By far the most well-known OP installment of all time, this one went semi-viral and drew a lot of new people to the series. It's one of those dozen moments in 1000+ where a strip means something to people out of context - which is not to say that I meant it to. Again - not to be that bitch - context is everything to me, I just don't create things with a stand-alone meaning in mind. I'm not an illustrator or a lyrical poet - my heart just isn't in it. I learned long ago my work will never reach the masses. I like to build structures that are open but imposing.
Mike Holmes did a good half of the pencils in this sequence - you can probably tell pretty easily which panels are his. They have an incredible depth of space and imagination. Mike and I were living together, and about 2 months out from our wedding. I got it in my head halfway through this story that this scene needed to be made; Mike agreed it needed to be made, and that he would help. It's magic when your person believes in your work, and you believe in theirs, and following what Mike encourages has yet to fail me. Valerie's colors speak for themselves; the variety of palettes drawing the eye from one room to the next gets me every time. The alternating club colors are such an exhilarating detail.
What was I trying to say that made the story so important? This was essentially a goodbye to something, within the chapter but beyond that, too. Jane moves through the energy of youth, the FOMO, the building of dreams, the making-things-happen shit, the TONIGHT'S THE NIGHT shit, all of it a worthless backdrop, an obstacle to her privacy, of which she has little. (Only once, at the ghost of entanglements past, she looks back.) She's searching for love, for validation that love is even a real thing for her, and there's nothing in her life to anchor that belief. She has renounced this church of worship at the glimpse of a new light, faint as it may be. Beyond the energy and chaos of youth, there is more.