The Good, The Bad, and the.... Shakra
05-02-04
D: The main thing that Mary did differently in her version of the story arc, from the one that I was planning to do, is that she used different locations and references, so it can switch from modern day to Old West to the different locales of the next parts. This makes sense, if you think about it, since it’s all a dream sequence, of sorts, so the world would shape around wherever Shakra’s brain took it.

M: And we all know how warped a perspective he has on the world.

D: I like the use of the six-panel grid in this. The regularity of the panels combined with the cutting back and forth between the zombies and Shakra makes for a nice rhythm, almost like the hoofbeat-like opening beats to the Morricone theme song from the movie this strip takes its title from.

M: Love the stock old-west bar. You almost expect to walk around back and see an empty lot, or to have it fall over and see it's only made out of ply-wood.

D: You can almost hear the plinkety-plonk of a badly played bar piano over the first panel, crashing into silence as Shakra appears in the doorway, looking like Clint Eastwood’s non-union Mexican equivalent.

M: I love how Shakra shoots the gay zombie first in his dream, ignoring the cheerleader zombie to his right. Freud would have a field day with that.

D: Anything to add?

M: Oo-ee-oo-ee-oo

D: Wa wa wa

M: Oo-ee-oo-ee-oo

D: Wa wa wa

M: Oo-ee-oo-ee-oo

D: Wa wa wa waaa

M: Oo-ee-oo-ee-oo

D: Waa waa