The start section is one of the parts of the story which I just have an outline, not a specific script of what happens - so I thumbnailed a few different versions. I found that when you actually have to draw it, you have to get very specific in what's happening so it gives me new ideas, and new questions to answer.
Even in just the three initial Thumbnails I tried they were quite varying - my first version was:
MC comes home, slams front door, flops down on bed > phone starts going off with notifications (as soon as she gets home with wifi I guess, she shoves pillow over head, annoyed > gets up angrily to get away from it, but as her hand is on the doorknob > she hears kids laughing outside the window (running past) and past that, a view of the forest > which makes her stop and think 'i should go out and relax, get away from stuff > montage details of her walking > face in wind, looking relaxed "this is nice" > sitting watching view of town from up the hill a bit > slightly later in the day, she's fallen asleep (which would then lead to the next page, her waking up in the magic forest)
Which raised some questions after I looked back over it: would her seeing the kids (as a kind of call to adventure) be read as: her seeing kids, remembering when she was younger and didn't have responsibilities and had friends (as I intended), or would it read as "she wants kids"
As well as: it very much is a voluntary action, her going into the forest to relax intentionally - I'm not sure that's in her character? or as interesting storytelling? If she's so overwhelmed, overworked, annoyed at everything, she might not think so clearly at the beginning here - that's something that would be more appealing if she develops that thoughtfulness over time.
Also, having the phone notifications as the source/vehicle representing all her problems of the overwhelming life, implies that I'm talking about how phones do that. And technology is bad. Which is absolutely not my view. (or at least - it can worsen the problem, sure, but it's a lot more nuanced than that)
Also, if she takes her phone into the forest like I have in my draft of the second section, that doesn't really make sense, why would she take it with her if she's so annoyed by it.
The second version I drew: A short montage of her life, at a lecture in the morning, with a coffee, looking overslept and out of her depth > working in a coffeeshop > eating lunch alone > at a bus stop, having an angry conversation with a parent > Then a wide shot of her, at home, flopped onto her bed > computer in the corner, popping up email/etc notifications> she looks over, ugh > sits up, sees nice view of forest out window, says something about how everything is so much > suddenly the phone rings again, she looks at it annoyed > skip to her slamming the door, hanging up on the phone, and angrily walking across the road towards the forest > then her, stomping through the forest, sarcasticly talking to herself, going over the conversation etc [ the viewport switches to horizontally scrolling ] and then she stops, noticing the forest has changed....
Which has quite a different mood: She stomps out there angrily, it's very much in the 'pre-character development' kind of stage. It also is more specific about all the things in her life that are overwhelming - rather than just having the phone represent that. And more specific about her not having friends, or feeling like she doesn't have friends. I think going straight into the montage isn't so great for the first thing people see - but that's a detail to figure out later.
I'm not 100% sure on the phone call as the catalyst of her angrily stomping out.
The third column is a few different options for various sections.
From the second version:
I had the idea of having the first part as a little zine (not necessarily this small), as something physical to promote it, with the link to the rest of the comic on the back
which would be like a normal little book, but then the last section folds out, similar to how the online version would suddenly go horizontal....