#i think i accidentally switched her finger positions while rendering

[cherrraty]

MIKU MIKU BEEEEEEEEEAAAAAAAAAAMMMMMMMMMMMMMMMMMMMMMMMMMMMMM

[chrisjake-cp]

History 3 Trapped Filming Diary (full English translation) - Days 61-66 (final part)

Masterpost here.

I don’t own the book so I can’t post my scans of the pictures that came with it. So I posted some other pictures of the scenes that were being filmed. These pics belong to LINE TV or Choco Media, or I’ve taken screenshots.

Read days 61-66 (final day) under the cut. 

Day 61

In the final days before the end of shooting, we were finally scheduled to film in Zhaozi’s house. 

Zhaozi’s house basically only exists to let him and Jack be able to court each other. Every scene is just sweet and unbearably cute. In the drama, Zhaozi’s house is one that his late grandmother had left him. Mounted on the wall was a small framed picture of an older lady, and the protagonist of this picture was really Tingxuan’s [Kenny’s] living (maternal) grandma. His grandmother is already over 90 years old but she keeps in very strong health and can walk around in the park without having to use crutches. Kenny has a good relationship with his grandmother. When he took this photo out and introduced her to us, his eyes were full of happiness that we didn’t see at other times.⁕ 

An apron-wearing Jack is like the embodiment of a handsome chef coming to your house. Even if what he prepares are only super simple instant noodles, he could flirt with Zhaozi (and the hearts of many girls). 

I don’t know if Zhaozi’s grandma, looking on from the picture frame, would be satisfied with this young idol wearing her apron though. 

⁕ Kenny, why so cute? 😭

Day 62

That’s right. Today was also a whole day of kissing, hugging and rolling on the bed (I’m flustered) in Zhaozi’s house. The Sanzhi Little White House B&B has featured as the location for many famous commercials and idol dramas. The inside of the house feels warm and sweet, which is why it was selected as this drama’s setting for Zhaozi’s house. 

Zhaozi’s room is located on the second floor. Young people have good physical strength, because they had to kiss from the first floor all the way up to the second floor (if I’m not careful almost all of today’s pictures will be kissing pictures, hahahahaha), then in the room on the second floor they were rolling around in the bed and then back to the first floor to roll on the table. 

When you look at the pictures of the table scene, maybe it was cut to a short moment in the show, but the positions and the movements for this scene were rather complicated.  The two needed to first practice the chemistry between their positions and the camera, and many different camera angles as well as bloopers happened during filming. The two of them lingered at the table half the night, their rolling around started from dinner and went on until they had a midnight snack. We really can’t but admire the two’s good core strength. 

Day 63

Actually, the fighting scenes in the car and after they get out of the car after Tang Yi and Shaofei are being seized were filmed on different days. Therefore, what was filmed today was after Shaofei pulled the handbrake (right, I use this as the dividing point [between the scenes]) and the two of them rushed up the mountain. The weather that day was really cold, so it was also a test for the crew to go shooting in the mountains. 

That same day we also shot the plotline of how Shaofei fantasizes about how to get off the mountain. The crew used branches to make a scarecrow for Tang Yi and Shaofei to hang their clothes on. But during the filming process the art team made a total of three scarecrows. When asked about it, it was not because they wanted to have a back-up prop, but because one of them was snatched away by a dog from the mountains to use as a toy.

The art crew went: “Doggie, you bastard, come back here” (in Shaofei’s elevator voice)⁕ 

⁕  When Shaofei was cuffed to the handrail and Tang Yi stepped out of the elevator, Shaofei said almost the same thing to Tang Yi. (”Tang Yi, you bastard, get back here.”)

Day 64

It’s two days before the end of shooting, and I already can’t think anymore about how many times these two have kissed. And today was another whole day of kissing. I’m not exaggerating. Early in the morning we filmed that Shaofei grabbed Tang Yi’s hands when they got to the courthouse. When Director Qingrong arranged the scene, she figured that the plot allowed for them to kiss again, so a kissing scene was added on the spot. 

In the afternoon we switched sets and went to the balcony at the hospital. On the balcony Shaofei confessed his feelings and also stealthily kissed [Tang Yi]. How could someone confess like that and kiss straight after? Our boss Tang hadn’t even responded [to the confession] yet! Counting on my fingers, one camera angle takes 8 takes on average, and for one scene we would approximately change angles four or five times. So for all the scenes from morning until in the afternoon, they at least kissed 70 times, and that’s only today. ⁕ 

⁕ Listen, I need to see aaaaaaaallllll the taaaaaaaaakes.   

Day 65

Tang Yi and Shaofei have finished filming! 

They spent 68 days of wind, sun and rain together, they went through being chased by men in black and hit by bullets, together they spent [a night] in an abandoned cabin on fire, the two went from being strangers at the acting and martial arts classes to gradually developing a deep connection with each other and hand in hand, they overcame all kinds of difficulties. 

