So, this is the witch engaging in ‘oh, look how clever I am, it’ll all make sense in retrospect’ wordplay. She starts by answering Ronni’s first question quite truthfully- it is Giant Girl that she wants, not 64 Bit. Meanwhile, she’s deliberately wearing on Ronni’s nerves, playing them like a virtuoso violinist. Then she spells it out- ‘engage’ with the giants.
Making an impact on local history is really droll if you know that Ronni’s confrontation with the goblin city of Igglehoop is coming. Oh ho ho, she’s gonna break her arm patting herself on the back here. I love writing Morgan because she is an insufferable know-it-all, but she does actually KNOW, which makes her that much more interesting to me.
It isn’t that she doesn’t understand how to deal with people, to my eye, it’s that she chooses precisely how to deal with the rest of the world. Because she can- I mean, she literally lives in her own little world, in this pocket dimension. Because for her, it’s all about control.
Can you tell that Ronni’s about reached the limits of her calm here?
One of the first lessons I took to heart, when I started taking my desire to draw comics seriously as a kid, was to figure out how to make two characters talking look interesting! There’s not a lot going on with this page, except for some solid, back-and-forth verbal sparring. But I knew I wanted a full-money shot of Morgan on her “throne” commanding the room. I knew I wanted a tight, chess-match feel to the pacing as the panels get a little tighter on the figures in the scene.
It’s a fairly large, open room. Hell, one of the walls is missing and leads to a cosmic expanse of the unknown. BUT I still wanted the scene to feel imposing. Ronni is feeling a smidge trapped by the situation, and I wanted that to be felt in the staging and “camera” work.
This entire story is a crucible for Giant Girl, and that fire is being warmed up in this room.
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