One of the Reckless Life chase sequences you hear so much about.
Issue 1, page 18
The first three panels on this page kinda suck but this page layout is among my favorite in all of Reckless Life. The inset bomb panels are cool and the diagonal gutters of the elevator shaft jump do a good job of reinforcing the action of a pretty well rendered panel. I love Locke's joker grin there. We're well into a much cartoon-ier version of Reckless Life at this point. At least in the art.
Issue 1, page 19
I'm not wild about the blurred smoke effects here in panel one. I tried to keep RL pretty graphic and avoided photoshop trickery but I was regularly breaking my own rules at this point. This just happens to be a less than successful attempt to do something different.
Once we get past the security guards (who are apparently wearing mittens?) the rest of this action sequence is pretty cool. I can see 2005 Tim starting to introduce some brush effects into the speedlines and I can dig it. The bullets ricocheting off the gutter of the panel is cool too.
Issue 1, page 20
Some more nice abstract backgrounds happening here though it would not have killed 2005 Tim to draw different running silhouette pose for Locke in panel 2 instead of just coping and reversing the one from panel 1.
The lack of outlines on Daniels are cool in panel 4 produces a cool effect especially given that Locke is mostly in shadow. Those Sin City influences are really starting to come through here.
You may also note that Daniels is clearly driving a super boring sedan. This is an idea I lifted from a crime book I love called Springer's Gambit. It makes a ton of sense that someone not wanting a lot of attention would not drive a flashy car. This doesn't really make a ton of sense when you consider he also wears a white suit but whatever I like his look.
Locke wonders what the hold up is... perhaps it will further the plot!
NEXT TIME: The twist!