I thought the throughline about pranks a good way to tie the story together. I thought the “come to a head” line inspired. Loved the image of Britt looking stupid after the nunchaku reveal. Kato is a great straight man here.
I didn’t really understand how the Hornet went from being on his back in what felt like the middle of an altercation to being at the window with the kids now being accomplices. Unfortunately, I have exactly zero experience with the Green Hornet, having neither seen the movie nor read any of the comics, so I am assuming that maybe this interaction represents a strong break from character? I’ll give you the benefit of the doubt, but it wasn’t clear to me that they were just roughousing, since that explanation makes the most sense to me.
The story seemed to progress kind of slowly for me, as though a lot of the panels might be combined. For instance, Pages 7 and 8 could probably be combined pretty easily. Might this be due to a lot of experience writing for the screen? The focus moving from character to character panel by panel reads like a shooting script to me. Additionally, there are a couple of dynamic actions indicated, like “Rolling down the window, he flips them the bird” and “Kato turns the BB around the corner and parks out front…” which, as an artist, would give me a hard time showing within the panels as indicated. Seems like rolling down the window is one drawing/panel and flipping the bird another? Maybe it’s just me having trouble visualising the way it should be depicted.
I really liked the way Kato and Britt interacted, it read very organically. I thought as a short, comedic piece it worked pretty well and wish that I had a deeper understanding of the source material by which to compare/contrast.