part-time pirate, full-time complainer

1. Understanding the character(s), the context, and how the two work together

This is what I think is the most fundamental part of storytelling! I mean, makes sense, right? Obviously you don't need a PhD in The Character to make stories based off them. I literally cannot tell you every detail about my favorite characters despite loving them very much, but I think understanding them and their relationships on a big-picture level is primordial. What drives them, what are their principles, what are their biggest fears, who do they make exceptions for, etc. Also, to me, understanding their relationships is sometimes more important than understanding the character at a molecular level. We can tell so much about someone just from the way they interact with specific people vs how they interact with strangers. The person I am online isn't the same I am with friends nor even with family-- like one of the reasons some characters can feel one-dimensional is because they don't show variation in their character throughout their relationships (and since you mentioned Kaveh and Alhaitham, I don't need to tell you the way both of them interact with each other is far removed from the way they interact with friends, strangers, etc... I think a lot of people forget who they are outside of their relationship, which a huge point of contention behind mischaracterization in fan works). I don't have much to say about this other than this is something I keep in mind every step of the way through.

2. Laying down a foundation

This is what the majority of my comics look like on second draft:

I said second because the first drafts usually look like this, which are barely comprehensible to anyone but myself:

The purpose of these are not only to give me a better guide for posing than whatever i did on the first draft (storyboard), but also have a first pass at motion and emotion. The expressions and gestures are legible enough that you can probably glean the emotions of each character based off the little sketches. Ultimately, some of the things I'll draft will end up adjusted, changed, expanded on or even removed.

This particular panel of Reigen is a favorite of mine, because the first pass already shows his confusion, but the final one is even more distorted because it felt like it needed to be even more accentuated.

This panel where he mansplains is also a good example, because the first pass gave him too much of an arrogant/uninterested look (notable with his upturned face), whereas Reigen is more likely to take pride in explaining something he knows to make himself look like a wise and mature figure (notable with his slight smirk and downturned face, as if nodding to himself; the hand is also slightly more forward as if inviting rather than dismissing). And since I basically made an example of it above: body language is super important! This applies for everyone. It doesn't stop at characters who make grand gestures and exaggerated poses every waking moment of their life, but also characters who are socially awkward, private, reclusive...

The posing here is intentionally stiff but not entirely closed off, giving the sense that he's earnest, tries his best to make connections , but also doesn't want to take too much space, thinking the smallest wrong move could cause trouble. Also, give room for the body to do its thing. Avoid cropping out things that shouldn't be cropped out. Leave enough room between the edges of the panel and the point of focus to emphasize what you want to emphasize. Close-up shots shouldn't be too frequent (in fact, personally I don't like doing close-up shots but it doesn't mean they're bad or shouldn't be done, again, my word isn't gospel!), especially if what you're conveying isn't too emotionally charged. Lastly, I have terrible news for people who hate drawing hands. Hands are possibly the second most expressive part of our body (if we don't count the body as a whole), so especially for your charismatic characters, you will very often want to use hands as a tool of expression.

(Think how much emotion and personality would be lost if the hands weren't there!)

3. Not letting dialogue be the main driving force behind storytelling

With my comics, I play an incredibly dangerous game called "I'll think of dialogue as I make the storyboard and then when I'm done drawing every page I'll write the dialogue over it guided solely by memory and whatever I drew". Don't do this. Have a script in hand or write it at the same time as you draft your storyboard. The reason I do this is because I'm lazy and I don't want to open a simple writing software to type down a script. Genuinely I have no other reasons. Anyway, the only advantage this gives to my comics is that they will generally be able to stand on their own without much dialogue; obviously dialogue is essential, but what I mean is that we don't need it to have a pretty accurate read on the room.

For example, if I remove all the dialogue from this page, you probably can't guess exactly what's being discussed. However, you can identify through their emotions alone that there is disbelief, bargaining, and finally a pretty devastating info was dropped. Alternatively, cutting down dialogue from your page and leaving room to expressions/body language alone can be entirely more beneficial than having any dialogue to begin with.

AKA Readers aren't stupid (some may be, but the majority can extrapolate just fine). You'll realize how much you don't need words and how your stories can be even more funny/impactful by pushing forward visual storytelling.

