I’m not thrilled with the radial explosion-y bit in the second panel. I free-hand drew that before I thought about adding some radial speed lines in Photoshop with my (then) new custom speed line brushes. I do kind of like the free-hand speed lines in the hand/arm in the first panel, though. I’ve always been fascinated by the different ways artists have tried to represent/capture motion in static mediums, whether it’s in “fine” art, like Duschamp’s Nude Descending a Staircase, or in the comic book realm. I focused on that topic a little bit in one of my senior figure drawing classes, drawing the same model on the same paper continuously as I moved around him/her. It was a big departure for me, having been mostly a realism/photorealism snob for my whole life until that point. More recently, I’ve been paying more attention to the way various artists accomplish that difficult task in the field of comics (since that’s kinda what I want to do with my life, in part). I’ve always been subconsciously subjected to it, but I’m trying to devote more conscious study to it. In particular, I really like the energy that many manga artists convey, and while working on IPMDT I’ve been trying to channel the artists working on Vinland Saga in particular (I’ve written about that series before, and I belive I posted a picture of the following…). In the first book, there’s a beautiful sequence where one of the characters delivers a devastating upper cut to another, and I have attempted to deconstruct the technique. I believe the artist drew the contours and basic details of the figure, then “blurred” those lines by adding a ton of directional speedlines. So far, my basic attempts seem to produce a similar result, with this first panel being one of my earlier cracks at it.