Okay, so here's the problem. Sometimes, comic book creators feel the need to use more than one panel for a simple action. That's logical, right? I mean, here, Reed Richards gets angry then pulls a gun out to shoot down an evil version of his father (it's a long story. Well, not really.) So it SHOULD be two panels, right? One for him to reach back and grab the gun, and one for him to fire the gun. After all, if a writer writes "Reed grabs the gun off his shoulder, yelling 'Ben! No!,' firing at his evil-dad," then you would visualize it as at least two separate actions, right? Can you picture it as a movie? You might have a long shot, then cut to a medium shot.
But may I remind you that comics should NOT be storyboards. There are different techniques to visualize actions within a storyboard. All the above I just mentioned would be ONE panel on a storyboard, with visual notation in that same panel, over the drawings if necessary, if the camera panned or tilted or something to dramatize the action. In a comic book, instead, it's all or nothing-- meaning, it's all one panel or it's multiple.
And you know what? I'm really just mentioning that part for the sake of argument. Maybe the image above really :does: need two panels to convey the scene.
But even if that were true, what STILL doesn't work here is the positioning of Reed's hands. How did he reach for the gun behind his back, grab it with his right hand, then bring the gun around over his shoulder to grip the trigger with his left hand and REPLACE his right hand to hold the barrel? All in the time it takes to shout "NO!" If the decision to have two panels here still represents ONE split-second action, then this complex arrangement of hand-jivin' means this part of the Fantastic Four #582 ... Doesn't Work.
(Also, that foot and those tiles aren't exactly meshing well together, but that's a whole 'nother rant about perspective and line weights.)
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