The Main Site: thelostlandcomic.com Sites still in the works, but will improve along with me. Look out for the 'Terms' section for all the need-to-know info as well as some fun stuff.
OK crit time: This is a wonderful page but this is also where there's a major problem. ^^b The main character's introduction is a bit weak here in panel connection. When I first read it, I have no clue where the main character comes from, I have to read it the second time to see "OH! At panel 2 there's this little black image that looks like a human that's VERY close to another black shadow shape of the building. That's the main character's first silhouette introduction!"
For a comic/manga, you want it to be more obvious than that. You used this technique several times and it's not working that well because the transition jumps too much. From a small silhouette to a crop of a face is not a good transition, similar details must be provided in a transitional drawing between panels.
You need to indicate more strongly on the character that's coming up on the next panel, and he really needs to be presented in the third panel ALSO for the forth panel's crop to work, you can't suddenly remove him from the shot and leave only two irrelevant soldier talking, he is the star of the show, the more important guy, the camera needs to keep him in the picture. Don't overplay the mysteriousness of the show.
This is a wonderful page but this is also where there's a major problem. ^^b
The main character's introduction is a bit weak here in panel connection. When I first read it, I have no clue where the main character comes from, I have to read it the second time to see "OH! At panel 2 there's this little black image that looks like a human that's VERY close to another black shadow shape of the building. That's the main character's first silhouette introduction!"
For a comic/manga, you want it to be more obvious than that. You used this technique several times and it's not working that well because the transition jumps too much. From a small silhouette to a crop of a face is not a good transition, similar details must be provided in a transitional drawing between panels.
You need to indicate more strongly on the character that's coming up on the next panel, and he really needs to be presented in the third panel ALSO for the forth panel's crop to work, you can't suddenly remove him from the shot and leave only two irrelevant soldier talking, he is the star of the show, the more important guy, the camera needs to keep him in the picture. Don't overplay the mysteriousness of the show.
And nice use of tones