Ff/Iron Man: Big in Japan 2 page 11

A couple of things about this page and this whole sequence:
1. One of the fans of this book who wrote to me said that this part of the story was what sold the series for him. He was so taken with the goofy sweetness of this monster (Droom) that he actually shed tears a few pages later when Droom is killed by the army artillery.
2. Seth never used rough, painterly lines, even for non-visual things like the lines at the lower left that show Iron Man's surprise and the direction of his attention. He used outlines of squared-off spaces to indicate direction lines. As this book progresses, we will see more and more of this sort of thing. Seth's way of handling even the most surrealistic visions has more of the deliberate, technical, electronics manual-sort of look than of the William Blake-style vague or ethereal look. He was a consummate artist, but he was what I always think of as a left-brain artist. All his work is thoroughly thought-out and physical, linear, and orderly, as becomes the mathematics major that he was.
3. In the top panel as Droom chews on a train, the sound is "Mogu mogu". That is the Japanese onomatopoeia for chewing noises.
4. In the lower right panel, Droom offers the astonished Iron Man a "sandwich" made from building panels for bread, filled with an oil tanker car from the train, with an "olive" on top made from the finial of a nearby building. Pure Seth.