4. Paneling conveys emotion too, actually

Being a "good" artist isn't enough to make good comics. The way you panel things is extremely important, because it sets the tone, mood, pace, you name it. Some of the best works out there are the ones with the most care put into the flow of the comic. You need to understand how people will read it, and it starts with what order you deliver the information and how. This is paneling 101, but a page with irregularly shaped panels, multiple changing camera angles and such will be exponentially more dynamic than a page where each panel is the same size, have similar compositions and/or repetitions with little to no diagonal or curved lines of action.

The two examples above are WIPs from 2 different stories so unfortunately you'll have to make do with the rough sketches. That being said, you don't need to know the context of either pages to know the kind of emotion that should be felt through the paneling alone. Give time for the important emotions to be processed by the reader (unless it's intentionally fast-paced). Every emotion that needs to be emphasized should have its own panel.

In this example, I could easily have condensed these two panels into one by transferring the dialogue from the second into the first and jumping on to the next action. However, it would undeniably give much less impact to Kaveh's disbelief. On an inverse situation, sometimes you will want to condense two panels you made into one, because whatever those two panels are doing are perhaps not important enough to deserve separate panels! Lastly, you can notice that the space on the page is not always filled. Leaving space between each panel and/or between the edges of the page gives room for the reader to breathe and slows down the flow; and inversely, if you want to make the situation more frantic, make everything look more tight and constricted.

5. Not showing facial expressions sometimes conveys more emotion than doing so

This ties nicely to the point I made about body language. You don't need to see a character's face to know what they're going through, necessarily. Sometimes, their posture or their dialogue is enough. In my opinion, a story is more compelling when this equilibrium of facial expressions / body language / paneling / dialogue is correctly adjusted-- you will not need to have all the elements to convey the message or it could be a little overbearing. I don't have many examples for this one because they tend to be more relevant in dramatic scenarios, which I haven't done that many of.

(The first one is once again from a WIP)

And that's about it for my insane guide on comic-ing. I hope ANY of it made sense.

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Here's a round up of extra tips, focused entirely on the drawing part which might be more of what you asked to begin with :'D

- That little line/wrinkle that adds so much character

Yall know what I'm talking about. In my opinion, too many artists are afraid of giving laugh lines/wrinkles because it makes their characters look older, except when it's to add those sexy sexy eyebags. I'm encouraging everyone to add them to their art little by little and see how much it can improve the expressiveness! Obviously, I don't use it everywhere, but it's a very effective way to make your expressions feel even more... well. expressive.

- Line of action

You've probably seen this picture going around before, from Preston Blair:

Although it's called line of action which implies action, this line is important even when the character isn't really in action.

You can gain a lot in expressiveness when you think of the body as one whole fluid instead of a sum of multiple disjointed parts. This is why drawing a very rough base comprised of only lines and circles can help figure out if the posing works before you start refining it.

On a different note, animation principles work very much in comics as well! I recommend looking up animation guides especially those that show how to make key poses.

- Shadows and/or color fill

This is one I will use quite often for different situations.

Shadows can immediately set a tone when they're used dramatically. For example, a shadow over a character's face can convey unease and/or evil intent.

On the other hand, I will use color fills for different purposes:

Differentiating ground layers

This can help with readability.

2. Conveying a certain mood

It can separate the character from the color of their background to give a sense of isolation, reflection, realization, being disconnected from their surroundings, etc...

- Don't be scared of using codes / tropes / archetypes

...As long as it benefits the narrative, of course. By codes / tropes / archetypes, I mean posing or expressions or visual effects that are universally understood and used for specific expressions. The semicircle sweatdrops and blush made with slashes are incredibly typical of manga/anime, but it doesn't mean they're bad! Visual effects are there to help remove the ambiguity of an expression considering a single expression without visual codes could convey multiple emotions!

- Find what inspires you and take notes!!!

In my case, what greatly shaped my art style to what it currently is: One Piece, the Ace Attorney series and Mob Psycho 100 (yes, I only watched the latter last year but it still managed to become a source of improvement/inspiration for my art even at my current level, because you'll never stop improving :) )