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I reel at panels 2 + 3 in this, where I make a no-no of visual continuity: Clark and Hanna’s bodies are easily read as extending stockily from their heads above. I think I was aware of it at the time, but it was a tight page, and I thought I could hide it by working the shading differently. It’s not the worst I’ve ever done but it bugs me. |
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What if panel two expanded to a square 3/4 body shot and you moved the handshake down to cover panels four and five? So their speech bubbles were descending down from top of frame.
I thought this was an intentional simulation of those moments where your vision narrows and something suddenly jumps into focus …
The zooming in from panels 2 thru 7 really sets up the tension break afterwards.
ohohohoho hanna bested him at conceptual chess. or is she more in denial? who knows? I dont, cause i'm just now reading this.