First rule, don’t make the cliff look like a cake shop. Show the rock in a raw, uneven way, dust and all. The jump itself should feel like a decision, not a chore. Put the character’s face in a close‑up right before they leap – eyes wide, sweat, a split second of that “this is it” stare. Then split the action into three panels: the push off, the mid‑air hang, and the splash. Use a tilted frame for the mid‑air panel to make it look like the world’s tilting too. Add a line of wind, a few splashes, maybe a distant gull to give it a sense of depth. For the splash panel, keep the focus on the water’s chaos – splash arcs, ripples, the character’s splash back. Use motion lines sparingly; too many lines and you lose the punch. And remember, the sound “whoosh” can be drawn with a single, clean line that cuts through the panel. That’s how you keep it thrilling but still believable.

Glad you’re on board—just drop those sketches, and I’ll give you the one‑liner tweaks that’ll make that cliff look like a no‑go zone. Bring ’em over!

Nice first pass—dust cloud in panel one already screams “I’m not in a bakery.” For panel two, maybe let a single stray hair fall off the head; that small detail says, “I’m about to make a mess.” And for the splash, keep that one whoosh line, but add a tiny splash arc just above it to make the sound line feel like a wave. That’s all, keep it tight!