Different from the other “HIStory” series we have made before, <Trapped> was the first story to break free of having a school campus as its setting. The plot was much more complicated and the actors were faced with more and bigger challenges. Regardless of whether it were psychological challenges concerning their acting, or psychical challenges of being involved in numerous fights and constantly sustaining injuries, it was all very tough on them. The last day of filming, with good weather, was also spent in a fight. They fought 8 hours straight, from 9am in the morning until the sun set in the mountains, which was a major test of physical strength. The sun shone brightly, there were high temperatures and the rays of the sun dazzled the eyes. Tang Yi fought bravely in a suit and leather shoes, and Shaofei’s left eye was hit during the fighting process. He immediately returned to a state of readiness for war after a quick break to apply some ice to it. Thank you, all actors, for your dedication and the beauty of each frame that you presented, and thank you to the crew members behind the scenes for their hard work. You can leave the rest up to us now. 

Boss Tang was finished with shooting a little earlier than Shaofei, because in the evening, Unit 3 continued their scenes in the restaurant. Unexpectedly a group of people arrived earlier at the restaurant and waited for our arrival. It turned out to be our senior colleagues from <Crossing The Line>, Yanze (Zach Lu) and Menglin (Nick Yang) who were visiting the set. When they saw their younger ‘brothers’ working hard to film this show, and them being riddled with scars from filming, the original mood of being there to supervise softened. Senior Zach patted junior Jake on the shoulder, saying, “Seeing you taking this so seriously, I can pass the baton to you guys with an assured mind.”

Day 66

On the last day of shooting, the crew was divided into two groups to carry out the work. One group was responsible for returning to the international conference office and for going up the mountains to shoot some more final material to fill up some gaps; the other group in turn stayed behind at Zhaozi’s house to shoot scenes for the final episode, namely the fight and bed scenes after Jack took Zhaozi home on his motorbike (or should I say ‘transported’ home?). The evening’s bed scene called for Jack to do a lot of push-ups. Each time after “Action” was yelled, Jack huffed out sounds like “Ah” and “Huh” while doing his push-ups, which rendered the crew at the scene unable to stop laughing. After shooting the ‘official’ scenes, to increase the sound effects from under the covers, the two actors were asked specifically to use the blanket to create some more needed sounds for the show. After confirming that the sounds were okay, Director Qingrong yelled “We can pack up! <Trapped> has finally finished shooting.” Because there were other houses in the neighbourhood of Jack’s house and it was night time, everyone cheered a little bit but immediately said “shhhhhh”, reminding each other to be quiet. 

To be frank, practicing how to say goodbye is definitely not a simple thing. When you continue doing the same thing for 21 days, it would slowly become a habit. But with <Trapped>, from when shooting started until we finished filming, we went through 66 work days together. We were used to getting along with everyone, we were used to getting up early and eating breakfast together, or eating a snack in the middle of the night. Meeting with this whole team every day had become a kind of habit. In these 66 days, we experienced Yilan in 10 degrees and 30 degrees, we climbed mountains together and jumped into swimming pools together, we may have accidentally slipped on the mountain and gotten injured, we were shot at by airsoft guns (BB guns), and the thick smoke in the abandoned cabin made our nostrils turn black. All of that will become memories now. Finishing shooting [a show] is like the feeling of attending a graduation ceremony when you are a kid: you look forward to it, but the closer to the day it gets, the more you feel like you don’t want it to end. We hope that everyone who reads this diary will feel the warmth brough by the crew of <Trapped> and we also hope that these memories that left a deep impression, will forever remain in everyone’s hearts.

[shiros-wife]

Rules of Engagement (shiro x reader)

Rules of Engagement

Shiro x Reader

Imagine: Being the communications specialist with Shiro and Matt at the garrison.

Warning: Just a little making out ;)

