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So, in Act 12: DAEMONSEED, the opening introduces Roger& #39;s distaste for Heaven& #39;s Day, for whatever reason, and that distaste propagates itself as irritation and curt dialog, something Dorothy rightfully acknowledges as Roger "being mad about something."
To deflate and end the conversation before it really begins, Roger just says the reasonable statement "[my feeling this way] comes from emotions you wouldn& #39;t understand."
And while a reasonably true statement and something not necessarily to deride, the animation direction for the otherwise placid and dour Dorothy shows a decidedly hurt face, Like someone who was just told "you& #39;re still not fooling anybody."
The scene follows to the elevator where Dorothy hesitates coming aboard and Roger, having at least forgotten about her construction, asks her to join. Upon sounding the load alarm, she turns and walks away--likely embarrassed.
Every scene where they& #39;re on frame together after that, the visual direction makes it a point to show a sizeable gap between them. I thought this was a great touch to show some amount of temporary emotional distance between them that came from these two previous interactions
This isn& #39;t, golly, like some dang ol& #39; John Carpenter visual direction or anything, but I just thought it was nice to see purposefully crafted visual direction to show without saying; it& #39;s always nice, this small stuff.
It shows a certain level of attention to detail and crafting the flow of a scene, not just making a scene portray the actions
