Simply artistically amazing, how he changes "and that one's a coon" to "and there's a tycoon," a pretty obsolete word that tells us we're supposed to weep a little tear for "the 1%" who totally go to rock concerts to stand around in general admission. (Yet he has no problem using the slur in "the queens and the coons and the Reds and the Jews," which remains unchanged a little later.)
Absolutely clever, how he has a trial spectator shout, "Hey, Judge! Shit on him!" which now makes no sense. Without the "law is an ass" cartoon from the movie, because Dave can't resist drawing all of his self-inserts at once instead (Drip is now Dave's mother, in a very Mr. Garrison way, I assume), the "urge to defecate" thing isn't underlined and is just flailing around in space.
And of course, having the Dave-as-cartoonist self-insert naked from the beginning takes absolutely all of the punch out of "exposed before your peers." He's been exposed, and in fact raped in a previous chapter. By himself, so it's not like he should suffer the contempt he saves for actual rape victims everywhere else in his entire body of work! But he's merely sentenced to get MOAR NEKKID.
I think we're supposed to see clever irony in the uses of the word "human" for all these Tiny Toons. It's even emphasized by font in the prosecutor's speech bubble (and I mean, don't get me wrong, I'm grateful he didn't hand-letter this shit except for the bricks). But in the hands of maestro Dave, it just becomes a "wut" moment. He didn't even drag poor old Kane onstage.
I never thought this was Floyd's greatest album, marred as it is by Roger Waters' self-pity. But even that doesn't deserve this drip's self-pity piled on top of it along with all these unfair bricks of unfairness, including one prominently visible above Dave's head in the final panels that says "rapist." If the shoe fits, hairball.
