I had this idea of Charles working up the nerve to talk shit after Tuck had left the room in one of those “What I SHOULD have said…” moments. We’ve all done it after we’ve been embarrassed, but it rarely makes us feel better, just smaller and more humiliated. I thought it was an interesting way to emphasize what a small, sad little guy he is, despite his grandiose attitude, especially since Charles still needs a pistol and a couple cocktails to make himself feel secure enough to carry out his little fictional reenactment.
On an unrelated note, I’m sorry I missed the blog update on Friday. I was caught up in a really big project last week, and I didn’t have time to finish what I had planned. However, I’ll have a brand, spanking new blog post for Friday, and maybe even something else from a guest contributor.
Thanks!
- JEP
This dude just keeps getting creepier and creepier with his delusions of grandeur.
Very nice. My first thought was, “Wait … where did Charles get the piece?” Of course, it could have been an homage to another hallmark of ’70s movies — the missing reel.
[P.S. Word on the street is that the "big project" looks great].
Dunno if it’s your line work, Charles’ expression or the way he’s staring dead at the camera/ reader, but that first panel is sooooo Brian Bolland. Awesome
I love Pastor pulling a Jason Voorhees in that last panel. All of the sudden he’s there and that means you don’t have long to live.
The first and last panels, with him talking directly to the reader– that’s fantastic. I especially love the last panel, but then I also like the projector light behind his head in the first… this is a great one. Instant classic.
The hunch in the first panel shows his discomfort with the way the real talk went while the chest puff in the last panel really gets across how he’s full of hot air .. I love it!
Sad, sad little man. How hypocritical of him to think he is showing what’s real and true? He is messed up on so many levels. His cowardly bravado gets under my skin. What’s real and true is that Pastor is about to break him off!
Hah…very cool. I gotta admit I didn’t “get” this set initially. Not until I read your comments and a few other readers to explain – “What’s that flash? Why are his glasses back on? Where’d the gun come from?”…but that could have been me just missing the cues.
So, Pastor’s got a few metres to close on an armed man…and he still has the “back up bomb” under the ship, where’s Tuck? Pardon the pun, but is this going to be plain sailing for Pastor? I feel the crescendo Jay – nice work!!
Summey-
Charles is my favorite character to draw. I hope I’m not giving anything away when I say, “I’ll miss him when he’s gone.”
- JEP
Doug G.-
I’m glad the project came together. I’m keeping my fingers crossed, but I know Mrs. B. would do fine, even without my contribution.
- JEP
RBynum-
“Bolland?” Man, you’re gonna give me the big head. By the way, if you haven’t had the chance to read Bolland Strips, his collection of black & white strips, I would highly recommend it. He proves to be a great writer, too, particularly with the text to his “The Actress & The Bishop” strips, which are all in rhyming verse.
- JEP
Parker-
Thanks. In the end, I thought his presence was almost too subtle. I was mainly interested in setting up the inevitable confrontation for the next strip.
- JEP
Mr. Brothers-
It’s kind of a call-back to his second appearance when Charles is yelling at Tuck to turn off the camera, which in this strip, we see Tuck was yelling at him to do when they killed Alicia. How’s that for symmetry?
- JEP
AA-
Thanks! I’ve been trying to work on my body language. Artists like Kevin Maguire and Frank Quitely are masters at it, so recently I’ve been reading a lot of All-Star Superman issues to see how Quitely does it.
- JEP
MellM-
I absolutely loathe Charles, but is it wrong that I get such a kick out of writing and drawing him?
- JEP
MAS-
You and Doug G. make a good point. In my original script for the previous episode, I had Tuck emerging from the cabin and warning his henchmen to stay sharp. This would’ve established that a) they were protecting the cabin, b) at least some time had passed since Tuck’s confrontation with Charles, and c) Tuck was no longer in the cabin. Once I dropped that panel, I understand how there could be confusion about how this strip could be read. Maybe I’ll make some changes to Episode 53 and re-post it for posterity. Good points! Thanks for the feedback.
- JEP
Don’t take my comment to mean it didn’t work. I think it’s a nice WTF moment that gets answered in the second panel.
I don’t suppose a “Grindhouse”-style missing reel joke works so well in print. And an exposed boom mic would just be too obvious. : )
Who else noticed the ice pick next to the bottle of booze in the second panel? Think that will come into play?
“I absolutely loathe Charles, but is it wrong that I get such a kick out of writing and drawing him?”
Absolute not, Jay. There’s a lot to be said for the charms – or lack thereof – of an interesting villain. I think I too will miss ol’ Charlie boy when he’s gone.
ohhh lawd, his ass is getting ready to get kicked! wowzers. Pastor in the cut like a shadow..
Jay, I’m the first one to complain when entertainment media “over tell” the story and re-tell us “whodunnit” way after we figured it out. But I reckon that scene you describe of Tuck leaving would tie things together perfectly and not over tell the story at all. You may still get the WTF moment as the reader thinks, “Why is Charles talking to Tuck when he’s left?” Sounds like a great idea to me. But then again, the consensus of opinion on this set doesn’t seem to be too concerned with the jump.
I think the whole thing’s great – hey, I’m back here a few hours too early for ep:55 hehehe