Page 3. I really enjoyed this page. A lot of research went into the background of the huts, the vegetables amd the people. I love the texture that Annette used on the third panel for the sacks. The way she coloured the detonators in panel one is great too. I decided to pull right back on panel 2 and play a bit of "Where's Wally". My idea is that Dallas is pretty sneaky so he should be hard to spot.
Curlymarie made a really good point. I talk about performance when I evaluate a character on the page or the stage or on the screen. A lot of the time comic artists are given direction in terms of dialogue, but rarely in terms of reactions to dialogue. It is at this point that the artist goes in and decides how that other character is feeling and expresses that in a way that is consistent with their next action or line of dialogue. For example, take panel 3. Here's a close up (and a picture I wanted to show off cos I spent a lot of time on it):
The script actually reads:
3 - Austin sits crouched down hidden by wooden crates holding a detonator. Behind him, oblivious to his presence, a man and woman stand talking-- smiling and laughing. They hold baskets of food in their hands. Austin looks at his watch.
I wanted to communicate a greater sense of conflict in Austin's eyes and presence. While Dallas has bullied him into this, I felt that it's not a total coercion. Instead of having him go all "Rambo "on us, I wanted him looking at us, asking us, "Am I doing the right thing?"
I felt that this expression foreshadows what happens next. When Austin tries to stop Dallas, we shouldn't be too surprised as we should see it in his eyes here.
This to me, is a character's performance. The little details that I like to add that round out the story. Just because a character isn't saying anything or being mentioned in the script doesn't mean that they're not reacting to what's going on in a way that is consistent with their character at the given moment.
Another interesting aspect to performance is dialogue. As an actor delivers dialogue, consider their range of expressions they use to communicate the emotion. As a comic book artist I have to consider that line of dialogue and find the one single expression that is consistent, emotive and communicates what's being said. As an aside I also like to have their mouth open so they look like they're speaking too. It's not easy.
Again, this is why I like to work with models. A good model will bring a level of performance to the role that creates a greater level of depth in the character. For this project I tended to model all of it myself. I was constrained by time. I have two friends that would have made a great models for Austin and Dallas (Lee and Alex - hi, guys... maybe next time), but time just didn't permit.