AN: Hey guys! I hope you all like this one, let me know what you liked, or if you have any requests!

~~~

His lips felt like fire on her skin. There was no pulling away at this point, not that it even crossed her mind. The feeling of his body pressed against hers, his thigh positioned between her legs, how his fingers gripped her hips, all of it made it impossible to think of anything else, but how good it felt. This was definitely against protocol, the small portion of her brain that has retained its sanity thought in the back of her head. It all felt like a deram. And if it was she never wanted to wake up.

She and Shiro were on the same flight team at the garrison. He was the pilot, and she, his communications specialist. They were also accompanied by an engineer by the name of Matt Holt, she swore he was some kind of genius, it was the only explanation for how smart he was. They had all been friends, but with the hours spent in the flight simulator, the late night study sessions, the constant contact between them, they became much more than that. The connection between her and Shiro was unshakable, you would never see one without the other, inseparable. It wasn’t until their third year at the garrison, did they notice a change in their dynamic. They weren't the only ones to notice this change, Matt knew something was going on between them, even if they didn't know exactly what.

For weeks, it was nothing but chaos. Longing stares from across the room, lingering touches, constant blushing, all at the expense of Matt’s sanity. There was a time when the two of you could barely be in the same room, in fear that in your clumsy state, someone could get hurt. Matt didn’t mind at first, that is until your team failed the flight simulator, putting a permanent ‘F’ on his record. Shiro had gotten distracted by you, in the middle of the mission, when you cut your hand on a stray screw driver, causing Shiro to panic, and in the end, sent their team crashing to the ground in a blazing fireball. He’d had enough.

He told you both to meet him in room B26, to go over what went wrong, and finish the mission report on the simulation failure. Each of you feeling a different kind of shame in the failure of the basic sim, and each feeling that it was your fault things had gone south.

The next morning when you arrived at the room, you met with Shiro on the way, but neither of you could stand to meet the other's gaze. Too embarrassed to think it was your lack to self control that had ruined the mission. Keeping your head bowed, you both entered the room, the first thing you noticed was how cold and damp it was, the lights were off making it hard to see exactly where you were. Shiro’s shins came in contact with a mop bucket, sending it skidding across the floor.

“What the- “ he began, his eyes adjusting enough to see the shelves that lined the walls, filled different cleaning supplies. “Is this… a Janitor’s closet?” thinking that they must have walked into the wrong room, Shiro turned to exit, only to have the door slammed in his face. Shocked, he rushed forward testing the doorknob, and finding it locked. Thinking it must have been an accident, he slammed his fist against the metal door trying to get the attention of whoever had closed the door.

“Hey! We are in here! The door is locked, can you open it?” he called, hoping they were still close enough to hear him. There was a moment of silence, before they heard a familiar voice reply.

“I’m not letting you out until you two work this out! I don’t know what is going on with you buys, but whatever ‘it’ is, fix it! I am not going to get another ‘F’ in that stupid simulator, just because you two are acting like lovesick teenagers!” Matt’s voice was filled with a mix of anger and frustration. There was another pause, followed by what Shiro assumed was a sigh. “I’ll be back in an hour.” he said more calmly before walking away, ignoring the protests from his teammates.

They spent the next 10 minutes searching for another way out, only finding 4 metal walls all lined with janitorial equipment, and an air vent, too small for either of them to fit through. Shiro was sure Matt had picked this room specifically for that reason, no way to escape. Giving up on that idea, they resorted to searching for a light switch, their eyes adjusting enough to see outlines in the darkness but not much else. The tension in the room was palpable, neither of them trusting themselves to address the elephant in the room, why they were locked in here in the first place, they both knew what Matt had said was true, but were not willing to address it as the problem it was. Until the pressure got the better of them.

“I’m sorry.” you both blurted out at the same time. Fumbling to recover, you turned to continue, but your foot caught on the bucket Shiro had knocked over earlier, sending you sprawling on the floor.

“(Y/N)! Are you okay?!” Shiro asked rushing over to where he had heard you fall. Unfortunately, instead of helping you, he stepped on your hand. You cried out again, cradling your hand to your chest as you pushed back against the wall, pulling your knees in. Shiro’s heart felt like it was in his throat, how had he managed to mess this up even more?

“Oh God, (Y/N) I’m so sorry!” he stammered his panic rising up. Standing where he was he ran a shaking hand through his hair. He didn’t dare move again, scared that he would accidentally hurt you again, instead he decided to speak, and once he started, he couldn’t stop, everything just poured out of his mouth.

“This is all my fault. I just really like you, and you're so pretty, and smart, and when you smile it makes my stomach go crazy, and you're laugh, oh god, your laugh! It's the best thing I've ever heard! It's just so hard for me to think when you're around, my brain goes all fuzzy and I can’t focus on anything else. God, I should have known better, i should have tried harder to hide my feelings, or i should have transfered as soon as I realized I loved you, and, and now we are stuck in here, and you’re hurt and-” in the darkness, you made out his outline, and rose to your feet, equal parts shocked and thrilled to hear what he was saying. Reaching out you placed your hand on the side of his face, rendering him silent. You couldn’t see his face, and you prayed he couldn’t see yours, you could feel your cheeks reddening as you drew closer. He could feel you coming closer, your hand gliding over his face, your fingertips tracing the outline of his lips. You felt his warm breath against your fingers, as you moved your hand to the base of his neck, standing on your toes. You hesitated, your lips stopping just shy of his.

