and here’s why:
color scheme: panels are largely done in monochromatics with accent colors carried over from previous pages, heightening the continuity of the piece. warm and cool palettes tell parallel stories, separate time frames, and denote locations.
line style: my envy and adoration of artists who imply and control shape without closing lines continues. more so, Sorese does away entirely with outline as he sees fit, letting the contrast in color define his characters. dry brushes and variation in line weight make textures in the ruffles of a tuxedo shirt, cloudy sky, or patchy dune seem deceptively simple.
text: the prominent placement of sizable, chunky lettering and its incorporation into/use in separating frames assures that it is viewed as inseparable from the imagery. the placement of the text leads the reader’s eye as much as any line.
layout: Sorese uses interplay of objects from different scenes to delineate frames more often than closing them off, choosing the latter only to control the pace by breaking up the seamless transition from one image to the next. he can edit his images in a way that, by my own hand, would make me cringe, but come off as intentional and cinematic in their place.
and this is before considering that we’re talking about a well-written, insightful piece revolving around a subject that is usually simplified down to morally right or wrong. self-aware and charming, each page is a painting, the storytelling is perfectly balanced between image and written word…in the best way possible, this comic reads like a picture book for adult-sized kids.