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Probably one of the better pages, drawing-wise.
Had some boxers reference for the second panel.
A finished pencil for part of the big action
sequence in the story, as the spirit of all these
departed American Indians combines in an angry
rock-monster of some sort, out in the long-irradiated
desert, as I recall it. Not much to say; just bumping
the frames about a little, and punching parts of
figures out of the panel for the mild effect of
suggesting that things are getting sort of out of
control. Obvious stuff, but I still think it works,
psychologically, on the reader, as long as it's not
employed on every kind of sequence, action-oriented
or not. Though back then, I might very well have done
just that, in my anxiety to make the story look as
dynamic, visually, as possible. When you work in a
relatively "realistic" or "classical" style, you are
perpetually fighting against a tendency towards the
static and still, simply through the careful
compositions, detailed rendering, and the restraint
on expressive exaggeration which, of course, is part
of the definition of "realism" and "classical", in
this context.

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