This moment — where the older Tejumin gently strokes the slave child Anika’s cheek — has been with me since this story idea came to me back in 2006. While I’m a big fan of things that go “Boom!”,” I also think that the most powerful moments in a story can also be the quiet ones.
I’m also happy with the look of these panels. Issue Three is where the artistic process for Discarded Lives really comes together. I can’t wait for everyone to see what’s ahead.
This page is also very, very important to the overall story. In fact…
Yeah. I’d better shut up now.