot shortly after Seattle's infamous Boxing Day storm of 1996.

The type was all done using a font called Wildwords from Active Images.

Frame 2: That's my friend Allegra in the Spider-Woman costume, a real genetic girl. Yes, that's me Kerry as the husband (bald spot mercifully airbrushed out!). This is the only scene that was "shot on location" (the rest of the comic was done  with the actors in front of a white background and composited later into the scenes). This is my bedroom, but for technical reasons I flopped all the shots, so everything is backwards from the way it really is.

Frame 3: You can't see it but she's holding a small red lock in her hand. This whole enterprise is a compromise between making the images large enough to see but not creating something that you have to scroll all over the page to view. What I'd like to do perhaps is afterwards release a CD-ROM featuring each frame as full-page image, as well as out-takes and other behind-the-scenes shots. If enough people write me saying they'd be interested in purchasing such an item, I might consider it.

Frame 4: There's nothing a good corset won't fix. I think this is a must for crossdressers, although most of the people at Emerald City (Seattle's crossdressing club) would disagree with me. They give me a lot of grief (good naturedly) about how uncomfortable they are, inconvenient, etc. but in the same breath heap praise on me for what a great figure I have. Hey, you can't have it both ways, folks! In this case, function definitely follows form (or: No Pain, No Gain).

Frame 5: I don't know anyone who would put on their boots before they put on their dress, but I thought it made the picture more visual. Once again, it's hard to see, but I am putting on a pair of latex gloves cast from the hand of a real woman (my friend Allegra again).

Frame 6: Okay, the dialog isn't exactly Shakespeare but what did you expect? I really love that purple dress, I bought it at Value Village, a local thrift shop chain in Seattle, for about $8.

Frame 7: I shot a lot of takes of this scene because I couldn't decide whether the action should show us in the middle of the actual kiss or the moment afterwards. This is one of those "comic book conventions" where the audience just has to fill in the action that occurs between the frames.

Frame 8: The unmasking... Who will it be? I won't say, at least until Page Two is released. I really like this cliffhanger, it's one of the best. Page Two is more of a "What happens next?" sort of cliffhanger, as is the end of Page Three. However, Page Four will have you all screaming in agony for Page Five to appear. I could turn this into a pay-per-view site and make a fortune in order to reveal what happens in the conclusion. But relax, everything here is going to stay free.

Again, a lot of takes in order to show the right degree of action. The color of the background keeps shifting because my walls are actually green with blue highlights. Under the yellow quartz lights we shot under it was difficult to balance the color from shot to shot. But it's a lot more accurate in frame 8 than most of the others.

(c) - 1997 Tiresias Productions

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