Seriously it’s the boots. I am in love with the refined details of the footprint as they appear prominently but perspectively appropriately. The darker inking even give the impression of depth on the sole. This attention to detail is well appreciated and it the same reason why the bullet casings look so realistic as they fly out from the gun. The pencilling and inking are so delicately done that they bring out details from Frank’s outfit such as his vest and trousers but also his hair and facial features. Gerads shows the immense distress he is under whilst trying to focus on his target. It is a balance well struck and the lack of background means the sense of falling has to come from the art itself. Theoretically he may have been pushed to the ground as we view it from that level, but the I imagine his hair would be less windswept. The title of the comic serves as a perspective finder too. The glass breaking is lovely touch as it crake sporadically but also has subtle reflective colouring. The whole piece is an interesting conceptual image of a man falling, having been ejected from a building on high. The fall is depicted by his posture and expression, but the only clue we have are the glass pieces. It is almost has an ethereal feel to it as he falls into the blank white background. I can almost imagine some dramatic music as this plays out in slow motion, something akin to a scene from a James Bond movie. I am quite pleased with Gerads deconstructive approach to this cover as it really makes the book stand out so impressively.
House Of Flying Scalpels 