ooooh, really great expressions in panels 4 and 5!!!
THE EYES IN PANEL 3. i didn’t notice them.
Her eyes are so gloriously creepy.
Blue and orange. more and more…
Wouldn’t it be fairly easy to reconnect the wires? I know nothing about telegram systems though.
Depends on how it’s connected to the device. If the connection is inside the device, you could cut it close enough that there is nothing to connect to without disassembling the thing. If the connection is an easy to access screw, you would just need to strip the wire and loosen/tighten the screw.
Either way, it would slow down anyone looking to use it.
I just want to take a moment and applaud the amount of hard-core research and EFFORT that goes into this comic.
Everything we’re seeing feels authentic because it IS– from period beard styles to types of furniture to the uniforms to the how the telegraph apparatus is set up. The necks of bottles. The extra-large windows (because artificial light is expensive and weak). The architecture. The last town’s ice house (because there are no refrigerators yet, but there are ice boxes). The narrow, wrought-iron-and-wood benches on the train. The steam engine itself, which must be a BITCH to draw, with all its intricate parts.
If I were forced to try to draw this comic, I would be like, “Fuck it, I’m not drawing that train, there’s no way. It’s, uh, surrounded by bushes. You can hardly see it. Yeah, I’ll just add more bushes. The telegraph apparatus? Yeah, that’s too complicated. Blocked by a hand. I’ll just make it clear what this building is with a big sign. Period furniture? Fuck it, it’s like the wild west, I can just get away with some rough benches, right?”
But noooo, the details are present, exact, even beautifully rendered. Look at the train conductor’s uniform in this scene. If I had to draw it, I would do it with the jacket closed, so I wouldn’t have to deal with the goddam vest and its creases, tiny buttons and watch chain. In fact, if I had to draw it, I might just give the guy some overalls and a puffy, blue-striped cap, because I might have been too lazy to research what he actually would have worn.
Note: pic of an actual 1885 train conductor: http://www.library.hbs.edu/hc/railroads/images/site/pictures/menu8/1_large.jpg
And this comic comes out WEEKLY, with minimal breaks.
My_Little_Annie, your commentary is funny. Crude, but funny. 😀 Yes Arin does a ton of research and it shows with every stroke of her pen. Bravo Erin. Bravo. We love this stuff. By the way, I made a mistake. I thought the conductor was a Pinkerton agent. I see I was wrong. It was the badge that confused me.
I’m so glad other people are as enthralled with the details of this strip as I am. I spend about 30 minutes most weeks looking at the page, because there is so much to notice. Story, overall composition, character development, historical details, colors and lighting, foreshadowing and echoes from the past. It’s so worth it.
I’m struck in this post by the resemblance to a horse in cells four and five. Ready to brand… oh, that’s John Henry’s thing…
And the suspense in panel six, with the scissors open over the helpless man – but it’s as I supposed several weeks ago. She has to disable the signal.
The characters keep getting more and more vivid.
Would anyone like to comment on the time element in this chapter? Hunter checked his watch as he was drinking his coffee. After the whole flaming horse bit, he land on the roof, which alerts the young train employee. That employee then puts his hand to his hip (presumably for his gun), and then walks towards the door of the car. The scene then changes to Vane Black and the telegraph office, where the clock on the wall reads 9:57 (presumably AM). With a bit of chilling dialogue implying destruction, the scene changes back to young employee as he open the door and finds Hunter. Hunter gets rid of him, and then does not even reach the door before Vane’s instructions get to the train and the train screeches to a halt. When the train gets to the station, the clock reads 10:00. The engineer and the telegraph operator have a heart to heart, and then Vane ties up the operator and cuts the wire at 10:01. Not a lot of time to spare, Erin?
The more I see Vane in action, the more I wonder how much Hunter really knew about her and her abilities and drive. I myself find her amazingly capable and smart-being undead doesn’t seem to have changed that at all.
I have to give you credit for your attention to historical detail in the clothing, the machinery, the architecture, Hell the detail in every aspect of this comic!
I wish my artwork was as good as yours!
and the story telling is on the seame level too!
Floyd – Great description of the events lined up with the clocks. I had not noticed or pieced all that together. If this were a movie, it would all unfold really fast, and you would get a sense of the tightness of the timing (the clockwork precision of the events and planning on Vane’s part, and the barely-in-time awkwardness for the normally graceful and in-control JHH). In the strip, with weeks between pages, I missed the sense of haste. I think when it’s all presented at once in a book, however, the swiftness will be stronger, the chain of events will be pulled taut.
BOOK SHMOOK! I want an animated cartoon on the silver screen damn it!!! ;D
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