Notes: Quick note: This comic alway reads from left to right, with whatever panel is higher coming first. That's a general rule in my mind, but not everyone follows that.

Without competition, this is the largest comic I have ever done. The panel count might not be so impressive in some ways, but I've never filled three pages before. And I mean filled, like with actual action and movements and damn... I wouldn't hae suspected I could do this well with this. I had the idea in my head pretty clearly, but it's pretty rare that I get something like that on paper even half way as successfully as this.

it's also much more explicite violence than I normally do. I'm normally not into that very much since it tends to make humorous violence much more difficult to pull off. This is not humorous though, and as an added boon, it's agains a pile of bones, so I don't have to worry about blood and gore.

As a result though of drawing this out, I go tto do a lot more fun with poses, my all time favorite being the one bottom of the second page, with sorta an odd perspective from my norm. All of it's fun though, with a lot of swinging around and lines that have to flow together to show a person moving.

And Jandice is good for doing that. She has a lot of flowy bit on her, to sorta map out out which way she's been heading. It might seem odd to fight in a skirt like that, but bear in mind, she hardly needs to fight with a sword either. She could have taken this purely on a magical level. In fact, that may even have been much less effort. However, I have a note written to myself that I promised to make this showy, and so it is. Her skirt is jut part of who she is, and if she's willing to spend the effort reqired to micromanage that out of her way while she's fighting... Well, she's the type to do that just because.

She is a bad ass, and this fight does nothing but confirm that.

This also demonstrates the value of experience, if you recall Jenny's attempt at something like this.

There's an interesting spect of this that's orta benfited from my stage combat class, and that's how to tell a story with a weapon. You need to distinguih between things a lot if you want to do it well. You also have to tell how something starts and ends. I didn't really set out to do that intentionally, but with the way I linked things up, I can see how that works. Part of it's unconcious. One thing flows into another and I show the movement for that. Where it really became relivant though was right before that last blow. Even now the shift is somewhat slight, but totally neccessary to tell the story. She needs to get both hands back on it, but it's not moving that far, but I need to make it look like a strong prep, so it can't just stay still. That was the original problem, is that while they were different angles, they were slight enough that they read as the same. So, I ended up redrawing the entire second one so that it was nearly verticle, and even turned in a little bit, so that it just stood out more as a move. It still stands as a bit odd to me, but what's happening is a lot more readable. Perhaps she could have swung it more around her body, but whatever, I can obsess over these details forever.

And the final joke is indeed that this was a lot of effort, and surprising in that I got it done in around 24 hours. Goes to show what a little bit of variety in what you're doing does for inspiration. I wish I had an excuse to do this sort of thing more often, but that's simply no the type of comic I run. Plus I'd become difficult to keep the fighting up constantly.

Final note: You might wonder where Jenny, and the like get their weapons from. The Answer for Jandice is she thinks in advance.