@Mr. Horrible  
or she’s lying.

@Mr. Horrible  
Also, now that I’ve had an opportunity to actually read the whole comic, I feel it should be pointed out that the next line of dialogue in the very next panel is “Griffon scones still pay the bits.” Which, while grammatically questionable, would imply that the busted down cart is nothing more than a quick visual gag.

@Ridley Wolf  

 
To be perfectly accurate, the episode ended with Gilda being the only non-asshole in a country full of assholes, tasked with teaching non-assholianism to a bunch of people who didn’t want to listen to it in the first place. It ended by acknowledging that it was going to take a long time and a metric fuck-ton of work to start seeing real improvement in Griffonstone.
 
Also she had started by giving away all her scones for free, so it’s not entirely unbelievable that business model didn’t work out for her.

@Lurks-no-More  
Scones.
 
Basically, the cart’s down, but it then pans out a bit to reveal a Scone bakery… and pans further out, showing that the bakery is connected to a Scone-making factory.

@Ridley Wolf  
Well, to be fair to the comic, we don’t know yet how things have been going for Gilda. Her scone business is down, but that just raises the question of what she’s doing instead?

@ShimmeringStallion  
They’re only canon if I need to reference them to win an argument.

@Ridley Wolf  
Oh, right: “Selectively Canon”… Like an option screen of a 32-bit video game.
 
CANON: ON >>OFF

@ShimmeringStallion  
I prefer to think of them as ‘probably-maybe-semi-canon-unless-I-don’t-like-the-story.’

@Ridley Wolf  
Comics are grey area; just ignore ‘em.
 
… Grey area is basically a non-trigger-word way to say “selectively canon based on who wants to call them canon and who doesn’t”; ignorable regardless.

@orbsah  
OH COME ON.
 
See, this is the problem with the comics.  
They take perfectly good characters and storylines from the show and completely screw them up to suit whatever asinine story they’re telling.
 
The show ended with Gilda happy and doing well. A good direction for her character, and a good ending if she never appears again.
 
So what’s the point of completely changing her fate? What purpose does it serve to take away the character’s ‘Good Ending?’

@Ridley Wolf  
Nope:  
 
😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂  
😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂  
😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂

@TheBrianJ  
haha what a shiny pearl of wit and wisdom we have here.
 
Really, the bipedal thing in fosgitt art is so distracting, that´s the only complain here.

@TheBrianJ  
Really? Then I must have imagined the positive comments in this thread. That, or you’re simply wrong.

I’m honestly surprised that so many people complain about bipedal stances in the comic.
 
Wait, no I’m not, Derpibooru hates ALL IDW.

I like the font choice.

@Mr. Horrible  
Sure, no idea how much this was from Georgia Ball’s script compared to Fosgitt’s freedom. Drawing this from 180 degrees around (from behind the porters) would have been better if there were on all fours.
 
But at this point, it’s being overly nitpicky. Fosgitt tends to have more humanized poses which it would be nice if he could work away from, but the rest of his art is a joy to look at.

@Starswirl  
If anything it’d be much easier. just swirly blue auras around horn and object.

@Masem  
Keep in mind that the composition of the page might have necessitated those particular poses, too. This is what you’re describing looks like in the show:
 

 
And while it does look a lot better I’ll admit, it’s also more difficult to see the character in order to carry the joke. With how far in the background the porters are there’s a decent chance it would have just looked like two random piles of luggage sitting around.
 
Either way I don’t really see it as all that much of a problem. Fosgitt’s style lends itself a lot more easily to cartoonish exaggeration, so the occasional bipedal poses feel more natural in this than they would if it were Price or Garbowska.

@soundtea  
Perhaps magic is hard to draw? Rarity is using it very sparingly in this comic, from what I can see.

@MrXemnas1992  
Did you entirely miss my post about how they’re generally used sparingly compared to the entire show?
 
Fosgitt’s problem is that they’re randomly going bipedal a few times per page.

If she had Spike she wouldn’t need a whole crew of porters.

One thing to consider is that the bipedal stances used in the show are all for purposely driving the scene or joke. There is very little other way to animate embarrassed Rarity trying to cover herself.
 
In this page, the joke is that Rarity has tons of luggage. The joke can still be made if the two porters were on all fours, struggling to keep their respective bag piles balanced on their back. The fact that Jay opted to show them bipedal instead is a bit of laziness since it misses the obvious way of keeping the ponies acting like ponies and not as humans, something the show generally takes great strides to overcome. Its a minor fault, since this pairing has so much potential and the rest of the art is good, but de-humanizing the poses is an area Jay seems to need to focus on more. When he does get it right (see RD & Spitfire) it seems to work fine.

@Background Pony #534E  
 
looks taped on to me.

What about electricity?

@armadiloeater  

 
Allow me to provide some more examples~