El Guardián de Manhattan que Grant Morrison incluye en su "no-equipo" está basado en el antiguo The Guardian de Jack Kirby y Joe Simon. Además de la acción aportada por los personajes de la página, piratas vagabundos subterráneos"abordando" otro convoy, se puede apreciar en los fondos la laberíntica estructura de esas zonas secretas de la red subterránea de metro de Manhattan.
En la página original se pueden observar líneas azules impresas sin embargo no existe un original a lápiz sobre cuya copia en azules haya entintado el artista sino que Cameron Stewart realiza los bocetos previos y la disposición de la página en digital, lo imprime y después lo completa directamente a tinta como explica en esta entrevista.
STEWART: That’s my process. If I don’t do the layouts digitally, I do rough thumbnails on a piece of paper and scan them in, convert it to a blue line and then print it off. It’s a process that I figured out a while ago, and it’s been pretty good. It allows me to tweak the layouts as much as I want before going to the final artwork. I tend to do most of my drawing in ink and keep the layouts as loose as possible, just for composition and pacing. I do a very minimal amount of black penciling.En este vídeo se puede ver el proceso en una página de Batman.
En cuanto a su trabajo sobre los guiones de Grant Morrison, comenta que recibe unas notas vagas sobre lo que debe dibujar, sin diálogos, con lo que la parte buena es que puede aportar bastante en la parte visual y la mala, que cuando ve el resultado final con los textos definitivos, comprueba que, de haber tenido más información, hubiera hecho algunas cosas de manera distinta.
Grant works sort of Marvel-style where he gives us a script that's somewhat rough and loose and doesn't have final dialogue, so you draw it and then he scripts it afterward. When we get the box of comps, I'm quite interested to read it because I can go through and see the places where what I've drawn has influenced the dialogue and what he's written, and that's really cool. That makes it feel a lot more collaborative than just mechanically executing what he's done.
I really enjoy working with Grant in that style because I enjoy the openness. The one problem of working with him sometimes is that there are times I read the final product and the dialogue is not what I thought it would be, so I go, "If I'd known that, I maybe would have drawn the scene differently." But I worked on the Apocalipstix, which is a book I created with my friend Ray Fawkes. For that he wrote it sort of like a movie script where the dialogue was there but he didn't do any page or panel breakdowns. He simply described what happened. From there, I had the freedom, say there was a car chase and a bus crashes, I had the freedom to draw 20 pages of that if I wanted, using my own instincts and my own sensibilities, I can get my own rhythm and sense of pace that I want rather than looking at a script and seeing Panel One: This Happens, Panel Two: This Happens, etc.
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