Deadly Class #47, pg. 14

Religion is no match for a hungry ronin.

An interesting process page here, and one of the very few that were digitally altered for print.

I read an interesting thread on twitter recently in which a gentleman was quite angry at the use of digitally replicating a panel in its entirety for the sake of a 'hanging beat gag'. I believe he said of any artist that does this, 'laziness is their master'.

Seemed a bit harsh to me, but his solution was not too ridiculous. He said it's fine to print the pencils, but that each panel should be inked afresh, to give the sequence movement and life.

I only bring this up because Wes seems to have done something similar here, lifting the pawn shop interior from an earlier page, and re-inking the part he needed, and then digitally added on the static part on the right of that panel. (One can see the bluelines faintly on the original scan)

He also chose to reuse a panel that is a close up of powder on a scrap of tin foil. Talk about a rendering nightmare - I don't blame him.

It didn't make sense to add the missing panel to the top of the page in the overlay, where there was space, so I made a compromise.

The dialogue really starts to ramp up here. This whole damn issue is double entendre. Remender's partner must hate arguing with him. Nice use of the word 'brand' here to set up the next panel.

Finally, the eagle-eyed amongst you may have noticed that the artist has labelled this page 15. I don't know what happened on the process side about that, but let me tell you, there was a hot minute wherein the Lotia household was scoured looking for a missing page.