• Add more simultaneous events (focal points, to make the panel the equivalent of a panning shot in cinema)
  
• Add speech balloons
  
• Make the panel long and thin, particularly on the horizontal axis
  
• Force the reader's eye to zig-zag across the panel (not recommended for regular use)
  

• We have a large establishing shot of Kame house. We absorb the house and the tree, then see the crowing rooster - we're meant to linger here.
  
• Then we get a small panel with the ringing alarm clock and another small panel of Roshi stopping the alarm clock - both panels each have just one focal point, and both are read as encapsulating very brief moments in time.
  
• While the panel with Roshi getting up is about as wide as the above alarm clock panels, it reads as lasting longer. Roshi speaks, we see him sitting up and rubbing the sleep out of his eyes, and the lines in his robe ensure we look all the way down to the bottom of the panel before tracking up and seeing Krillin sleeping. Due to the placement of object in this panel, it functions as a panning shot - imagine a film scene where we see Roshi sit up and rub his eyes, then we widen the shot to include Krillin sleeping, all while Roshi continue to rub his eyes. This panel's flow basically has a bounce in its trajectory.
  
• Roshi gets dressed and talks to Krillin, then in the next panel Krillin says something and Roshi answers, also very brief. These two panels are about as wide as the previous one and include more dialog but they each read as brief and snappy because we sweep across them in a linear way without needing to double back. They do, however, read as taking more time than the alarm clock panels because they have dialog and more elements that take the focus (to be honest I think including the dangling alarm clock in the foreground of the last panel was not a great choice because the leg of the alarm clock very nearly is tangent to Krillin's sleeve, so it seems like there's a weird blob there at first because the alarm clock's silhouette doesn't stand out. If I were Toriyama I would have shifted it a bit to the left or not included it at all.
  

• Roshi walks upstairs. Great use of flow pointers as the lines in this shot all point to Roshi as the focal point. Relatively brief.
  
• This panel appears to last some time as our eye sweeps over it in a reverse Z pattern - from Roshi's thought-bubble dialog to Lunch to Goku to Roshi to Roshi's 2nd dialog. You could split this into two panels, one showing the sleeping Lunch and Goku and the other showing Roshi's reaction. This is better though since it tells us where the characters are in relation to each other.
  
• The next panel is perfectly square and has one focal point. Pretty brief.
  
• The panel of Roshi noticing that Lunch has blond hair is pretty brief because we can sweep over it in one pass.
  
• We see Roshi think, then sweat, then think as he continue sweating and contemplating Lunch. This one is fun because we read the first bubble, then look at Roshi, then read the next bubble, then look at Roshi, then we follow Roshis' gaze to Lunch. It's the use of the speech balloons that draw out the "time" in this panel - it works because the end of the dialog in the first balloon takes us to Roshi's head, and the bottom of the dialog in the next balloon also is up close to Roshi's head (unlike the last panel where the last balloon doesn't point us back to Roshi.) This helps us imagine Roshi frozen in that position while he plans his next move.
  
• This panel invites us to linger because it's really akin to a panning shot - we focus on Roshi and then our gaze travels down the handle of the broom, taking in the speech bubbles and characters, landing us on Goku's face getting hit.
  

• The top two panels here are both very brief beats, showing one action happening right after another. Pow, Goku wakes up! Pow, Lunch wakes up!
  
• This next panel is pretty funny. While we can sweep across it in one linear direction, the fact that the panel spans the entire width of the page makes it seem to last a long period of time. Because it's a close up shot, we feel intimately close - awkwardly close. We get the feeling that Goku and Lunch stare at each other (Goku with his hand raised) for some length of time not moving, just sizing each other up.
  
• The panel of Lunch getting up has us start on Lunch's face, travel down her leg to Goku, and then up for Goku's dialog, causing this scene to linger slightly longer than the next panel because we had a bend in the flow. (Notice also that Lunch's head is the main focal point but all the lines point down to Goku's head, from the wall, to the sheets, and yes, Lunch's leg.) The panel of Lunch trying to shoot Goku, while having a similar width, seems faster because we can sweep our eyes across it in a straight line.
  

• Lunch shoots Goku and we see Goku react. This is like a panning shot in that we perceive Lunch as continuing to shoot Goku while we focus on his reaction.
  
• This panel is pretty brief - just one action
  
• The action-line panel of Goku's kick definitely invites us to linger. It's as wide as the entire page and builds a huge level of tension with the speedlines and intensity of the pose.
  
• The panel wherein Goku's kick connects is a brief but satisfying resolution to the tension created in the previous panel. It has a single point of focus.
  
• The last panel has a longer duration than the previous one because we first see Lunch beat up on the floor and then see Goku; we imagine Lunch is still on the floor twitching or whatever while Goku has his dialog.
  

Xibanya fucked around with this message at 19:11 on Apr 23, 2015

Rody One Half fucked around with this message at 01:17 on Apr 23, 2015

Drowning Rabbit fucked around with this message at 04:29 on Apr 23, 2015