It will be coloured, but I thought I'd post it now as it looks to me to be a fairly perfect page of comic art. Obviously, I put this all down to the script :)
The plane is based on a real one (WW2 buffs might recognise the make and model? Let us know if you do) and I did specify it in the script. However what I did not do is look too closely into how the plane was laid out internally, I just made some assumptions based on how I expected it to be. Eg basically like a smaller Boeing 747.
Of course, as all graduate management trainees know only too well, to assume makes an ass out of u and me. So when Steve was researching it he noticed that some of my directions were slightly, not to put to fine a point on it, impossible. He's corrected them all and that's meant some changes to some of the panels, like frame 2 on this page for instance.
I bring this up because I think it's a great example of how story-telling responsibilities in comics are divided between writer and artist. Even in the British method, where each panel is specified by the writer, the artist should have the creative freedom to be fairly liberal about he interprets these. As a writer this has never worried me at all because you would expect the artist to have a better grasp of how things work visually.
