So much for that buffer. I spent the last week doing pretty much nothing but playing video games and having a cold.
The next page is mostly done, so that should be going up on schedule. All I have for after that is my outline, so I guess I’d better get to drawing. But right now the sun is about to set and I’m probably going to fall back into the mindless embrace of trying to get a 100+ kill streak in Diablo 3 or something.
I am … not sure what’s going on. which i guess is ok. keeps me reading
Normally a comment like this would make me worry, but this page is kind of intended to leave you going “what?”.
(Also the panel on the lower left is a lot more cluttered than I wanted it to be; it’ll look a lot better in the printed version when all the black in it becomes spot gloss.)
Using dialogue dilation to establish bullet-time is pretty neat. Everything else seems straightforward.
Yay!
This isn’t even the first time I’ve done time dilation via dialogue spacing; see chapter 3. Which I blame nobody for not remembering what with me doing it the first time about three and a half years ago.
So, Janelle managed to pluck an explosive slug out of the air delicately enough to avoid detonating it? http://egypt.urnash.com/rita/comic/chekhovs-gun/
Hey, if Rita can do it with an unspecified bullet from a sniper rifle…
http://egypt.urnash.com/rita/chapter/03/
Possibly a little unrealistic, but we’re also talking about reflexes that can react to a bullet in the short space it takes to travel across a single office. I suspect if I did the math both Janelle and Rita might have to have FTL interior wiring and crazily high-power muscle analogs.
Or maybe I’ll just go back and change that to a neurotoxin-loaded bullet or something, I dunno. I’ve got a definite plan for this whole story but I make up the details as I go along.