For those who might be as befuddled as our befuddled passenger, when you tackle this assignment ask yourself ONE question about each panel: will the reader know EXACTLY where I want him to be.
If it's NYC, you need to do something in the art objects, captions, or dialogue to make that clear.
If it's Earth, you need to do something in the art objects, captions, or dialogue to make that clear.
If it's Gerald's bathroom, you need to do something in the art objects, captions, or dialogue to make that clear.
Don't be generic.
Yes, often when we're writing a story generic is fine, because we might already know the story takes place entirely on an alien planet, so you won't have to specify "Gerald's bathroom on an alien planet" every time he needs to go to the head.
But sometimes you'll need to whisk from one location to another, and we're practicing the use of various tools you will HAVE to use so as to not lose your reader-passenger.
So, this exercise is primarily about learning how NOT to lose your reader-passenger. We're doing this, because this is one of the greatest failings I've seen in comics creators.
And that's why all I REALLY care about, and all you SHOULD really care about, for this assignment is: intention and specificity.
So, generic gets a FAIL, specificity gets a PASS, and now you know why, at least for this assignment.
This should be easy, and if it's not, then all the more reason to work through your stumbling blocks. In sequential art terms, this should be no more complicated than writing a typo-free sentence.
So, let's keep this going, and while I've written this a time or two, I plead with somebody to write something that simply does the job.
You already know how to be creative, so now I'm asking you to simply address the saddle of this assignment.
Be simple. Be clear. Be specific.