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Description
Khepri-Taylor and Contessa.
A scene illustration from web serial "Worm" by Wildbow.

EXCERPT:
I opened my eyes. The moon was too bright, the stars like little shards of glass piercing my eyes. When I sat up, I felt muscles in my neck, back and shoulders seizing up, cramping. The world swayed around me like I was on a boat, even though I was on a hill in the middle of a forest.

I heard the cocking of a gun.

My eyes shut.

Twenty feet away, sitting on a rock with a little messenger bag beside her, was a woman in a white dress shirt and suit pants. Her gun was in hand, a little revolver, resting on her knee, her suit jacket draped over that same knee.
SPECK 30.7

Scene illustrations for some of the best, most dramatic, cinematic, or narratively important moments are something I believe the Worm art scene is sorely lacking, so I was excited to bring the final Taylor chapter to life with this piece.

Khepri-Taylor wears a palette swap of her previous identities' costumes, which also includes a mask. The bane of all superhero movie wardrobe designers is masks and helmets, because when you want to tell a story through visuals, full-face masks cover up the expressions and emotions that a prose story can just lay out in writing. Taylor is implied to be wearing her mask in the last scene, when Contessa aims at that weak spot at the back of her skull. But in the previous chapter (Speck 30.6), Taylor seems to have lost or misplaced her mask and never puts it back on. Whatever, I think we can all agree that the conversation, the moment, between Khepri and Contessa wouldn't have as much impact if they were wearing masks.

Description
Khepri-Taylor and Contessa.
A scene illustration from web serial "Worm" by Wildbow.

EXCERPT:
I opened my eyes. The moon was too bright, the stars like little shards of glass piercing my eyes. When I sat up, I felt muscles in my neck, back and shoulders seizing up, cramping. The world swayed around me like I was on a boat, even though I was on a hill in the middle of a forest.

I heard the cocking of a gun.

My eyes shut.

Twenty feet away, sitting on a rock with a little messenger bag beside her, was a woman in a white dress shirt and suit pants. Her gun was in hand, a little revolver, resting on her knee, her suit jacket draped over that same knee.
SPECK 30.7

Scene illustrations for some of the best, most dramatic, cinematic, or narratively important moments are something I believe the Worm art scene is sorely lacking, so I was excited to bring the final Taylor chapter to life with this piece.

Khepri-Taylor wears a palette swap of her previous identities' costumes, which also includes a mask. The bane of all superhero movie wardrobe designers is masks and helmets, because when you want to tell a story through visuals, full-face masks cover up the expressions and emotions that a prose story can just lay out in writing. Taylor is implied to be wearing her mask in the last scene, when Contessa aims at that weak spot at the back of her skull. But in the previous chapter (Speck 30.6), Taylor seems to have lost or misplaced her mask and never puts it back on. Whatever, I think we can all agree that the conversation, the moment, between Khepri and Contessa wouldn't have as much impact if they were wearing masks.