#6, Pg. 15 | Katie's Got a Gun

#6, Pg. 15 | Katie's Got a Gun

October 3, 2015 in Issue 6
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Caley Tibbittz Collopy 3rd Oct 2015, 7:42 AM
Caley Tibbittz Collopy
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SwordCat Writes | A Digital Letter Column

More Dick. Finally. I was tired of making Dickless comics. But this page: plenty of Dick.

...I am a 9 year-old. FOREVER.

I don't know why this page took so long. 11 panels? Meh. I mean, I've done 14 in less time.

It again features the marvelous Topless Pulp Fiction ladies (@ToplessPulp on the Twitter).

Soup sock,

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Shan 3rd Oct 2015, 12:13 PM
That thing I was talking about earlier. Those other guys seem keen (they said it was a good idea and that happens so rarely with me. The offer of financial support always helps though) so I think I'll know specifics by the end of the weekend which I'll let you know about. Thus ends this week's edition of Let's make a Deal.
jamie59 3rd Oct 2015, 1:56 PM
Why's Kathryn's hand glowing in the top right?
Caley Tibbittz Collopy 3rd Oct 2015, 2:17 PM
Caley Tibbittz Collopy
She's healing Jack, like she healed this guy in issue #1, and like Erica in issue #3.

(Jack's actually dead in panel 1 of this page, after being struck in the temple by a rock on the previous page. In a short window, Kathryn's healing touch can bring people back to life.)
Shan 3rd Oct 2015, 2:49 PM
On the subject of Kathryn's magic hands, after Erica's car crashes in Karma and both Erica and Kathryn are thrown through the windshield, does Kathryn use her powers to flip the position of the two of them (in other words, does she have that power as well) so she takes the brunt of the impact with the ground because that's certainly what it looks like.
Caley Tibbittz Collopy 3rd Oct 2015, 3:50 PM
Caley Tibbittz Collopy
Yes: Kathryn's healing hand can attract her to an injured person, like a magnet.

She definitely was trying to save Erica from taking the brunt of the fall by using her sideways momentum to spin them both in midair. (More instinctively than anything else, as she clearly immediately begrudges the resulting pain.)
Shan 3rd Oct 2015, 4:26 PM
I'll be honest, I thought that it was an immediate teleport given that they actually took on each other's approximate position so suddenly. However, in light of your reply I remembered that the amount of time from one frame to the next can vary. Given how fast the crash and ejection must happen, I imagine both of them landed in the horizontal position and then Erica sat up which is the image the next frame captured.
Caley Tibbittz Collopy 3rd Oct 2015, 5:21 PM
Caley Tibbittz Collopy
You're a good detective...

Kathryn can do some superhuman things -- feats of strength, feats of reaction time -- that other immortals can't.

(Without getting too spoiler-y, there's a reason other immortals' eyes don't glow and Kathryn's do.)
Shan 3rd Oct 2015, 6:03 PM
That leads me to something I've been thinking about for a bit and I know has been brought up and you're aware of long before I even knew this comic existed.

In the issue where Julia and James have been going on a fly by night tour of New York and then Oberon zaps them, I actually think that needs a two page insert between the zapping and the next page. I know, easier said then done, that would take a lot of time and effort.

It's just that it goes from them being in the air to suddenly crashed on top of a parked car and where did all these people come from? Why is Cheri there? Where did she come from? (I actually found this a much bigger mystery than why Oberon, Lord of the Faeries was there).

I figured it could be something like this. After the zap, the next shot is a pullback, showing clearly they're way up in the air with lots of building around. They plus Oberon are practically stick figures (or very much smaller in frame at least). Maybe even move the hand and the word NO back out from the previous frame into this one (it feels like you should have that frame with just James and Julia, then the next frame is them getting shocked).

Lightning or whatever is clearly going from his hand to them (we see all of Oberon). Next frame is both of them plummeting from the sky (once again, pulled back not a close up to show from how high they're falling), one after that is actually striking the car. Since if you add 1 page, you have to add another, that could explain how Cheri got there among other things (She saw it from street level co-incidentally as she was driving along and headed to the point of impact maybe?).

That would bring that issue up to 22 pages like the others after the first but I get that's much easier said than done. I know you're well aware of the transition problems from one frame to the next as it currently stands, however that's something that could take up to a month depending on the demands of your time for an event long past. Something for print perhaps?

Anyway, that was my small effort in trying to think about how to compose a scene from frame to frame to show what was going on without eliminating too many intermediate steps. How did I do?
Caley Tibbittz Collopy 3rd Oct 2015, 11:46 PM
Caley Tibbittz Collopy
You're right that it's still the weakest, most difficult to follow transition in the whole comic. In the original script, Oberon zaps them out of the sky with a lightning bolt... but the finished art doesn't really relay that idea well.

