Reading the first chapter it looks like she is just saying that to convince Eliza. By the way, it’s marvelous how the art has only improved, considering how it already started great.
I know that if someone else was attempting to convince me to murder someone when it wasn’t in self-defense, and made it plain that poison was her plan, I would be looking for a way to put that person out of action, rather than risking my own life.
Where to start! For a beautiful woman like Eliza to look like she does in the first cell, she must be feeling those emotions (blasphemy and all) very strongly. And the surprise in the second cell is also loud on her face. Yet she is still certain enough to refuse. She knows herself. The combination of financial need and terrible stories might have made her ready to kill John Henry in the abstract – but not after she met him. I wonder how she’ll stand up to the violence that are so familiar to BOTH of her guests.
Perfect details on Dauterive on this page… The light Annie mentions above – her dress appears to be made of that fabric where the pattern is created with a satin weave, so the light hits details and makes them lighter than the background in one direction (lots of reflection), but darker in another direction (where the threads absorb more light, instead). The freckles over the bridge of her nose are another inspired detail. And my favorite – how she holds the deadly stopper between her fingers… even if you buy into her ingénue appearance in other cells, those are not innocent fingers. There is NOTHING girly about those hands – beautiful though they are. Hands are notoriously tough anyway, much less the emotional subtlety, Erin. Impressive.
And, as always, I love how your colors, shadows, and highlights show the inner glow from the lamp AND the bright sunlight from the crack in the curtains. Eliza is lit both front and back, and the lights have different qualities.
I don’t see my other comment – hopefully it shows up later…
I noticed two more things in cell 3 – the pressure of VD’s fingers into the arm of the chair – lovely detail. And the sewing machine – with the gold leaf! Initially I thought of Singer (there have been several in my family, including an old pedal operated specimen with gold leaf and other autumn colors) – but this has a more graceful profile than the Singers. Doing some research I think this is more inspired by British makes (Wanzer, Bradbury Wellington, Royal, etc.) with the narrower curved arc and the horizontal reinforcing rod underneath, and the wheel with the knob to hand crank it. Like the telegraph key, I like your taste in machine designs.
Ha ha – one more detail! You even have the right color thread on the spool, for working on John Henry’s suit, assuming that was the most recent thing she did on the machine.
Good lord, the art still makes my jaw drop three years later, and it just gets better.
Who else is hoping the next page involves the following exchange?
“Fine.” *Steps out of the back, jerks a hand up to point towards it with a thumb.* “Some bint back there wants me to kill you. I’m going to grab coffee and some fabric, I never saw you.”
the only thing that confuses me about this (and i’m hoping someone could clarify this) is how these two people can have this conversation when the only thing between them and John is that curtain and a few metres. Not the most secretive place to have an argument about killing him? That aside, I’m really digging the art. I like how there are subtle stylistic changes from chapter to chapter.
My own take on it is that there is a sound-deadening effect to the layers of drapery and the walls of the area, which also look like they are fabric covered. I’ve been onstage before and unless you’re outside the curtains they really can muffle sound.
Wait, Hunter killed Dauterive’s aunt, or is she saying that just to convince Eliza?
I see Eliza is still wearing her wedding ring, nice touch! Gorgeous page, as always.
Reading the first chapter it looks like she is just saying that to convince Eliza. By the way, it’s marvelous how the art has only improved, considering how it already started great.
The light effects on Ms. Dauterive’s dress in panel 3 are especially lovely.
I know that if someone else was attempting to convince me to murder someone when it wasn’t in self-defense, and made it plain that poison was her plan, I would be looking for a way to put that person out of action, rather than risking my own life.
Let’s hope that Eliza didn’t spent yet the money she gets in advance. So she can give it back to skip the contract.
Where to start! For a beautiful woman like Eliza to look like she does in the first cell, she must be feeling those emotions (blasphemy and all) very strongly. And the surprise in the second cell is also loud on her face. Yet she is still certain enough to refuse. She knows herself. The combination of financial need and terrible stories might have made her ready to kill John Henry in the abstract – but not after she met him. I wonder how she’ll stand up to the violence that are so familiar to BOTH of her guests.
Perfect details on Dauterive on this page… The light Annie mentions above – her dress appears to be made of that fabric where the pattern is created with a satin weave, so the light hits details and makes them lighter than the background in one direction (lots of reflection), but darker in another direction (where the threads absorb more light, instead). The freckles over the bridge of her nose are another inspired detail. And my favorite – how she holds the deadly stopper between her fingers… even if you buy into her ingénue appearance in other cells, those are not innocent fingers. There is NOTHING girly about those hands – beautiful though they are. Hands are notoriously tough anyway, much less the emotional subtlety, Erin. Impressive.
And, as always, I love how your colors, shadows, and highlights show the inner glow from the lamp AND the bright sunlight from the crack in the curtains. Eliza is lit both front and back, and the lights have different qualities.
I don’t see my other comment – hopefully it shows up later…
I noticed two more things in cell 3 – the pressure of VD’s fingers into the arm of the chair – lovely detail. And the sewing machine – with the gold leaf! Initially I thought of Singer (there have been several in my family, including an old pedal operated specimen with gold leaf and other autumn colors) – but this has a more graceful profile than the Singers. Doing some research I think this is more inspired by British makes (Wanzer, Bradbury Wellington, Royal, etc.) with the narrower curved arc and the horizontal reinforcing rod underneath, and the wheel with the knob to hand crank it. Like the telegraph key, I like your taste in machine designs.
Ha ha – one more detail! You even have the right color thread on the spool, for working on John Henry’s suit, assuming that was the most recent thing she did on the machine.
Good lord, the art still makes my jaw drop three years later, and it just gets better.
Who else is hoping the next page involves the following exchange?
“Fine.”
*Steps out of the back, jerks a hand up to point towards it with a thumb.*
“Some bint back there wants me to kill you. I’m going to grab coffee and some fabric, I never saw you.”
I wonder how Vane would react to someone ELSE killing John? LOL
the only thing that confuses me about this (and i’m hoping someone could clarify this) is how these two people can have this conversation when the only thing between them and John is that curtain and a few metres. Not the most secretive place to have an argument about killing him?
That aside, I’m really digging the art. I like how there are subtle stylistic changes from chapter to chapter.
My own take on it is that there is a sound-deadening effect to the layers of drapery and the walls of the area, which also look like they are fabric covered. I’ve been onstage before and unless you’re outside the curtains they really can muffle sound.