Thank you for connecting the dots for us, Locke.
We've done a chase, we've gone a gun fight, now it's time for the fist fight. In the immortal words of Kite Man, "HELL YEAH!"
I guess we can do some dialogue here. I REALLY love long stretches of silence or near silence in my comics and cartoons but I suppose Locke had to ask why someone was trying to kill him sooner or later.
As you can see, I LOVE speed lines both as a way to convey movement and as a design element. I always saved my speed line patterns and by the end of RL's 380-some page run I had a LOT to work with.
MOR FIGHTING. I kinda dig the movement in the third panel here but 2002 Tim totally forgot to draw the tread on the bottom of Locke's boot. Whoops.
The last panel of Locke lunging is better than the one from last time but his head is still way too big. As to completely get down on 2002 Tim, the use of the ladder as a background element to ground the flow of the action works and I actually DO remember doing that on purpose.
I really like the last panel on this page and how they end up with each other's guns. What's gonna happen!!!
Page 37 & 38:
I didn't do many splash pages in Reckless Life. To me half the fun of making comics is the design of page but everyone once in a while it felt warranted. Two-page spreads were even MORE rare and this is one of only two. (And the only one that made it to print.)
The drawings of the cops are straight up horrible. (And why do they have those weird crotch straps? - Oh wait - I know. I grew up on 90's comics.) That said, Locke and Daniels look pretty great here for 2002 Tim's skill level. The "he started it" gag is also vintage Locke. When I think back on Reckless Life this remains one of the most iconic images for me.
NEXT WEEK: On the run from the law!