willjohn wrote:Jesus wept! Does she ever shut up? Only two ways to go here, a bare arsed spanking or a divorce!
Being rather socially conservative, Willjohn, I can't support a divorce under these circumstances. Therefore, by a process of elimination, it will simply
have to be "a bare arsed spanking"

!
I got here rather late in the day I'm afraid, Phil, so everyone else has already covered the main points. As an expert on the comics medium

, I will add my two cents' worth on the question of the "loquacious speech balloons," however. In general, it's very easy to overwrite comics, because depending on the size of the panel, there are two hazards to watch out for: (1) Writing so many lines that the art is obscured, or (2) Writing so many lines that the
pace of the story, which is controlled largely by how fast the reader moves from panel to panel, is slowed down too much (of course the difference in subject matter between successive panels also controls the pacing) .
The first of these shouldn't be a problem for the artist/writer, since he presumably will not cover up the best portion of his artwork with a lot of speech balloons! The second is more tricky - I have found that a rather "standard" sized panel in a comic book, say 1/6 to 1/4 of a page, really only has room for two or three rather short lines of dialogue. In fact, probably the greatest limitation of the comics medium is that it cannot sustain extended dialogue the way the stage play and the movie can (the play and the movie being closer to comics than prose or poetry are). Early comic strips really struggled with this, and featured tiny panels crowded with dialogue balloons because you had so little space on a newspaper page. [In the 1980's,
Alan Moore showed that you could however sneak in extended
monologues by switching to first-person narration and using captions instead of balloons. This has some pitfalls of its own we don't need to get into here.]
Still, I think your crowded panels are defensible here for two reasons: first, they are largely expository, thus it's o.k. for the forward motion of the story to be slowed down a bit, and second, although this is surely the comics
medium it's not exactly a comic
book, and therefore perhaps the rules can be stretched a bit. Digital formatting provides both opportunities and limitations that I don't think anyone, even myself, has given enough serious thought to. Maybe the presentation on the computer is different enough to constitute a third branch of comics, along with the strip and the book - or maybe I'm making too much of this and eventually digital comics will come to be seen as no different than the strip or the graphic novel.
Anyway, I'm sure the panels will be less crowded as the action begins to pick up and Tina learns the hard way the truths her mother tried to tell her.
