>...might be that takes away any tension there could be though.
Well... it kind of depends. When the camera is pulled back, it can add a sense of alienation because it firmly establishes how isolated the character feels. It can also make a character appear modest, meek, or ashamed: a lone character in a big empty space looks[/i[ tiny, mirroring how the character [i]feels tiny.
The camera shot can do other things too. Close in shots add intensity to emotions, whether they're happy, sad, or angry. A more subtle use is to pull in close when a character is considering something... contemplation isn't a very dramatic facial expression, but pulling can establish that whatever is being considered is a very weighty matter indeed.
This is one of my favourite concepts to play with: the camera as a character. If you can think about how a person would behave in a situation, . Low and high angle shots are the literal version of metaphorically "looking down on" or "looking up to" someone, and have the same emotional impact.
The camera doesn't have to be an actual character in the scene or anything. it's just that the camera can convey many of the same things that character behaviour does. So, for example, a shot of Strap as he's being embarrassed: the distant camera makes Strap look pathetic, but the camera isn't actually the viewpoint of any other characters in the scene. It's not showing how Glyph or Velvet is looking at Strap, it's showing the humiliation that Strap is feeling.
There's a number of panels where this works to your benefit, especially in shots of Strap as he's being humiliated by Glyph, then later when Strap is feeling guilty for giving Glyph a dressing down. The thing is, isolation or modesty won't always be the appropriate impression for the situation.
Generally, when I need to frame a shot, I'll draw a thumbnail version and sketch in panel borders after. Only takes a minute or so, and lets me visualize things. I also helps if I start with a horizontal or vertical division, and keep all the dialog on one side, and make sure to fill the other side comfortably with visuals (My composition isn't as good as I would like, tho).
I'm rambling tho... back to the sketchbook for me.