A day like this is a good example of a traditional/digital approach.  The original strip looks like this:

I always planned on repeating the barred window panel, but after I finished my roughs, before I started the finals, I realized I didn’t want to frame shots close/close/wide/wide, and the best switch would be just the two in the middle.  But, I didn’t want to erase and redraft, because frankly, I was happy with the way the roughs looked, and you can never get that back when you start over.  So bam, I switched it, and it was a good move.

The very earliest version of Merunga was digital, all digital, and while I wouldn’t say it was a mess, it was messy.  Being able to zoom in to the Nth degree sounds good, until you spend three hours texturing bricks that no one will see because of screen size and resolution.  The tendency for me, since I detest white space, is to overwork absolutely everything.  Working with real pencils fixes that real fast.  You can’t keep a pencil that sharp that long, and everything gets smudged together in the end anyway.  So hello white space.  And corrections.  All digital leas to endless corrections (for me,) and as the saying goes (if it is a real saying,) the opposite of perfect, is done (or completed, I’m not sure which plays better, I might need to correct it later.)