The cadence picks up on page 18, with six equal sized panels contrasted with page 17’s three. The increased tempo conveys an increased tension that continues into page 19, to be broken by the horizontal panel of the two antagonists, Burovnik and the Archon, shaking hands. This is followed by three small panels that serve as a rapid coda of an ironic nature.
I use musical terminology in my descriptions quite consciously. Comics are compared to movies these days but is seems like they have as much to do with music (not that there isn't a great similarity and allegiance between cinema and music). One strives to create rhythm and flow within individual panels, the page as a whole, series of pages and the entire story.
I also want to comment on my inking, especially on page 19. Damn I was getting good, in my opinion. I lost those chops soon after “Mark in America” wrapped, which causes me great sadness. Hopefully I will get them back someday.
These are pages 18 and 19 for "The Mark" issue 3, volume 2, otherwise known as "The Mark In America", published by Dark Horse Comics in February 1994. Written by Mike Barr, Drawn by Brad Rader.