Each detail is so expressively-imagined and contributes so much to the characterizations, from the borders to their facial expressions to the insouciance of Tom's hand in his pocket (the cigarette is a nice touch, too, as are the locks of hair falling over his forehead in the final panel). You manage to make Merope understandable: she seems rather matronly, preoccupied, anxious. You can just tell she's used to being disregarded, with no one seeing past her surface until now. But the serpent is in the garden, of course, as you so poignantly show.