Your storyboard is very clean! I'm seeing a reminiscent of Ghibli Studio here, and that is a fantastic reference when it comes to character-centric journeys (on a more personal level).
The silhouettes are very clear - their emotion and expression (via body language) are readable at a glance, and their facial expressions convey so much even in their subtlety (and so much about the character is revealed through it, it makes us care about them already)! The way you lead one scene to another is also very well done, enabling us audience to catch onto the story without the need of dialogue (and this is usually hard to achieve). The placement of angles are appropriate where they should be - directing us to what the emphasis on that particular shot is.
The animatics are also paced very nicely - the timing allows us to fill in the gaps of their actions and enough for anticipation/suspense.
If there is any constructive criticism can be given here, there are only two:1) Be mindful of crossing the lines
For example: Character is on the left side of the screen on the first panel, but then switches to the right side of the screen in the next panel. While their overall layout is maintained, it could disorient viewers as their eyes are still stuck on the left side of the screen (due to persistence of vision); therefore, it would be advisable to place the characters in the same general position as the last. But if you really need to switch the camera position, you can break the shots by placing a neutral shot in between, like frontal/rear shot or the character's POV. Another way to fix it is by camera motion or disruption (be it event or cut away to another scene).
further example of crossing the line (based on their positions on the screen):SHOT 01:
Alex > Marie > DarlaSHOT 02:
Darla > Alex > Marie
This could be applied on props as well.2) Employ camera motion
Camera motions like TRUCK IN, PAN, and such could further enhance the intention of the scenes. For example:SHOT 01:
Wide Shot. A character is in the middle of crossing a bridge (we TRUCK BACK with him to show the scenery pass by him), but he suddenly stops when he notices something glimmering in the water. He leans over the rail to curiously squint at it.SHOT 02:
We cut to his POV, Close Up. The glimmer is insistent, SLOW TRUCK IN to the glimmer on the surface of the water (to create a sense of mystery and to draw the audience into the significance of it)SHOT 03:
Cut to Close Up of his face. He narrows his eyes as he becomes very intrigued. Continue SLOW TRUCK IN (for suspense). Suddenly, his companion calls out from off screen, making him jump up in confusion (sudden ZOOM OUT/TRUCK OUT to Medium Shot as we have been rudely pulled out of it). He turns his head to the source of the voice (PAN to the side of the screen to reveal where his companion is while keeping the character within the frame). He frowns at his approaching companion before he turns his head back to the side of the bridge. His eyes widen in surprise.SHOT 04:
Character's POV. The glimmer under the water is gone, and he only sees the reflection of himself and his approaching companion on the surface of the water.
Forgive me if I'm using a lot of cinematographic terms or jargons, but I hope this would help you improve your works
believe me, you do have a knack for it.
Can't wait to see more of this, even if they will be continued in comic form!