So for both of them it appears to be about what’s on the train (rather than where it’s going?) – or maybe Miss Black knew John Henry would show up (for what is on the train) but wasn’t expecting it just now or in this manner? And I love that we still have no idea what is so special about this train.
The sudden appearance of the cigar is as fraught with danger as the glow of Miss Black’s eyes. For JHH it’s the equivalent of drawing a revolver.
As I’ve said before, the body language (and clothes language) are some of my favorite things about this strip. We’ve seen this peculiarly John Henry Hunter adjust your hat and stroll out of the smoke and ruins before. It set up a lot of our early impressions of who he is. And in that same first frame we have just the right amount of Vane Black to read her emotions, as well. Her trigger finger alone communicates a great deal, as does the position of her elbow.
I spent some time last week looking for the name of the wraps she wears on her forearms. The leg versions are gaiters, of course, but I couldn’t find references or images for the arms. Are these actual garb from the 19th century, or are they something invented for the comic and her character?
Vane’s wristguards are pure invention, and this is, coincidentally, the first book of the comic where they really come into play functionally, so rather than directly answer your question I’m gonna sit back on my heels and say “you’ll see!”
I confess I am having difficulty parsing the sequence of those last three panels. Is it Upper-Right->Left->Lower right, or is it Upper-right->Lower right->Left?
As a general rule if a panel is fully to the left of an adjacent panel it gets read first in western comics, but this is, I’ll grant you, kind of an awkward read. I didn’t help matters with that rightmost frame floating above and overlapping the left panels; the eye really does want to skip right over there.
Soooo, was Vane hoping to rob the train as well? That would explain why she’s surprised to see Hunter– she didn’t come for him, she came for the cash. It’s got to take a fair bit of moolah to fund her gadgetsmithing, and we’ve seen that she’s not unwilling to break the law and hurt bystanders in her quest for revenge (or whatever).
I’ll be honest, she scares me more than John Henry does. I’m not sure what he’s up to, but it’s clear what she wants and she doesn’t seem to care who gets in her way.
I would bet it wasn’t money that interested John in this train. And with Vane I wonder if she was also after it, or just trying to make sure John DOESN’T get it.
I desperately want these two to get back together
No Tuco, that wouldn’t be good. They are like gasoline and a lit match. Too explosive.
And that´s exactly why. 😉
Those expressions
They are just dead-on perfect. Hunter goes from surprised, to smug, to more surprised than before and it’s just perfect.
I think the final one is actually his stageman’s face. He just clicked his game on.
So for both of them it appears to be about what’s on the train (rather than where it’s going?) – or maybe Miss Black knew John Henry would show up (for what is on the train) but wasn’t expecting it just now or in this manner? And I love that we still have no idea what is so special about this train.
The sudden appearance of the cigar is as fraught with danger as the glow of Miss Black’s eyes. For JHH it’s the equivalent of drawing a revolver.
As I’ve said before, the body language (and clothes language) are some of my favorite things about this strip. We’ve seen this peculiarly John Henry Hunter adjust your hat and stroll out of the smoke and ruins before. It set up a lot of our early impressions of who he is. And in that same first frame we have just the right amount of Vane Black to read her emotions, as well. Her trigger finger alone communicates a great deal, as does the position of her elbow.
I spent some time last week looking for the name of the wraps she wears on her forearms. The leg versions are gaiters, of course, but I couldn’t find references or images for the arms. Are these actual garb from the 19th century, or are they something invented for the comic and her character?
Thanks for the comments as always, arnly!
Vane’s wristguards are pure invention, and this is, coincidentally, the first book of the comic where they really come into play functionally, so rather than directly answer your question I’m gonna sit back on my heels and say “you’ll see!”
I confess I am having difficulty parsing the sequence of those last three panels. Is it Upper-Right->Left->Lower right, or is it Upper-right->Lower right->Left?
He asks a question, she answers. Doesn’t make any sense to me the other way around.
Seth is correct.
As a general rule if a panel is fully to the left of an adjacent panel it gets read first in western comics, but this is, I’ll grant you, kind of an awkward read. I didn’t help matters with that rightmost frame floating above and overlapping the left panels; the eye really does want to skip right over there.
Grrr, I mean Upper-left, Lower left and Right, obv. Stupid off-handed brain.
And this is when all the genre savvy people start shouting “DON’T TALK TO HIM. SHOOT HIM!”
Basically.
The little panels are meant to be read in pairs.
I heart these two…but it’s hard to think up a decent name for them. Jane? Vohn? Hane? Vunter? Sigh, I give up.
“Jane” and “Vohn” both make me smile.
Soooo, was Vane hoping to rob the train as well? That would explain why she’s surprised to see Hunter– she didn’t come for him, she came for the cash. It’s got to take a fair bit of moolah to fund her gadgetsmithing, and we’ve seen that she’s not unwilling to break the law and hurt bystanders in her quest for revenge (or whatever).
She looks a little more unstable than usual.
She doesn’t wear surprise well.
I’ll be honest, she scares me more than John Henry does. I’m not sure what he’s up to, but it’s clear what she wants and she doesn’t seem to care who gets in her way.
I really like her character. She is scary as hell, while JHH is ‘just’ the most epic smugsnake.
Epic dialogue for epic characters.
I would bet it wasn’t money that interested John in this train. And with Vane I wonder if she was also after it, or just trying to make sure John DOESN’T get it.