12.”Heads Up” by Becky Cloonan
It uses a smiliar form as Hope Larson’s story, but with bigger images and well, it’s not as compelling beside Becky’s kickass art.
13.”Tendergrass” by Matthew Woodson
I get a Bryan Talbotesque feeling when I read this. I love the colourscheme even if the story itself is a bit… shallow? No. That’s the wrong word. It’s definitively not shallow. Padded. Yeah, it’s a bit padded. Had I been a fan of decompressed storytelling I would probably liked it more.
14.”Last Things Last” by Kean Soo
Also decompressed but here it fits the story. I liked it, but I find it hard to actually say something more about this.
15.”Cellmates” by Phil Craven
Loneliness, desparation, isolation. It’s a bit of a downer but in a good way. That prison is possibly among the most horrible I’ve seen depicted in any form of entertainment medium.
16.”The Ride” by Rodolphe Guenoden
The first thing I noticed was how the lines and the colourisation worked together. Had they just added a bit of raster it would have worked okay as black and white too, because the lines work on their own. Not as good though, but it would have worked. It has lines that new and hip artists would never have put there because those things are computer airbrushed with colour. And the use of light? Kazu is damn good at colour because it is at times very subtle, and Rodolphe provides the really good story and lineart for it to work. All the three things add up—story, ink and colour—and remove just one and the work is a bit less than it otherwise would have been. I mean, the story works wonderfully and yet no-one says a word. Great stuff.
