Unless they're so bad that your boxes barely even look like boxes, keep going. It's normal to not have great lines by the time you get to the box challenge.
Personally I've gotten much more out of DaB since switching to paid critique. I went up to lesson 4 on my own before getting fed up with how rare it is to get a community critique, especially past lesson 2. The critiques are very in depth with what I did right and what I need to work on, and I feel more trusting of them since they came from an experienced artist.
If you can't afford it or plan on doing DaB casually then I wouldn't say it's worthwhile, but if you can afford it and you plan on getting as much out of the course as you can then I recommend trying it. You can take a look at homework on this site submitted for official critique to get an idea of what the critiques are like.
Unless you were gone for a really long time, it should be enough to just revisit some of the exercises as a refresher and then continue where you left off.
You're probably drawing the front corner (the Y shape) the same at the start of all your boxes. Play around with the angles between the lines to vary the boxes.
It's best to do the overall form of the body before you start going into details such as the face. After the cranium, ribcage and pelvis I draw the torso sausage next, then the neck, and then do the limbs and tail (assuming there is one). After that I touch on the face and other details.
The demos show you how to go about it and what order Uncomfortable draws in, so if you haven't worked through those yet they should give you the answer you need.
The amount of foreshortening the box has is dependent on the angles between each set of converging lines. Bigger angles give less foreshortening, smaller angles give more. Try to make the angles between each converging line a bit bigger to make the foreshortening more shallow.
My shoulder got sore easily at the start too. It's happening because you use those muscles so rarely that they're out of shape. Over time you'll build endurance in them and be able to go for longer.
It might be a good idea to take short breaks in your drawing sessions just to make sure you don't strain them too much.
Go to the lesson page, on the left side of the page you'll see a bar that includes links to each part of the lesson, they're underneath the "Submit Homework for Review" button.
In lessons 3 and 4 you can include demos as part of your lesson submission, they just have to make up less than half of your drawings. So in lesson 3 you can include up to 3 demos and the other 5 are ones you did on your own.
If you want the extra practice though, you can exclude the demos all together and draw 8 of your own plants instead.
They do, each pair of lines that makes up a plane converges towards a vanishing point. The reason why the lesson never talks about it is because it's the exact same concept as with boxes, just with less lines, so there's not much point in a "planes in perspective" exercise.
While I have a massive library of non-instructional art books I've collected over the years, there's only a handful that are actually important to me. This is one of them - so much so that I jammed my copy into my overstuffed backpack when flying back from my parents' house just so I could have it at my apartment. My back's been sore for a week.
The reason I hold this book in such high esteem is because of how it puts the relatively new field of game art into perspective, showing how concept art really just started off as crude sketches intended to communicate ideas to storytellers, designers and 3D modelers. How all of this focus on beautiful illustrations is really secondary to the core of a concept artist's job. A real eye-opener.
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