Another dramatic camera angle gives this paneled page the impact of a splash, IMO. You can't see it in the scan, but in the lower left panel, Risso decided to reposition Mr. Rego to the right and erase the lampshade he'd included in the scene, leaving the background stark white between Rego and Mr. Hughes.

One of my favorite Risso pages, Loop takes out three of Rego's goons in front of the buiding seen in the previous scan's establishing shot. As often as I looked at the printed version of this page in anticipation of the original arriving, I didn't notice the reflection of Loop's arm in the windshield of the car in the first panel until I hung a photocopy of the original on my office wall. If you can't tell--I've got a thing for Risso's aerial views.

Another splashy paneled page. Design-wise, I love the way Risso put Loop and the Asian assasin babe in the pool table's circle of light and positioned Rego so he's illuminated against a black background that blends with the pool table, while the table Rego is leaning over is also round, playing off the circle of light motif.

The camera movement on this page is really interesting. We start off looking at Loop with a drink being poured in the foregroud, then see the action from the other side of the room with a cue ball in the foreground, then look dead-on past the gun barrel, switch to an over the shoulder view, then between the legs, and back out to see Loop, and finish with Rego. Light and dark backgrounds alternate in another brilliantly composed page.