PAGE 4
Panels 1-3: These three panels together form a
super-panel – a concept examined by comic artist Michel Fiffe here. This layout provides a novel way to experience
time within a comic. The first three
panels of the previous page also did this, but in that super-panel time was
carried across the single image through the use of word balloons from the
newsvendor. No people actually moved
through the scene. In this super-panel,
we have Laurie passing across the three panels, the panel borders providing the
breaks in each scene as she walks across the floor to Dan.
Without
the panel borders, it would be confusing to have the three images of Laurie
crossing the floor. And if all of this
dialogue were included in one oversized panel, it would collapse under the
weight of credibility – the figures would remain static in that single panel,
but the amount of dialogue shared between them encompasses too long a span of
time for them not to move, which could strain a reader’s suspension of
disbelief. This super-panel, as noted by
Fiffe in the link above, is an elegant solution to this storytelling challenge.
Panel 4: This is the point where we begin to learn of
the pyramid scheme set up by Veidt – who owns Pyramid Deliveries, IES, and
other notable entities involved with this whole “mask killer” scheme – which is
appropriate and ironic considering his connection with the Egyptian pyramid
motif.
Panel 6: Note that the newspaper headline states that
the Reds (Russians) have crossed the Pakistani border. The world is at a tipping point, almost past
the point of no return for a resolution between the United States and the USSR.
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