Page 28, in which someone else can do the paperwork.
About halfway through inking this, I came up with the alternate idea of having the third quote in a separate panel on the bottom of the page, with an exterior shot emphasizing the size of the building that they’d have to go through to find this guy. The page was too far along to make that a good use of time, and it doesn’t look terrible as-is: the buildings in the background probably give some sense of where they are and what going through one of them would entail.
Page 27 of A Haunted Country. A challenge in these kinds of scenes is determining how much to use copied art, and how to include just a little variation between panels to keep it slightly interesting while they have a conversation. In this case I traced over the art from the bottom of Page 26, but didn’t copy it exactly, then copied the tracing for two identical panels on this page and added the little changes in the background in the upper left.
After a couple days’ delay, for which I will not apologize as this is not a webcomic, here’s Page 26 of A Haunted Country; the Chuckie mural was only the first bizarre and morbid thing I saw that night.
Hopefully FLIR is either a reasonably well-known acronym [Forward Looking Infra-Red], or it’s apparent from context that it’s a night-vision driving aid.
Page 25! We’re back to illustrated MRAP interiors again. Hopefully the “SONY” label is enough to indicate that the driver is gesturing to the other side of a video screen. If not, the next panel will show it.