Sorry I’m late posting the strip. I’ve been trying to juggle too much with formatting the book and getting my merchandise ready for HeroesCon next week.
All I’ll say is that second panel is darn near my favorite thing that I’ve drawn for this series.
Thanks for your patience.
- JEP
Absolutely, have to agree with you….as the page opened that second frame just popped. There’s a nice energy to this episode too, with Pastor “sleuthing” something and the outcome left as a cliff-hanger for the next episode.
It’s only subtle, but the over-aggressive nature of the cop gripping the truncheon (no euphemism there), looking around like he’s ready to crack heads, puts an atmosphere out there as to what the tension’s like on the streets.
Hear, hear. In fact, these panels are so good, it’s almost a shame to put the word balloons over ‘em.
Yep. No. 2 is a keeper.
Also … a theory. I have it. (Probably wrong, but that’s what theories are for!)
You did a nice job of drawing the cops, too.
I think you meant “They weren’t everywhere” in the second panel. You’re right that the second panel is awesome. You’re getting better and better!
@Brian McLachlan-
AAGH! You’re right! I’ll fix that. The lettering’s all over the place in this one. I’m gonna fix all of that tonight.
Thanks!
- JEP
@Martian Art Slave
Alex Raymond and Al Williamson were masterful at placing people in the extreme foreground to fill out the panel and to give a sense of depth. I wanted to ape that trick to help underscore the “occupation” of D’Urville.
@Doug G-
Your theories are usually pretty accurate, though. I think you were spot on about the Vietnam thing.
- JEP
Those cops are going to kiss any minute.
The cop on the right is clearly just waiting for the indian, the construction worker, the sailor and the cowboy to show up.
(Not that there’s anything about how he’s drawn to really suggest that, Jay. Pete started it!)
Is D’Urville ever referred to as “the Village”? Just asking.