Notes: Here
I again used the "soundtrack" of the radio as a bridge between scenes that
maintains the sense of consecutive real-time passage. I'm not sure how
well this trick works in a written medium (I see it used to great effect
in films and on TV all the time), but that's what's supposed to create
an immediate connection between two otherwise completely disparate scenes—Adler's
Interrogation and Droxine's Interview. It'll pop up again.
Oh, and speaking
of popping up again, the first two panels have the "camera pan effect"
again ... but there's a new wrinkle this time. Notice that the microphone
sits ABOVE the panel break. That was to try to create the effect of the
camera staying centered on the mike while it tracked from one subject to
the next.
Looking at this
page I'm immediately reminded of what I think is the weakest part of Cautious
Fuzz (and my work in general)—the lettering. I was in such a rush to
finish each page that I didn't lay down any guidelines for the lettering
... and BOY does it show. NONE of the lines is actually straight. There's
no regularity to the spacing between characters OR lines. And no two instances
of the same letter are really the same (in particular, check out double
letter combinations ... like the word "suppose" in pannel #3). You can
really TELL that I never had any kind of draftsman training.
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