I find that the classic nine-panel grid works well in contemporary comics for conversational sequences. Warren Ellis does a particularly effective job of employing it in his excellent FELL series from Image Comics. Of course, Stan Lee used to squeeze entire issues worth of content into a single nine-panel grid back in the day, but decompression in comics is a topic for another day.
With this page in particular, I plotted it so that it could be read linearly from the upper left panel through the lower right panel, in addition to vertically across the three columns. So, if you visually look at any of the columns, you get a three-panel sequence that depicts an aspect of the conversation (Sarah's reaction, the toast between Sarah and Joshua, and Joshua's reaction). I felt this added a bit more movement to the page, and Brent captured it just as intended.
The script itself is purposely playful and is intended to portray one of Joshua's previously mentioned superficial facades. As the bond between Joshua and Sarah develops later in the story, the facade peals away and the dialogue becomes more genuine to reflect it.
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