James McConnor comes to us in all his Film Noir glory in page 50. In the different page layouts, I always wanted to have a page with long, rectangular panels, and this scene was perfect for this purpose. Moreover, the fact that he is the only character who has an internal dialog makes the sequence more fitting. The grey lighting was always planned as a mood device, but the rain was a factor I added in final art. Ah, English summers! I can’t help to draw a comparison between this latest page and Will Eisner’s work in “A Contract with God.” The grit and atmosphere of Eisner’s work is so that you can even smell the city. I’m not diluted enough to think I have achieved something anywhere near his kind of talent, but the images blurred by the rain, the foreboding feeling, and sense of melancholy can be taken from this offering. I’ll see you in the page.