Swallowing his nerves, Shiro closed the remaining distance, capturing your lips with his. In that moment it was like a fire was lit between you. His hands were on you in an instant, pulling you closer as his mouth moved against yours. Pressing forward, you stumbled back, your shoulders hitting the metal walls of the room hard. Shiro only paused for a moment before he was on you again, pinning your body to the wall with his own. His fingers gripped your sides, pawing at the material of your uniform. Pressing closer, he fit himself against you, a leg between yours, his hips against yours, like fitting puzzle pieces together. His lips pulled away from yours, only to attach to the exposed skin on your neck. He groaned into the hollow of your neck, as you raked your fingers through his hair, pulling on it slightly.

The heat between you continued to grow, and the once cold room felt like a furnace. So consumed in the moment, you both failed to notice the door to the room slide open. Matt caught site of the two of you, and paused for just a moment, as his mind registered the situation. Shaking his head, he crossed his arms over his chest, before clearing his throat. And just as quickly as it had started, the trance was broken. Shiro tore his body away from yours, his hair was sticking up in odd directions from where you fingers had mused it. While you pushed yourself off the wall, trying to stop your knees from shaking, and straighten your uniform at the same time, the small marks on your neck beginning to form. Both of your lips were swollen, and your faces were red, and in Matt’s opinion, you both looked thoroughly kissed. An amused smile pulled at Matt’s lips as he watched the two of you fumble to compose yourselves. No one spoke for a long moment, until finally, Matt broke the ice.

“Well,” he began, his voice eerily calm. “I can't say that I didn't see this coming, cause I did, and for that reason, I planned ahead. Because if ‘this’” he gestured between the two of you quirking an eyebrow. “Is going to happen, there need to be some ground rules.” stepping forward, he reached into his bag and pulled out a large 3 ring binder, shoving it into Shiro’s chest, who caught it quickly, looking down at the cover.

“‘Rules and guidelines of dating a teammate’” he read aloud, lifting his eyes questioningly to Matt.

“Volume 1?” you read over Shiro’s arm. “How many volumes are there?” you asked watching Shiro flip through the pages, each filled with words, and some having charts and pictures… this was obviously something Matt had put time into, and it definitely took longer than the hour they had been in there.

“There are 2 others back in my room, but I haven't finished editing them.” Matt answered calmly. You nearly choked, and Shiro swallowed thickly, his eyes wide. Indifferent, Matt continued. “Also, there will be a quiz, so I would suggest going on a ‘study date’ instead of making out in a janitor's closet.” you heaved a sigh, before turning your eyes to Shiro, a smile pulled at you lips, despite the obvious dislike of the situation.

“I’m free tonight.” you said, Shiro’s heart skipped a beat. He would read 50 of Matt’s ridiculous rule books, if it meant he got to see you smile like that again.

[danschkade]

PAGE x PAGE ANALYSIS — ‘THE SHADOW STRIKES!’ #13 (1990)

PUBLISHED: DC Comics, October 1990

SCRIPT: Gerard Jones

PENCILS/INKS: Eduardo Barreto

LETTERS: John Workman 

COLORS: Anthony Tollin 

EDITORIAL: Brian Augustyn

THE SHADOW STRIKES! is high on my list of favorite ongoing series ever. As far as I’m concerned, of the many four-color iterations of The Shadow, this is the one that truly gets it right. The Shadow of STRIKES! is a lurking, manipulating hybrid of The Phantom of the Opera and John Wick, the action of the series playing out mainly through the perspectives of his agents and his criminal quarry. This book is tight, hard-edged, and restrained; it avoids a lot of hacky pulp comics pitfalls because it understands that the original Walter Gibson Shadow novels weren’t “trying to be pulpy” — they were trying to be lean, lurid action thrillers. This is almost entirely down to writer Gerard Jones, but it works better than anywhere else in the issues drawn by the artist that defined the look and feel of the series — Eduardo Barreto. STRIKES! sometimes suffers from being the type of lower budget 80’s/90’s DC book where the fill-in issues can be sloppy to unreadable and the truly great issues mainly succeed by virtue of being the product of creators who weren’t really being watched that closely, but that doesn’t mean I’m grading on some kind of a curve when I say the truly great issues are truly great. 

Today, we’re looking at one of those issues — the second installment of an amazing four-part storyline that sees The Shadow, along with his most trusted agent Margo Lane and the begrudgingly complicit Inspector Cardona, taking his private war on crime from their habitual New York haunts to the streets of Chicago. In this analysis, I’ll be looking at how tightly Barreto’s pencils and inks hew to Jones’ script, and how the diligence of colorist (and Shadow historian) Anthony Tollin actively facilitates the near-seamless transitions between the plot’s many storylines. This is a full comic that never feels crowded, a dense comic that keeps light, and a very comic booky comic book that never loses sight of the emotional reality of what it’s depicting. 

THE SHADOW STRIKES! #13 and all characters contained therein are property of DC Comics and/or Conde Nast Publications, reproduced here solely for educational purposes.

COVER

I love how conceptually simple this cover is. Graphic, understated buildings. A mostly obscured main character. Smoke and mist wafting around for a little atmosphere. There’s only one thing that’s clearly rendered — a tommy gun, unfired. The Shadow is usually depicted using handguns, so him holding this universal visual signifier for “MOB STORY” immediately lets you know what you’re in for. And that’s even without the blurb at the top. You wanna see The Shadow fight the Chicago Mob? I know I wanna see The Shadow fight the Chicago Mob.

