We cannot read your mind to see what you just read and tell you what character was just introduced.
Dragon has no lines, but there are many other background characters that have no lines too!
Perpendicular lines are a possibility. This will only happen if the intersecting lines are exactly 90 degrees from each other.
Watch your favorite movies and pick a character. Have somebody else right down the other people's in the scence's lines and have them practice with you.
The first character to speak in a panel varies depending on the context of the comic or graphic novel. It could be the protagonist, a narrator, an antagonist, or any other character introduced at the beginning of the story.
Every actor has his or her own method for internalizing the lines in a play. This is called "the process" and it is not the same for everyone, although the result is the same. The end result is that you will say the words in the script in a way that will make the audience think that you are the character, and those words are the most natural and inevitable way of expressing what is going on with that character. You need to study what the lines mean, and how they relate to the lines being said by the other actors. It is as important for you to know the other actors' lines as it is to know your own, because you may be called upon to recover in the event that they make a mistake. You also have to know your cues, to see when you are to speak. You need at some point to know the lines, to know what the actual words in the script are. For some, they do this first thing, for others it comes later. Some learn best by reading them over and over, some by saying them, some by writing them out. You need to understand why your character is saying these lines. For this, some will build a character sketch, or discuss with the director and other actors what their character is like. Others will try to get themselves into the heads of the character they are playing, using the Stanislavsky method. You need to understand the subtext of the lines, what the character really intends by them. Also, you need to integrate your lines with the movements you will be making. For some people, the easiest way to remember a line is to remember what you are doing while saying it. Finally, a lot of this comes out in rehearsal. Do not skimp on rehearsal time because it is in rehearsal that your lines come out in their full context, as responses to the other actors' lines, said from the reality of your character, together with the physical aspect of that character.
Falstaff, who appears in three plays (the two parts of Henry IV and The Merry Wives of Windsor) has more lines than any other Shakespearean character, with 471. Hamlet has the most in a single play (probably because when you conflate the two versions of the play it is way longer than any other play)
They must be introduced somehow, spend a bit of time together, and learn something about each other.
They happen along the fault lines that separate or crash into each other. The planet is made of Tectonic plates that are constantly moving, and that's why earthquakes happen
Rudolph Reisenweber, a character in the musical "Hello, Dolly!", has a relatively minor role with only a few lines. Specifically, he typically has about 10 lines throughout the show. His character serves to support the main storyline and interact with other characters, contributing to the overall atmosphere and humor of the production.
After a bill is introduced in either the House or the Senate, the bill is assigned a number.
a character having problems with the city or world or whatever you are using or something influencial
They introduced the silk road to other civilizations by trading.