The way this page was framed, you'd think they were stills from a film. Or rather, a storyboard intended for moving pictures.
Two panels of extreme close-ups starting from where we left of from the last page; the first panel focusing on his hands clutching at or possibly even covering the strange, red trail that has now crawled up to where Jim's heart is. At this point, he was still consoling Jennie and probably himself that nothing out of the ordinary was happening. Loyal to his pride and stubborn nature, Jim's character would rather be dead than be proven wrong.
But then the following panel tells us otherwise.
Reacting to Jennie's discovery, Jim's eyes widened at the realisation that he was hoisted by his own petard. It's time to pay your dues, bucko. I'm sure at this point of the comic, the intention was to have his horror reflected on the reader; a bit of sympathy, if you will, for the doomed man. But it was here that I chuckled, a little indulgence of schadenfreude at Jim's expense for being dishonest, a trait I abhor.
I spent a considerable amount of time making sure that the delicate nature of the scene is maintained whilst keeping the suspense by using loads of extreme shadows with hints of light, appropriately.
Yes, this was a delicate scene. It needed to be delicate so that the final scene would be more malicious.
The third panel haunted me in its familiarity of setting. Almost classical in its approach, the way Jennie was illustrated, head slightly tilted towards Jim and left hand gesturing apologetically, it reminded me so much of a painting of similar subject matter and I can't, for the life of me, remember where it's from. Knowing Jerem and his sneaky art references, it's probably another epic masterpiece similar to Géricault's "The Raft of the Medusa"
which featured on Page 22
and then again on Page 23
. Oh, those were fun to colour.
So come on then, Jerem, fess up. What was it?