>>104150205It's basically not flipping the "camera" for no reason. Even if you do shot, reverse shot for dialog, if Character A is on the Right, you keep him on the right in the reverse shot. That way the reader's sense of space isn't turned around for no reason, and flow of action is easy to maintain.
Let's look at OP's pic again
>>104141011 Woods (cowboy hat) is on the left, then he strikes guy who's name I forgot, and is on the right. Then Woods is back on the left, and magically stays on the left despite obviously being thrown over the other guy's back.
Now let's look at this action scene here, from when Mockingbird is confronting the cowboy that raped her during a time travel story (WCA was a weird book). Phantom Rider is on the left, he is leading the action, he is in control. You read left to right, you feel the looming presence of Phantom Rider as he comes at Mockingbird, and that feeling peaks when he's got her pinned. And then we break the rule, but for a reason, Mockingbird turns the tide, she takes control. The sudden shift in perspective is purposefully jarring for the reader, that's why it's often done only in the last panel of a page or at a dramatic moment.
You'd probably get a much better feel by just flipping panel 2 of the OP pic, because Woods is purely in control until he's flipped. Switching cameras every panel means there is no flow, no focus at all, so nothing is dramatic.
