Panel one could have been more breathtaking, I admit. It's about as breathtaking as I can get it - two different shots comped together (railing and backdrop) plus the usual scrubbing and 1997ing. It's not 100% accurate for perspective, but it looks better than the railing shot and matches up with panel three fairly reasonably.
The challenge of this part of the scene isn't the usual fiddling with the Make Art Button - it's removing the UPMC logo from the USX and sticking the old Mellon logo on the Mellon building, while keeping the results reasonably consistent. As I'm going strictly with shots I've taken myself over the years, this cramps my options a tad. Fortunately, the scene workable with the assets on hand.
Minor changes to layouts, particularly in panels two and three. Two was revised from whatever the hell the script thumbnail is supposed to represent in order to provide a transitional shot. The revised panel three layout turns an unnecessary closeup into a necessary visual indicator.
I haven't drawn the "river guardian" since October of 2005, for what ultimately turned out to be whitehouse -12-. That's some seriously long term foreshadowing, production wise. In a couple of pages I can check a single-book Chekhov's gun off of my storytelling to-do list.
The best part? The chapter three relevance of a chapter one irrelevance is also the foundation of the entire Book Three plot. While DCR is deeply relevant to the Overplot, it starts to connecting to The Dualist here.
Verily, I'm playing the long game.