Round 1: Wilfredo Torres

[mightyfineline]

Page One
http://farm3.static.flickr.com/2314/1574477138_7e6ef8f88b.jpg (http://farm3.static.flickr.com/2255/1574477170_1a5d02e99a_o.jpg)

Page Two
http://farm3.static.flickr.com/2131/1574477148_bca52cfe39.jpg (http://farm3.static.flickr.com/2106/1574477180_ccea996271_o.jpg)

Page Three
http://farm3.static.flickr.com/2138/1574477164_ff65f1eb81.jpg (http://farm3.static.flickr.com/2211/1573601079_98cb0e9b87_o.jpg)

Cheers!

[Ryall_IDW]

Page One
I’m a bit of a car guy, so the first thing that caught my eye here was the fact that the lines on the car don’t really work. The angles of the hood and the appearance of the rear wheel being set in deeper than the front wheels threw me off a bit. Certainly not a big detail, as far as the story goes, but these kinds of details are important to keep in mind, especially in the first panel of a story. You want to really grab the reader at the start. In panel two, there’s a distinct lack of depth and perspective to the scene. And panels three and four are also a bit dodgy in places (not least of which is the missing digit on her hand in panel three). Panel four needs some sort of separation from panel three, and needs to be larger and feel more weighty than it does. As it is, it took me a minute to realize that the plane of the door wasn’t wrong, that this was actually a fourth panel on the page.

Page Two
The blast feels more like a concussion burst, not really an explosion that would kill the guy. And the perspective of his body in the air feels off. As does the oddly stiff and inconsistent posing she has in panel two.

Page Three
The askew panels seem mostly designed just because, not because they add anything to the composition of the pages. Pardon what sounds like a pun but isn’t, but her hair could use a bit more body to it in the first few panels, too. I do like her pose in panel four, that’s an effective use of her arms to block out the nudity.

[Vince Hernandez]

PAGE ONE:
Panel 1: The opening shot is nice but a little bland. i don't mind the T-Bird being featured so prominently in the foreground. Like Chris stated above, the perspective does seem off on the car. Your surrounding landscape could use some more detail, especially around the coastline. I don't like the cross-hatching down the slope.

Panel 2:There's no depth in this panel and your line weights don't vary enough to help you in this aspect as well.

Panel 3: You blended panels 3, 4, and 5 in avery confusing manner and as an editor I'd have you go back and try again with these three. The Commanche looks good but there's no indication of where it's headed or it's target.

Panel 4:This is a good rendition of Aspen and you followed the script nicely; very similar to what I had in mind. At first glance I thought she was missing a finger but I believe what you were going for is a pointing action by her. Still, I'd bring the thumb out more. It looks to me like this was photo-referenced. If so, be careful to tweak the art to work logistically with body parts. If not, the hand positioning gives the illusion of no thumb.

Panel 5: This is too small and lacks suspense. This also goes hand-in-hand with aforementioned background and landscape details I mentioned.

PAGE TWO:
Panel 1:It was good to see the explosion drawn as directed. Chance's body is stiff. The perspective flowing from his midsection down needs work. With an explosion like this, you should've differentiated your line weights more to add to the effect of him coming at us. Dramatic foreground elements being the most bold and impactful.

Panel 2: Aspen's body is stiff and I don't like the choice of debris here. Those three pieces of wood wouldn't logically pin down a person. Her anatomy around her thighs and rear end are off considerably and much larger than her assets should be. Also to me, the door size doesn't match the opening (not a major issue).

Panel 3:Her water form looks okay but her eyes look alien. The point of action for this panel is not served by this close-up angle of her face. We don't get the action of her transforming through the debris.

PAGE THREE:
Panel 1: I like both postures here although Chance looks pretty swollen, too muscular. Nice position of the arms to cover the nudity. This could've been better served by a more standard panel structure but I don't mid so much as the lines bring the eye down to Chance's lifeless body.

Panel 2: I like. Although, your Aspen is getting a little too muscular for my tastes. She has a Wonder Woman-type figure here. She looks less angry then surprised here. But all-in-all I dig this panel.

Panel 3: I don't like this panel. The shape of it leads the eye right off the page and the textures on her hand lack any kind of direction. Her hand is too masculine.

Panel 4: I like what you did with her flowing hair and the powers to accentuate the action this panel. Again, she looks too masculine around her cheekbones. I would've preferred a more forceful facial expression on her as well.

[jameslucasoni]

I really like your style—it kind of reminds me of Phil Hester and that's a very good thing. Most of my issues on your pages are going to be storytelling related, so let’s get down to it!

Page 1 – I love the opening shot. I think it conveys everything it needs to with style and grace. The second panel has some issues, though. Why is Chance’s back to the camera? This is a big blocking no-no. If you’re going to have the central character in shot with his or her back to the “camera” you better have a darn good reason, and here, I’m just not seeing the logic. Panel 3 seems to give too much away without bringing the focus to the house and while I like that you’re trying to get creative with layout, I think it’s a tad overambitious in this instance—the final three panels of the page don’t have clear enough breaks between them. Panel 5’s deviance from the script doesn’t add to the drama or the action of the sequence and really falls short of what I think you could have done with it.

Page 2 – An incredibly solid effort on this page. I’m loving the feeling of movement in panel 1 and the last pair of panels do everything I want them to. It’s a dynamic page and a strong example of your work.

Page 3 – The anatomy and figure positioning on this page doesn’t seem as dynamic as it could be. I think Aspen looks a little too ripped in the second panel and I think her hand in panel three needs to look a lot more feminine. And almost all of the panels here feel like they could be more dramatic with some slightly different camera angles.

I know it may seem like I had a lot of nitpicks about your pages but that’s just because there’s so much right about them that the little things become that much more apparent. I think you have serious chops and am anxious to see what you do in the future!