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However, I think this was also made clearer through their use of values and panel pacing.
Both of these factors are essential when it comes to visual storytelling, with pacing being something that can very subtly harm comics if not done correctly.
Yuko Ota has a great art style, one I have admired for a long time, and she brings many of her unique designs and ability to capture expressions and movement into this graphic novel.
But when she agrees to go on a date with the slightly dorky and quiet Walter in exchange for free showers at the gym, will her luck begin to turn?
What about the rumors of middle schoolers causing trouble, does that have anything to do with the sounds she’s hearing outside her shed door?
All of these probably wouldn’t have had the impact they did if its pages and panels were planned differently.
Aside from all the technical details, what makes Lucky Penny a great graphic novel is its story.
Hirsch and Ota’s level of experience shows in these areas.