Walk with me

Now we take a little stroll through the non-euclidean mansion, where the armor suits are watching you, the Moai is watching you, the haunted portraits are watching you…

The witch is already dropping hints of things to come, because, of course, she knows what’s going to happen, and she’s being smug about it. That just comes naturally to her- imagine if you were very old, and you knew what was going to happen all the time. Now imagine trying NOT to be smug about it after centuries.

It doesn’t excuse the witch’s behavior, but it does at least explain it.

That ‘mildly mean-spirited threat’ crack indicates that she was listening in on their conversation in the cab. Which is more than a little creepy.

I love the air quotes around ‘super powers’. It’s not only the witch showing disdain for the idea of superheroes, but also her indicating that she knows what Ronni’s true power is, as she tries to pass it off as super powers. Also, her flat lidded eyes speak volumes in this shot.

Our thought is that since Ronni’s been here before, she likely asked about the simulacrums, and Morgan never passes up an opportunity to brag.

Any guesses as to the non-actionable identities of the ghost portraits?


I do love me drawing some spooky, haunted mansion vibes, and Stanely’s mostly-silent reactions to everything were fun to suss out. As always, I enjoy drawing character acting, so scenes like this are always a lot of fun to work out.

It’s essentially a “walk and talk” scene, which can get visually dull if you don’t work out your camera work and layout properly, In this case, the disjointed panels are both as foreshadowing for a scene already drawn at the end, and a way to emphasize that the geography of the house is confusing. I use those to purposefully break the 180 rule, and it’s not a thing I do lightly, but I hope it’s effective here.



Issue 17 – Page 009