Thursday, August 6, 2009


Again, sorry folks, but this wonderful critique is being told in segments (blame Blogger! well, okay, don't, but still there's only so much you can put in a post).

We return to our expert artist Karen J Lloyd, who is providing this insightful crit. Take it away, Karen!


  • The first panel could be a continuation from the last scene. Janitor walks in, diagonal pan UP to his face. Takes off the props, pulls off the mask as you have done.
  • NOTE: Watch out for adjusting the sizes of your characters within panels of the same scene. You kind of shrunk him in the fourth panel to accommodate the pose. Don’t do that. Either start wide enough to fit it in or you need some camera adjustment. If nothing has changed, the character size MUST stay consistent throughout a scene.
  • Dump the scene in panel six and just continue the previous scene with Scapula tossing the mask and walking OUT. Don’t need this scene.


  • Make panel two your first panel. He left the previous scene, so he can be anywhere now. So show that wide shot of him at the control panel. We see where the guard is…all is good. We know where we are.
  • NOW put your first panel second. He approached the control panel, now we SEE what he’s doing in this shot. Great.
  • Now on to panel three as is. You could repeat what the screens look like in new panel one, then that they are turning off here. Keep panel four as is.
  • Lower horizon line in panel five for this to work better.
  • Panel six – bag issue. Where did it come from? Where was it before? Don’t let the audience have this question in their heads. A quick close shot of him picking it up by the door between panel four and five could help. Like he had it waiting outside for him. Don’t leave unanswered questions like this floating around because you don’t want to deal with it. You have to.
To see more of Karen's work and advice, visit her site at We'll post the rest of her review in a few days.

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