![]() ![]() ![]() She’s cracked something with Mamo’s character development arc. It also just could be because Mamo takes place in a tranquil, patient setting-even when there’s danger, it’s slow-moving (or gives the appearance of slow-moving because moths aren’t fast until you’re trying to save one from a cat)-but I think it’s Milledge. Or maybe the artists never manage to pull it off because there’s a history of how reaction shots work in comics, and Milledge eschews it for something different. It’s filmic in a way comics, even talking head comics, rarely attempt. Milledge’s other pacing devices are expert, but this particular one seems singular. At least for her character’s “performances.” Throughout the issue (and never concurrently), protagonists Orla and Jo have these reaction shots where Milledge has just paced it so perfectly their emotions come alive. With each issue of Mamo, I consider starting by saying there’s no one like creator Sas Milledge in terms of visual pacing. ![]()
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