Rather than draw new art or change the page count, I'm inclined to use dialogue to solve the issue -- I think I'll change James' line to something about forced teleportation. That's what the scene looks more like now anyway.

Color will help the continuity a lot here; seeing Oberon be the same blue as the big zappy finger, for a start, but more importantly, seeing the clothes in the window in the background remain the same throughout issue #2. Everything happens in that same alley, with the same department store across the street.

(London's shoe and Mallows' bowler hat are still lying in the alley, too, from when Julia blasted them.)

(I'm going to edit the store into pages preceding the flight, where the backgrounds are just empty white spaces where the store should be. Issues #2 and #5 need a fair amount of sprucing up before I go to print.)

As for Cheri being there: the alley is the gap between the bar she was in and the next building. She's leaving the bar and walking to her car. I should make sure the dialogue notes this as well.
Shan 4th Oct 2015, 3:13 AM
This is just a thought exercise for me but if this was a movie I was watching and I had to pick the minimum number of still frames from the footage to to convey what happened (I'm changing a bit what I said before because I think this is better).

1st frame: The scene as shown Julia and James embracing and about to kiss, no hand no NO no zap.

2nd frame: Zap strikes them, same degree of close up, both arching backwards away from each other as if they've both been shocked, surrounded in blue glow.

3rd frame: Pull back, Oberon just floating in midair in the top left corner, buildings seen in background, we're clearly high up. Julia and James just starting their fall head first

4th frame: Cut to above view looking down on Cheri exiting whatever building she was in.

5th frame: Reverse shot from behind Cheri from behind, angled shot showing left side of her face from behind in foreground looking up and to the left, buildings, Julia and James falling even further in distance. Possibly makes some startled comment?

6th frame: Both or either Julia and/or James striking car, presumably shoulder first, if only one actually hitting car or ground, the other still in midair but close to hitting the ground.

7th frame: Currently existing picture as is, Julia and James as seen lying on a car/in street, Oberon hovering in the air and Cheri there to one side looking very startled.

So I guess how I see it in my head is the first frame shows the scene just before what's actually drawn, 2 to 6 are how I'd fill in the blanks and 7 is the actual next frame as it currently stands.

I guess what I'm saying is that at the very, very least, the scene where James and Julia finally embrace after all that flying about and then get zapped is at the very least 2 separate frames as they're two separate significant events. Kind of like just a couple of pages ago to a lesser degree, the last frame is Aryana powering up and Kathryn referring to sandpaper you know what and the the next frame on the next page is actually getting hit by the zap.

Or maybe this would be better, it would be like the scene where Kathryn surprises Jack in the alley from behind, if it cut from Jack in one frame threatening warning shots and instead of the picture you had of a famous comic homage and then the next frame where he shoots her, it just skips the homage picture. It'd work but the sequence just wouldn't look as good.

I'm not really doing a good job at explaining this, am I? I guess what I'm trying to say is just my personal opinion, it just feels like there's at the absolute bare minimum of one frame missing between two adjacent panels and preferably I feel it would be an even smoother transition if there was more. Still, all of that is just me theorising about things, I hope it doesn't come across as trying to tell you how to run your own show because that's not my intention at all. Just having fun thinking about all the different things your comic throws up for me to think about. It's really good as is and I think will look even better when it's completely coloured.

On the other hand teleporting could really work quite well too with a little bit of tweaking so the reader knows what just happened, which is exactly what you said you were going to do.
Matt Knab 4th Oct 2015, 4:04 PM
Matt Knab
Won't anyone think of the bookstore!?
Man, this is a mess, ha!
Caley Tibbittz Collopy 12th Oct 2015, 4:50 PM
Caley Tibbittz Collopy
Despite her gruffness, Kathryn really does care that bystanders don't get hurt. And if she and Jack can agree on anything, "protect the pretty ladies" seems like a safe bet.
Outlaw 8th Oct 2015, 9:38 PM
Alright, so I'm jumping on this bandwagon INSANELY late, but dang, am I glad I'm jumping on.

After skimming the archive for the past couple days, I'm super impressed with this comic. No wonder it's one of Comic Fury's Finest. Your art style, story telling, and even style of humor are on point.

Needless to say, you can go ahead and sign me up.
Caley Tibbittz Collopy 12th Oct 2015, 4:47 PM
Caley Tibbittz Collopy
I'm glad you're jumping on too, thank you! And I'm glad you like the humor; personally, it's my favorite part.:)