Sword of God: The Edge, p. 9

Art: Michela Da Sacco

Art: Michela Da Sacco


About Ron Edwards

Game author, publisher, consultant, teacher

Posted on September 20, 2016, in Adept Comics, Sword of God and tagged . Bookmark the permalink. 5 Comments.

  1. YES! This comic gets better with every page.

    I like the “special effect” of his “energy waves” or whatever. In black and white it looks as if his hand, or *something*,had gone all the way to the target and back. It annoyed or confused me before but not I love it. It looks really cool and something that can only exist in comics drawing/narrative.

    It’s like he had a whip out something. Like that gesture kids make when throwing each other water at the pool or sea. He shoots backhanded,not pointing.


    • *now I love it

      Not “not”. Cellphone mistype


    • I’m glad you like the series. For my part it’s exciting to see this excitement first for myself, then to the artist, and now toward readers. Michela really liked the script but was still getting used to it for most of this story; good as it is , her work on the second story is world-class.

      Please feel free to share it via whatever social media you use. Signal is very important right now.

      You’re right about the power – his hand motions are naturalistic with no detachment or strange effects on his literal limbs; the energy whips or arcs out directly as a function of the kinetic motion. He uses a backhand on page 1 and a forehand on this page, and I suppose could conceivably “snap-lash” his hand straight forward too.

      The more precise the movement and the flatter his hand, the more range and effectiveness the strike gains, but also more lethality (paralleling the edge-of-hand, edge-of-blade). In this situation, without using the edge, he’d have had to risk complete lack of control over the impact on both the kid and the agent, including killing them outright or simply missing them. He’s desperately trying to nail the gun only, but prioritizing not slicing the kid in half. Since it’s based on pure hand-and-eye coordination at a range of about thirty feet (10 m), and since the energy itself (whatever it is) has a momentum of its own, he knows the risk he’s taking.

      (When you see Topaz and the Bandit use their powers with a little more visual completeness, you’ll see the same kinetic/energetic relationship. She could not, for instance, have simply zapped the vault door; she had to hit it physically. I apparently like this concept for some reason. He used his powers very effectively in the first story, but it’s intended to fool the reader’s eye just as it did hers.)


  2. Thanks a lot!
    Will be thinking about how to share it, maybe round up the few friends I got who are both into superhero comics + English language.


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