do you still think about it, page 13

this. page. required. SO MANY references. the buildings and cityscape needed to look like boston -- the back bay area, specifically. they're very quaint and gentrified-looking.
at the same time, i was NOT that skilled at drawing when i wrote drop-out, yet i drew the general area of their apartment on page 6, right at the beginning. the buildings largely consisted of cubes, working against most of the aesthetics of higher-income areas of boston. the only buildings i could find that really resembled the drawings on page 6 were public housing buildings, which would not make sense for sugar.
they live in the same apartment, so the building had to look RELATIVELY similar to how it was drawn before. i did ultimately add some extra details, but tried to stay within reason -- no changes to the window shapes or the amount of storeys, for example.

for sugar's car, i thought that there should be some changes visually, but the wheels are not so detailed in the sketch, so it isn't obvious those are different, and i ended up just forgetting the suggestion to draw a different bumper. i might fix that when finalizing the page.
the car is undoubtedly steeped in association with the canyon for sugar, and it is for the audience as well. i wanted the shot opening on her in the car to definitely be viewing her from the "blue side" to build on these associations. because the last few pages have focused a lot on the anticipated absence of lola, i also included the empty seat in the foreground of this shot.
i also just really liked the visual of sugar being trapped in the canyon, as the canyon has largely been trapped inside other objects.

boy, what a nightmare page when it came to details, though.
i like to imagine that she saves like 20 minutes in her schedule JUST to agonize in the car before leaving, too.