Revision Process:

After the midway checkpoint with my advisor and additional department directors I was determined to be on track, with few revisions to be made. The principal of which was to pen all hand-drawn pencil panels, rescan them and replace them into the final pages. The goal being to thicken the lines and create a less washed out appearance. Initially I had thought I wanted my panels to be light, sketchy, erratic. In practice this looked poorly put together and did not reflect the hours of tedious work I had put into the project. In this revision process the lines were given more density, giving the over page a more professional and cohesive feel:

Where previously pages included scans of this quality:

The former makes for a much crisper image. I decided, instead, to convey the frantic-ness, the slips of sanity by my protagonist, through my font. Initially I had elected to use Comic Life's default font, something very thin which resembled Arial. The finished product using something more sketchy, a thicker lined font. The final feel then is a sort of disconnect between what is being seen (through image) and what is being said (through text). This may seem to be paradoxical, a sort of breach of the fourth wall, but it is absolutely intentional. The tone of a postmodernist text (which I take inspiration from in this project) is one of distrust; I intend for my audience to feel uneasy, wary of my authorial voice, to be cognisant of the work as a fiction, as unreal. 

I am able to achieve this through careful planning. I can use a sharper image and simultaneously make my readership feel Simon's anxiety pulsing from the page.