Chas:I don't know if you could go so far as call it "art science" but I appretiate the complement. I read Eisner's book almost from when it was published. I was seriously into collecting back then. And of course he was one of my early influences, much to the annoyance of my fine art teachers. I wouldn't say I'm always trying in HCK to be fluent on every page, though. Rather, I hope there is a reasonable "solution"; a pattern deduced by the viewer's eye after it is danced all over the page by the individual images juxtaposing. Ex.: Page 11 dialog is intentionally hard to direct to a specific actor (unless you really really look) because it enabled me to make a pun about the entire scene (not that anyone "got" the joke :( such is life). I like Veitch's work and am familiar with it. HCK's breakout came with me wanting to give up panels altogether and then erasing portions of my, hard rendered, images. Believe it or not, the destruction phase is one of my favorite times. And I'm pretty sure I got carried away more than once. I wonder, has anyone done a graphic story, using "standard" panel layout, where story "A" was being run within the panels while story "B" (unrelated?)is running in the negative space around the panels?