If the above Gilliam-inspired cover didn't give it away, this issue based upon Monty Python material. In this case, the "Me Doctor" sketch, featuring a similar premise to the "Who's on First?" bit and the subject of silly miscommunication, a common Python staple. In fact, I was going to do many webcomics throughout 2019 based on Monty Python stuff, in celebration of the group's 50th anniversary, but with my new graphic design internship taking most of my time, that doesn't seem likely now.
I didn't know how to end this issue. I thought Helen should've bitch-slapped (before anyone in the comments says so, yes, even I saw what I did there) Alyson at the end and Elaine should've run over Alyson's feet with her wheelchair. I ended up dropping it for two reasons: one, I wasn't sure how to express that in drawn form (like how soon would Alyson react in pain after being run over or how would her feet react upon the wheels initially running her over--I wouldn't know since I've never had my feet run over by a person in wheelchair, accidentally or not); and two, I feel we've seen Helen's vicious side pretty strongly in the previous issue and I didn't want her to always have to resort to violence, otherwise it would make it look like that was her one way of being evil and want to show her more manipulative side in a future issue, feeling it would be more suitable for her type of character.
So, I just had it finish with Elaine and Helen annoyed with the clueless Alyson. To paraphrase Mike Nelson from the Crossroads RiffTrax, "Don't have a way to conclude your webcomic issue? Just end them."
The lockers featured here are purple because they're inspired by my high school lockers at BCIT Medford, where due to the fluorescent lighting, the lockers were actually blue, but appeared purple. It was very hard to draw the lockers. I drew one on a separate layer in the original Photoshop file, behind the inked characters and speech balloons, copied and pasted the one and duplicated the merged locker file into the other panels. To avoid seeing the same background throughout the issue, I put gradients in the backgrounds of most of the panels--to make the comic more visually interesting, to emphasize the emotions of the characters, and mainly to avoid using the same copy of the locker layer until the end.