Here I am again.
Perhaps you've noticed. I've started typing out text instead of handwriting it. It was a huge timesaver, even if a little cumbersome trying to guess what size to make the speech bubbles. I think I'm going to continue to do this for the rest of EV. I also like that font, so I'm likely to keep it.
I think I might have been a little heavy-handed with the continuation of the story here, but it will be okay. There's certainly more heavy-handedness where that came from, so no need to freak out just now.
I had considered not using this. If it were in color, it would certainly have distracted from the scene, but even as it is, it seems simultaneously like it's sticking out too much, and that it's hiding too much. What am I referring to, you may well ask? It's the painting stashed in the second panel. It may look familiar to some.
A lot of fun this comic. Loads of fun. That mess was quite the triumph, and I quite enjoyed hiding things in there, but there was a lot of really cool technical stuff.
First off, every panel is drawn with perspective, and (with the exception of the first one) I put the horizon level at Fado's eyes (or...whatever you'd call those things).
This does a few cool things. Essentially, it puts the audience at the same physical level as Fado, instead of the same level as Sandy. This makes Fado seem normal-sized and Sandy seem short, instead of Sandy normal and Fado very tall. This by itself was something I wanted to use to help portray how small Sandy's house is.
But then there's even more to it than that.
I'm a writer. I love toying with my readers' minds and psyches (no offense), and by putting the audience at the same physical level as Fado, I put them in a position to be more empathetic toward him. He's a new character, and he really hasn't demonstrated anything really impressive, and yet I bet you like him a little more because of this comic. Why? Well, it's because there's someone who doesn't like him and he's the same height as you... Yeah, sounds much less impressive when I say it that way.
Another thing, in panel 3, even though the horizon itself is level with Fado (for empathy), I put the vanishing point near Fenic (for emphasis). Fado is the center of affection, while Fenic is the center of attention. You got all those leading lines (some of which I see now were completely incidental) following perspective to point to Fenic, and make his burning glare unmistakable Or something like that.
If we're going to follow the same logic, I guess that mess is particularly well made since the leading lines are all skewy and leaderless. Man, I wish I had the kind of skill to do this stuff on purpose. Ah well, time will lead on.
That hat on the plunger in panel 2. That's real. I have them in my bedroom. I love the hat, but it's too flimsy to take outside I'm afraid. It's also neon pink and I can't remember where I got it. The plunger has never been in a drain; though it has been suctioned to a friend's bare stomach... Hand something like that to a bunch of pre-college dudes living in a college dorm for a week and, well it gets broken pretty fast, so alas there is a rip in the seal at the base of the haft. Don't know why I shared that with you...perhaps I've had too long a day.
Very well. Until next week. It will be another story interruption, but I like the joke.
Sandy: "So, here we are. This one's your room."
Fado: "Oh. It's...uh..."
Sandy: "It's a teeny-tiny disaster area. We can put this crap in the shed for now. Then it will just be teeny-tiny."
Fado: "I'm cool with that."
Fado: "You know, I don't think your brother likes me."
Sandy: "Give him some time, he's going through a lot."
"To be honest, he acts that way to all adult vulpine* males. I think he's just mad at our dad and taking it out on you."
Fado: "Oh jeez."
Sandy: "I know. You moved right into a nuthouse."
Fado: "Well, then I should feel right at home."