PAGE ONE

Something THE SHADOW STRIKES! does particularly well is maintaining the balance between mainstream comic book sensibility and HBO subject matter without making either seem out of place. We open with a prime example — the hand acting in panels one through four clearly conveys uncomfortable reality of a woman having sex she doesn’t enjoy with a man she doesn’t like. This transitions to her reaching over to grab a cigarette and light up in panels five and six (along with the barb “what was even quicker than usual” for those in the back). This establishes her as our POV character for the scene, something every scene going forward will have in some form or another. The point of this opening scene is to establish bad guy mobster Anthony ‘Half-Step’ Sbarbarro as a detestable macho prick in his personal as well as professional life. By identifying with this woman, we share her lack of fulfillment and, soon, her ongoing victimization. We quickly learn to hate Half-Step by seeing him through her eyes. We also see a hint of a gun in a shoulder holster, in case you didn’t realize what kind of comic you’re about to read.

PAGE TWO

This page validates the bad feeling we got about Half-Step on the previous page. Not only so we establish the leg injury that gives him his nickname, we show how petty and violent he is. Note how loose his fingers are as he strikes her in panel four — it’s a casual, low-effort act in between tying his tie and pulling on his pants, and it absolutely demolishes her. Half-Step is a powerful man who callously uses that power to abuse those weaker than him. The scene ends on her, leaving us stewing in the emotional trauma Half-Step leaves behind him. Imagine a version of this scene that focuses on him instead of this nameless woman; his hands on the first page instead of hers, him walking out into the hall in this last panel instead of her crying into her pillow. One version of the scene encourages you to identify with Half-Step, or, jesus, maybe even thrill in his violent savoir faire. This other version shows him for the monster he is by humanizing the people around him.

PAGE THREE

Chick Heck — a dynamite name — catches us up on the events of the previous issue and shows us pictures of the main players so we’ll recognize them when we see them later. While Joe O’Hara is mainly just a quippy mannequin to help Chick with the recap, there’s some great staging between him and the showgirl in the first couple panels. She’s way too smart for him, and even though she’s constantly placed in positions of power in her panels (larger than him in panels one and three, walking past/in front of him in panel two) he just keeps checking out her legs with the unearned confidence of a white man with a little hair.

PAGE FOUR

More concise, well-written recapping, which Barreto livens up even further with a variety of camera angels and some cool lighting and drapery. We see Half-Step (who I keep accidentally and only quasi-understandably calling “Johnny Stomp” before correcting myself) near the end of the page, connecting this scene to the last and reminding us how much we would like for somebody to kill him. Chick does us a final narrative solid by setting us up for the next page with a great dramatic line.

PAGE FIVE

And now, after getting to know the distinct personalities and motivations of five characters across four pages, we get our title page. The Shadow stretches out onto the scene, speaking like goddamn Dracula and dressing the part. Between Barreto’s smoky effects* and Tollin’s icy, atmospheric coloring, The Shadow really feels like a different kind creature than anything else in the book. Also worth mentioning is John Workman’s great work on the issue’s title, with the rigid ‘B’ adding extra viciousness to the sketchy, violent ‘UTCHERS.’

*I was curious how exactly Barreto achieved this affect. I consulted with Jesse Hamm and Lukas Ketner, and the consensus is that Barreto probably drew these pages on coquille board, using graphite or lightly-applied colored pencil for the smaller areas of texture and watercolor sponge with white gouache, or possibly even just correction fluid, for the large smokey areas. If any collectors or collaborators of Mr. Barreto know otherwise, please let me know. I’m still curious. 

PAGE SIX

This page does a great job of immediately changing the focus of the scene from The Shadow to old man Romanowski. The Shadow is a non-character who will never learn anything new about himself or struggle with a decision, so the drama of the series usually centers around how ‘normal’ people react to him. In this case, it’s the equally resolute Romanowski, whose whole motivation is neatly laid out in the first three panels. “And I will owe NOTHING... to NOBODY...Not even YOU,” Mr. Devil-Man With A Gun. 

There’s a nice leftward motion as Romanowski tries to hustle this intruder out of his house, followed up by the overwhelming rightward motion of The Shadow as he silences the old man and makes his final pitch. This panel’s layout, its placement on the page, and even Tollin’s blue coloring all loosely mirror the Half-Step slap on page two; I think this is the first instance in the issue of the creative team setting up parallels between the two men. The Shadow also possesses a frightening degree of physical power, but he uses it carefully. He’s scary, but not dangerous. Or at least less dangerous. He’s not actively a woman-beater, how about that. The two panels in question, so you can draw your own conclusions:

Continuity note: the money on the floor in panel two carries over from the previous issue — Tad came to his father asking for money to pay out his gambling debts, and Romanowski, enraged at his son’s weakness, grabs glass jars containing his savings and smashes them to the floor, yelling “take it! Take it!” He uses jars because he doesn’t trust the banks — having his own money during the stock market crash was what allowed him to grow his business to what it is today. This goes further toward establishing that Romanowski sees himself as a man who doesn’t owe anything to anybody. This scene here doesn’t rely on that information, but it’s useful garnish, no?

PAGE SEVEN

