Pérez first creates a series of horizontal panels of Titans racing to the site of that bomb in their different ways: Joe Wilson in his circa-1988 car, Donna Troy gliding, Gar Logan flying as a hawk, Starfire blasting through the sky, and Vic Stone in the Titans jet. Each panel is slightly longer, extending further into the negative space above the jet, suggesting progress—but slow progress. Will they be on time?
At the bottom of the page is a series of six vertical images of the character Raven visiting her mother, an unusually untroubled moment for her. Like a movie director, Pérez pulls back from a close-up of Raven looking happy through a window into the house, and then moves forward into another close-up of her emblem, which also serves as her Titans radio. We realize that Raven, who could teleport instantly to the scene of the bomb, has not gotten the message.
Travis Lanham’s digital lettering of the alarm sound breaks horizontally across the bottom panels, growing bigger and darker. That line of letters reflects the horizontal, left-to-right movement of the Titans above. It’s impossible to resist turning that page to see what comes next.