And Tony is too busy marveling over how the impromptu chiaroscuro lighting makes his handsome face look all mysterious and wise and shit. "I should ditch the fluorescents and just put in some of those brazier thingies like Steve Strange has in his pad," he thinks. "Then maybe I could get me some of that extra-dimensional tail!" (Seconds later, the cabin is engulfed in flames.)
4 comments:
The power's fine. You're just looking at the shadow cast by all the thought bubbles.
That's also the answer to Marianne's question, coincidentally. That, and the fact that she gets dizzy standing too close to him, just from the fumes, of course.
No, it's not the lighting, they're just on a train now. You see, Conway's narration and writing have become so wretched that they have broken the laws of physics-even comic book physics-and are altering the background to reflect the overall suck of Conway's writing. By the next panel, they'll be in a noir-ish private eye's office that is inexplicably moving forward somehow, perhaps propelled to move by the desire to escape the story they are trapped in.
Clearly, ole Shellhead should have been known as ole Shellheart.
What is this, f---ing "Dallas"? Wait, things actually happened on "Dallas". Less with the millionaire angst, and on with the lobster-claw-antlered super-villains!! Say what you will about the Gravity Girl saga, at least it had the good sense to actually move the story forward, rather than providing panels of exposition about problems that would not actually be resolved in the story.
Marvel in the 70s, you disappoint me. Much like you do now.
Anonymous and Crowded House: I love both of those explanations for this peculiarly-lit panel!
Bill S.: Bwah! That's the most beautiful rant I've read in a long time. Bravo, good sir!
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