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I really like this page. You've given us a clear emotional transition for Rago. From his shy glancing away in the first panel, to his disappointment in the later panels. There are two disappointments, I think. The first is being turned down when he'd finally worked up his courage and the other I think is realising that he had kind of sold himself out in pushing forward just now. Tomo, on the other hand is radiant in panel 3. He keeps contact with Rago to show his affection but plays within the ground rules and calls Rago out before he can change them. And the last line of the dialogue is perfect. That sums up Tomo's story in so many ways.
Reminding him that he’s alive and desirable is probably helpful. It. It may give another voice the one in his head that says he’s a failure and now useless.
I think the fire inside is burning hotter so he's less worried about being burned by the one outside. Or rather, now that he's decided to do this, it will be harder and harder to tell himself, no. He may have to run up to the fence and stop short a few more times, but he's definitely going to jump it.
I love the contact photo of Briggs smoking.
Well, we now know why Briggs moved out and why he’s so keen to get Lain out of that house.
What's important is that he's beginning to understand that Hayden cares for him in a way Nate can't. And his remorse may open him up enough to see Hayden in a new light.
February 22nd, 2018
The most important thing is that Alex doesn't start thinking. That's when he gets confused.
Or because they are the reason the horse was spooked?
February 19th, 2018
Surely there’s no foreshadowing in the poster?
February 14th, 2018
I would certainly buy that cactus.
And we have the magic words spoken in panel 1. But I'm not sure we're any closer to knowing what they mean. And Quinn isn't listening anyway.
@Alecshar: Just make sure and post all the practice pieces for us. ;-)
The imagery on this page is exquisite. It sets a context for the action here but it does it by suggestion rather than by statement. So, rather like Quinn looking in the mirror, it is disturbing and fleeting and I wonder if I really saw that or did I just make it all up.
February 5th, 2018
You’ve really communicated how Cort feels everything at once, desire, guilt, shame. It’s all mixed up and he can’t separate it out. Ian seems different, colder. I don’t know that he feels any less, but he’s better at compartmentalising it and hiding it. At least, that’s what I take from that last panel.

There’s also a visceral, physical shift here. They are open about what they want and what this means, even if they can’t cross that line yet. This isn’t innuendo any more, this is full body contact. And you’ve done it both explicitly and tastefully, from the cut shots at the top of the page to the highlight in the second to the last panel.
February 5th, 2018
I really admire the two of you for your willingness to distill a complex mass of feelings so succinctly that it hits you in the gut and leaving you reading the page again and again to understand why. Cort wrapping himself in his righteous indignation right before being brought up short and being reminded that Ian has skin in the game as well. His fear and his vulnerability shine through so clearly in that second panel (which totally dominates the page) as he realises that behind all the wise cracks it’s the same for Ian. The anger falls away in the third panel and then the voices start again. So Cort is fiery, passionate, vulnerable and impatient. We don’t see Ian until the last panel. And he is wary. He’s willing to kiss Cort in the alley, or behind the fence, or in the stairwell but for all his mouthy talk on the previous page, he’s worried.
Good to have you back. I've enjoyed this story. Best of luck to everyone on the island. It will be a long hard recovery.
This is an extraordinary page, both artistically and thematically. The fifth panel with the grim double faces; Jura dominating the composition but Herz's glowing eyes forcing me to move between them, or are the really separate entities in the panel, or in the story itself? And then the hint in the last panel about something Jura needs to be forgiven for. A tiny step forward in understanding why he suddenly became so powerful at school and a suggestion of how Hirn might have done it. I thing you are showing us more than you can tell us. And it is fierce and oddly beautiful.
Notice that it’s Avery’s powers that make the difference. As I read it, he’s fighting with his body but it looks like he’s unconsciously breaking bones with his powers.
Please practice, practice, practice.
January 26th, 2018
I've been thinking about the illustration of Ned in the second panel off and on all day. There are so many details to admire. The way he's sprawled across the bed. The way his shirt is riding up and his pants are riding down. The way the shadows give this a sense of movement rather than being static. And of course, the sense of realisation and concern on his face. You style may be loose but that doesn't mean there's anything casual about it.