Panel 2: While I quite enjoy this page’s fight choreography, note the slight discrepancy between panels 2 and 3, in that Emp-disguised Ninjette has her right leg hooking the chair in panel 2 while her left leg does the chair-flinging in panel 3. Not quite sure how this got away from me, alas. Can’t win ’em all, folks!

Panel 3: Note that 2006-Era Me combined an extreme panel tilt—or “Dutch angle,” as some prefer to call it—with a vertically oriented panel to drive some high-energy top-to-bottom movement. I do certainly adore using “tilted camera” shots, though not just for action scenes—I often employ slight, usually clockwise tilts even in conversation scenes. Note that this also helps prevent a problem common to artists whose panel art always uses a strictly perpendicular  vertical axis: the interior line of a wall or window that can be mistaken for a panel gutter at a quick glance. Below is an example of what I mean, from the immensely helpful Schweizer guide to spotting tangents in comic art:

See that slightly confusing interior line, near Hiding Guy's elbow? But for those few lines of hatching along the edge of the wall, that could potentially be perceived as a gutter between panels. Shweizer cannily recommends having the character’s elbow cross the line of the wall, to clarify matters:

My own love of slight camera tilts is another way to avoid such potential confusion, as the slightly skewed vertical axis of a tilted panel makes its interior wall or window lines unlikely to be mistaken for a panel gutter. That, and I just plain like camera tilts, for no reason I can entirely explain. TILT!

-Adam Warren