Tad’s brief show of spine on the previous page immediately melts once The Shadow leaves — Barreto keeps him wobbling and weak while his father is still and resolute. The scene transitions from being about Romanowsky the senior to being about Tad, tears in his eyes as he speeds away. The last panel switches it again to the Shadow, watching silently from high above. Note how Barreto makes liberal use of the graphite shading, but leaves The Shadow’s hat and Tad’s car flat, highlighting them by omission. And man, how insane is this angle? We somehow see the train and the car at the same time without it feeling forced. The complexity of the El Tracks The Shadow’s hanging on might at first seem punishingly complicated, but I think it’s actually the parallel beams of that structure that makes the warped perspective visually legible in the first place. Using something difficult to depict something impossible. Eduardo Barreto. I tell ya.

PAGE EIGHT

This page gives us what I like to call ‘an artificial action beat.’ The Shadow catching a ride on this train is hardly a conventional action set piece, but it’s a splashy, physically extraordinary Thing That Is Happening and it breaks up a couple of dialogue-heavy scenes. It also gives us a private moment from The Shadow, helping us like him as our macroprotagonist by seeing him successfully doing something difficult. How do we know it’s difficult? The acting in his face in panel two, plus the fact that he loses his hat. On some level we know he can’t fly or teleport, but seeing him actually have to put effort into getting around helps us identify with him, without sacrificing too much of his mystery. 

At the bottom of page: the return of shaky Tad. Jones does a good job of keeping small NPC type characters around, like the singer in panel four, making their Chicago feel full. It’s easy for large-cast crime comics like this to start to feel like the only people in the world are the people involved in the case in question; bizarrely, this can actually serve to make the case seem less important. What’s so bad about bad guys if there’s no society at large to be threatened by them? 

PAGE NINE

Georgie Katomeris’ office (containing Georgie, Tad and Half-Step) and Frank Nitty’s drawing room (containing Nitti, Jake Guzik, and Half-Step again after some passage of time) are indistinguishable from each other as Barreto draws them, but are still kept distinct by three things. One is Jones’ dialogue — the ellipsis in that precedes Nitti’s panel three dialogue indicates a jump in time. Another is Nitti’s smoking jacket — he wouldn’t be going out in it, so we must have changed locations from the office to his private residence. The last and most effective is Tollin’s coloring — the grey of George’s office gives way to the green walls of Nitti’s drawing room. I admit this transition felt abrupt to me at first read, but these three clues let me easily find my footing again.

PAGE TEN

We spent the first two pages of the issue showing Half-Step to be detestable; now we show him to be truly dangerous. His patience and planning further draw him into parallel with The Shadow — having him tell a story that essentially ends with “I could have killed the President of the United States but didn’t want to because of my deeply held principles” does a great job of showing us his crazy ego and, more importantly, his ambition. The point of the end of this scene is clear: this is not someone who’ll willingly stay in a subordinate role forever. But he’s not just going to throw his weight around. He’s going to be smart about it. Note how he goes from very small in panel five, cut off by the top of the panel, to large in panel six, crowding Nitti into the corner. 

PAGE ELEVEN

Half-Step dominates his half of the page. The heavy shadowing on his face in panel three indicates there’s something dark going on in his mind. The other half of the page is all about The Shadow. We finally have the two of them in the same location here, with the Shadow placed in a position of power — the low angle of his glory shot in panel five, the fact that Half-Step doesn’t know he’s being watched. They’re even sort of almost facing each other down, with Half-Step facing left in panel three and the Shadow creeping in towards the right in panel five. But like Half-Step, The Shadow won’t just smash in guns ablaze— he’s playing a longer game. This page really sets them up as worthy enemies, with a lot of good, or at least better, people caught in the metaphorical crossfire between them.

PAGE TWELVE

Here we finally catch up with Inspector Cardona, Brenda Shield, and Margo Lane, who Chick Heck introduced us to by proxy in his earlier scene. This page has what for my money is the only real misstep this issue makes; although Margo and Cardona are both name-checked on this page, Brenda is not, and it’s been so long since the Heck scene that it’s asking a lot of the readers to remember her by sight — especially since there isn’t really much going on with her design to visually distinguish her, big polka dot bow or not. That said, this page does still somehow manage to give us that cool, spacious three-panel sequence of Cardona walking away from the ladies only to be waylaid by The Shadow while still leaving room for a nice big ‘Identify With This Character Please’ shot of Margo in the penultimate panel. Jones also manages to give us clear ideas of both Margo and Cardona’s characters, their dynamic with each other, AND their individual dynamics with the Shadow while he’s at it. Lastly, I like Tollin’s choice to give Margo a Green color scheme, making her instantly as visually distinct in the issue as the Shadow in his blacks and reds. For a page that makes the issue’s one arguable mistake, it sure does a hell of a lot right. 

PAGE THIRTEEN

Half-Step is back, haunting the plot just like the Shadow does. Seems to be a theme of men preying on women in this issue — let’s keep an eye on that going forward. Note how much real estate on the page is given up, letting the panels float around; this is used in the top half to separate Half-Step from the other guys in the car, painting his “Like I’m gonna break this city down” line as an unthinking quasi-crazy utterance, as well as to separate Margo and Brenda from the gossiping nightclub crowd in the bottom half.

PAGE FOURTEEN

