10-08-2019, 10:02 PM
Thanks for leaving feedback back on my SB!
For the husky the low vantage point was a good idea, but since it's a silhouette maybe adding some tiny trees or other composition aid would get the point across better. The freeze one I don't get very well, is it like a microscopic view of a frozen slice of something? I just don't know what a tardigradus is, so I lack context. I comment this because when you are trying to communicate an idea, if you make it very obscure, or needs specialized context, it can be tricky for people to understand and so it can make them not pay attention, on the other hand maybe that is exactly what you want, to only very few to connect with it. Like a close friend joke.
From the small storytelling strip, I agree they feel monotonous, but you are aware of it. I'm personally not too fond of such paneling for that kind of interaction. I could see it working well if you do high density shots, with detailed environments and long exposition, like a street filled with people, busy, showcasing intricate interactions or complex situations , but for close ups and back and forth dialogue feels overbearing.
Nonetheless, from the initial 3, you could get rid of the "Again?" one, put that bubble on the top one as an out of focus comment. Then use that last 3rd one for a different view, maybe showing what I'm guessing is happening, that character turns into a horse? Like show a bit of how it happens.
You could also merge the last 2 of the second page into a big large one, showing her riding and both talking inside the panel to one another. that way you break a bit the 3 panel pacing.
Also, have you read "Scott McCloud, Understanding Comic: the invisible art" by any chance? Someone recommended it to me a few months ago and it really blew my mind on how I was looking at comic books, things I had never understood like how abstracting a character can make it more relatable to a reader, well, that was just enlightening. If you haven't maybe there's a few things in there that can be helpful.
Aside, if you want to storytell, or do storyboards, you don't necessarily need huge skills, so long is understandable you can make them, just try to put the right info on each panel, important details or design choices.
Let's keep it up!
For the husky the low vantage point was a good idea, but since it's a silhouette maybe adding some tiny trees or other composition aid would get the point across better. The freeze one I don't get very well, is it like a microscopic view of a frozen slice of something? I just don't know what a tardigradus is, so I lack context. I comment this because when you are trying to communicate an idea, if you make it very obscure, or needs specialized context, it can be tricky for people to understand and so it can make them not pay attention, on the other hand maybe that is exactly what you want, to only very few to connect with it. Like a close friend joke.
From the small storytelling strip, I agree they feel monotonous, but you are aware of it. I'm personally not too fond of such paneling for that kind of interaction. I could see it working well if you do high density shots, with detailed environments and long exposition, like a street filled with people, busy, showcasing intricate interactions or complex situations , but for close ups and back and forth dialogue feels overbearing.
Nonetheless, from the initial 3, you could get rid of the "Again?" one, put that bubble on the top one as an out of focus comment. Then use that last 3rd one for a different view, maybe showing what I'm guessing is happening, that character turns into a horse? Like show a bit of how it happens.
You could also merge the last 2 of the second page into a big large one, showing her riding and both talking inside the panel to one another. that way you break a bit the 3 panel pacing.
Also, have you read "Scott McCloud, Understanding Comic: the invisible art" by any chance? Someone recommended it to me a few months ago and it really blew my mind on how I was looking at comic books, things I had never understood like how abstracting a character can make it more relatable to a reader, well, that was just enlightening. If you haven't maybe there's a few things in there that can be helpful.
Aside, if you want to storytell, or do storyboards, you don't necessarily need huge skills, so long is understandable you can make them, just try to put the right info on each panel, important details or design choices.
Let's keep it up!