Death and Taxis

It's a lot of fun drawing various facial expressions for characters. Kali has a very expressive face, especially due to all the stress-lines she's getting around the eyepatch. It's very different from, say, Halifax, who tends to do a lot of expression with his eyes and relatively little with his mouth, or Shakra, who had no mouth and had to convey every single emotion with only the power of his eyebrows. Like Roger Moore. Kali gets to use her whole face, minus one eye, which means you can go from panels where she's yelling, as in panel one, to panels where she's worried or scared, like panels three and four.
Mention must also go to the Mad Russians (and, for no apparent reason, Phil Collins) at the bar, who took a really long time to draw. They're made up of five or six different images all put together, and it really came together a lot better than I expected. Even if it does look like the bar is the size of a broom closet and only serves one type of drink.
Taxis are also very hard to draw. It's not necessarily something you ever notice unless you try to draw one, but English taxis have no straight lines on them. Everything is curved. Even the roof seems to curve instead of just being a flat metal sheet overhead. I wouldn't be surprised if the axles were bent like bananas as well.