I got that Date had no idea who the girl was, that wasn't the confusing bit and it got revealed pretty well throughout their interactions. It's her relationship with the others, are they friends? Co-workers? Shadowy government agency they're all under the unwilling control of? I have no idea, they just seem like random people with no clear relation, who meet in an ill-defined location every day to talk about planes. Stuff like that made me feel lost from the start, and the first thing that actually did make sense was Date not knowing who the long-haired girl was. I felt more on solid ground at that point.
I certainly intend to improve myself, drawing comics is interesting 'cause it's most likely you'll end up drawing things that you don't normally draw in a standby drawing, though in this one i didn't really draw the most creative panels I did have a lot of fun drawing the arcade stuff, since it was the closest to an action scene this ever got to
If you want to improve, I've got loads of advice if you're willing. First thing I'd do is grab yourself a copy of Figure Drawing For All Its Worth by Andrew Loomis. It may seem dated, which is understandable given it was written in 1943. But it's easy to find dozens of pros who swear by it. There's seriously tonnes of great info in it, and his manikin concept is a fantastic way to work out poses.
Second thing is to get yourself a good anatomy book. Constructive Anatomy by George Bridgeman or Atlas of Human Anatomy For the Artist by Stephen Rogers Peck. Both are pretty easy/cheap to get, and both have lots of good simplifaction of anatomy for artistic purposes (i.e., you don't need to know every muscle in the wrist works, but you need to know how they work as a unit, etc.). if you go the Bridgeman route, a good companion volume (and cheap as well) is The Human Figure by David K. Rubins.
For perspective, there are loads of good resources, but I like Perspective Made Easy by Ernest Norling, which is easily available and quite cheap.
Beyond that, find a place where you can do life drawing. Drawing real things and people is best by far for several reasons, but if you're really stuck for human models then a site like Pixelovely is an okay stopgap measure. Don't bother with Posemaniacs, by the way. The poses are okay, but the anatomy is very misleading.
Now at this point you're probably wondering why I'm recommending all this realistic stuff when you just wanna draw comics in your style. But the purpose of all this is to give you structure and a foundation to work from. Too many artists start from the style end, and honestly that's bass ackwards. It's like starting to build a house by putting paint and curtains on an empty lot, it just ends up as a mess. The best comic artists and animators know their anatomy and structure, and it'll help you too. Plus, it gets pretty fun to do and means you can vary your style in the end however you like.
But by all means keep drawing even thought you haven't learned all that stuff. Drawing no matter what is definitely key.
Oh, and while I'm at it a couple of resources for comic storytelling. You can't go wrong with Comics and Sequential Art by Will Eisner, and of course Scott McCloud's Understanding Comics and Making Comics. But you might also get some value out of a book on movie storytelling The Five C's of Cinematography by Joseph V. Mascelli since many of the concepts carry over.
Even if you don't take any of that on board, I'll be interested in seeing where you go with it.
last edited at Jun 3, 2015 11:37PM