Here we explain Brenda’s stakes in this scene. Even if you don’t empathize with her high-society worries, it’s worth noting that Jones has made clear through action and dialogue that every character in every scene has something they want, need, and/or fear, and Brenda is no exception. Tollin draws attention to the dreaded encroachment of gossip in the last panel with a change in background color from a neutral yellow to a threatening orange. 

Now, bear in mind, Margo might be genuinely supportive here, but all of what he’s saying about herself is a lie. There is no Dick. She's never met the Hartes. She’s working Brenda as per the Shadow’s orders — she and her fellow agents are basically Ocean’s Eleven if Danny Ocean decided to start dressing like Doctor Sax and fighting crime, and if that means pulling a hustle on a pie-eyed heiress, then I guess that’s just what's on the agenda for the evening. 

(Fun personal trivia: This comic came out the month my girlfriend was born. She also sort of has the face Barreto gives most women he draws. Coincidence? One wonders.)

PAGE FIFTEEN

Margo is the only person in this issue who gets an internal monologue, which she uses here to reveal the way her charade chafes, but also the freedom she feels from being anonymous, from being unconnected to her past mistakes. So, of course, enter: the man who knows all her secrets, here to spoil her reverie. This scene takes place in the ladies room — another example of a man trespassing against a woman, except that while our gangsters are doing it for personal gain, the Shadow (here unsexed and dehumanized to the point of being almost a silhouette) does it in service of his theoretically higher calling. He dominates panel four, almost encircling her. Margo’s body language tells it all — not afraid, but very uncomfortable. We keep the scene in her perspective by cutting from the Shadow in panel five to Brenda in panel six, both more or less in her literal point of view. Note again how Barreto employs negative space above and below the final panel to create a zoom-in effect on Brenda’s eyes. 

PAGE SIXTEEN

More Big Sister Margo; see how she controls Brenda’s body in panels one through three. Half-Step is inside now — I think we’re supposed to infer that he’s responsible for loosing the rumor that’s upsetting Brenda. A slightly abstract example of a man invading a female space? I might be reaching, there. 

Barreto does a great job of changing locations by making panel five a round panel with poor Joe Cardona on the right of the frame, contrasting with Half-Step’s leftward placement in the square panel opposite. Tollin helps with a cold color shift. The last panel might not seem like it does a lot, but it actually sets up two things for later in the issue: One is that it makes for the second time we see The Shadow and Cardona together, so when we see them together again at the end of the issue it benefits from a satisfying ‘rule of threes’ thing. The other is that it sets up one of The Shadow’s later appearances — I’ll touch on why this was necessary when it comes up.

PAGE SEVENTEEN

A great falling line of action as Tad stumbles and falls across the top four panels. Employing steadily lengthening panels like this is something Barreto does so well, and here it has the side benefit of giving Half-Step room to really loom over Tad in panel four. Meanwhile, I’m glad Half-Step’s poor, mistreated girlfriend had a good lay. She deserves it.

PAGE EIGHTEEN

Barreto is so good at clothing and drapery that you start to take it for granted — and then you remember it all over again when he draws a disheveled suit like the one Tad’s stuffed into. As soon as Nitti shuffles Tad out of the apartment, Half-Step’s attention turns to the woman. We get super close to him, the rendering becomes denser, meaner. Tollin even gives him an angry rage-flush. He’s huge in panel four, crowding her to the edge of the frame. His dialogue transverses panel five into panel six, implying he’s following her as she tries to get away from him. The final panel puts us back in her shoes, as Half-Step’s rage is directed straight at us.

PAGE NINETEEN

Panel one to panel two is the kind of cut we don’t see much in comics, despite it being incredible effective. We get the point of her abuse without — man, I guess the phrase I want to use is cheapen it by showing it explicitly on the page. Clearly implying something and then cutting away can be even more effective than showing it outright. If we were to see this scene play out, we’d still know in the backs of our heads that this is, essentially, a superhero comic, and that it’d be possible that when we turned the page, The Shadow might show up to save this woman. When the scene is over and the hero never appears, we might be left wondering, “Christ, then what was the point of seeing all that?” This method here conveys what happened with a haunting finality, but without any creepy exploitation.

On a characterization front, the thread that culminates in this scene is massive. Half-Step treats this woman like an appliance, but claims he’d kill any man who touched her. He actively entraps her into this weird “gotcha” self-cuckold and then punishes her for falling for it. This shows us so much about the depth of his bizarre self-loathing, his warped pride, the outright evil of him. And yet, again, staging these as events in her life keeps her from being just a prop to let us know how super duper bad this story’s bad guy is. She has an internal life outside of him. This all actually makes these displays of his violence more effecting because we’re seeing its effects on a “real person,” not just some Real Doll who doubles as a speedbag. 

Note also how well panel two and the butcher hanging up the cow in panel three frames the interaction between Romanowski and his debtor, Karl. Size continues to equal power as we get the huge foregrounded gangster (rendered into one monotone shape by Tollin’s colors) making the bright, full-figured Romanowsky look smaller and more vulnerable than he realizes.

PAGE TWENTY

The empty room in panel one gives us a moment to breathe as we head into a tense scene. At the same time, we know we’re getting close to the end of the issue, so an entire panel dedicated to an empty room makes us slightly nervous — we’re aware we’re running out of time. Which, by design or by happenstance, is the Shadow’s point at the end of the page. Tad is consistently rendered in a clear, clean comic book style, while The Shadow is rendered in planes of light and darkness, making him seem elemental, powerful, spectral.  

PAGE TWENTY ONE

This is the best page in this comic. I lost my mind when I saw this page. It’s AWESOME. Look at how well rendered Romanowski is in panel one. The oppressive dark architecture in panel two, drawing the eye to the small, bright Romanowski. That unnecessary but oh so cool-looking graphic black-out in panel three. The hatching on Romanowski in panel four. The callback to Half-Step’s leg injury, set up nearly twenty pages ago. The cascade of action across those last three panels. Tollin’s colors across the whole damn thing. I love this page. This page is why they have comic books.

PAGE TWENTY TWO

Look at Romanowski’s face in panel one, highlighted by the falling glasses. The FURY. The reveal of Half-Step is so pat, so understated. The little throw-away line to himself further cements him as a bona fide evil psycho criminal — one more reason we want to see him go down. The circular panel inside the square field of panel five, a technique I can’t ever remember seeing before, gives the impression that a notable amount of time has passed since the glasses fell — glasses that Barreto made sure to pointedly re-establish as a visual signifier for old man Romanowski in these last few pages. 

So, The Shadow shows up late. This is why it was important to set up The Shadow’s intent to see Romanowski in that panel at the end of page sixteen; to have The Shadow appear too late would come off as arbitrary, or even as an intentional delay on his part, if we hadn’t established The Shadow’s intentions beforehand. Or, put more simply: in order to show a character failing at something, you have show they were trying to accomplish that thing in the first place — especially when so much work has gone into conveying that character’s competence.

PAGE TWENTY THREE

The Shadow respects Romanowski’s principles. Of all the characters in this story, the two of them are the most alike in that regard. But while Romanowski was a stubborn old butcher and easy prey for Half-Step and his guys, The Shadow is an unkillable psychic murder man.

Panel two is full of space, both geographic and negative, giving us another much needed moment of breathing room. All the gangsters present have distinctive color cues, easily letting us get a feel for the size of the gathering as opposed to an amorphous clutch of same-colored “GANGSTERS (tm),” which often happens in comic book scenes depicting groups of men in suits. They can become like zebras if you don’t take the time to make him distinct, as they are here. Half-Step’s buggy zooms into panel four from beyond the page, a nice way to emphasize that the vehicle is coming at them from out of nowhere.

PAGE TWENTY FOUR

The tommy gun EXPLODES through panel one, dissolving the panel border itself. Those carefully color-coded mobsters from the previous page all catch bullets, which wouldn’t mean as much to the reader if they weren’t distinct from one another. “A bunch of gangsters got shot” becomes “several men were brutally murdered by machine gun fire.” Said gunfire chases Guzik from left to right in panel three — note the diagonal line that tracks his presence in panels two, three, and four, making his plunge to the ground in panel four seem like an extension of his movement in the other panels, even though the they happen on radically different parts of the page. Barreto keeps the same angle on Guzik in panels four and six, cementing him as the lone survivor of this drive-by and the default POV character for the scene. Or, to put in visually:

This is some seriously solid craft. 

PAGE TWENTY FIVE

The Shadow is HUGE on this page. This drawing of him the biggest thing in the entire comic — the same size as he is on the cover. He bookends this story, dominating it. Cardona’s fear and uncertainly help sell the terrifying finals words of his boss, seen here in full on What-If-Hannibal-Lecter-was-Batman mode. This drive-by was easily the biggest act of violence in the issue, and the heavy blacks of The Shadow on this last page emphasizes him as this dark presence bringing doom to the Chicago mob. This page cements what we can expect from the next issue: The Shadow’s done his ground work. He’s ready to start making some moves.

FINAL THOUGHTS

Despite having three more pages than your typical modern comic, the page for page action is always dense and well-paced. Every scene feels necessary and the story never lingers long on any one place or character, and yet it never feels overstuffed or rushed. It takes time for some impressive visuals to break up the action, but never to the point of self-indulgence. There’s always something happening, even in a scene that basically boils down to ‘Two women go a club and a third woman talks shit.’ I talk a lot about Barreto — and I would, he remains one of the best artists of all time — but I don’t think enough can be said for Jones’ masterful pacing and lean yet conversational dialogue. These are two creators at the top of their game, with a solid coloring/lettering/editorial team backing their play. Almost thirty years after its publication, there’s still a lot to learn and even more to admire in these pages. This is definitely the kind of read that makes me want to up my game. 

When possible, I’ll be placing links at the end of these so you can buy better copies of the comics I’m analyzing with out my words getting in the way. 

Retroactively, here’s Comixology links for the comics I covered in my first two reviews:

BATMAN: GOTHAM ADVENTURES #17

PETER PARKER: SPIDER-MAN #13

As far as I can tell, THE SHADOW STRIKES! has never been collected in print, nor does Comixology doesn’t carry it, so I’ll link to another great Shadow story by someone else who really understands the material: Matt Wagner’s GRENDEL vs THE SHADOW, with Brennan Wagner on colors. I’ll also throw in a link to another Eduardo Barreto DC comic I’ve always dug, written by this issue’s editor, Brian Augustyn: BATMAN: MASTER OF THE FUTURE.

As always, feel free to check me on any mistakes I might have made, add your own commentary, or share similar examples of good comics done well. I’ll be back next week with a different comic to peruse.