Saturday, January 21, 2017

Page Turn - Alley - P. A. Nolte

1/ Overhead, a shadowy figure moves from rooftop to rooftop. In the alley below, a terrified hoodlum watches in, uh, terror.

2/ The hoodlum has ducked around the corner and flattened himself against the wall.  There's a bronze plaque above his head that reads "Park Row.  1823.  Historic Preservation Society of Gotham" and has seen better days, much like the alley it marks.

3/ In the background, the hoodlum peers around the corner.  In the foreground, Batman is placing two roses on the cold, grimy cement.

4/ The hoodlum has flattened himself against the wall again. This time with a more confused look on his face.

Hood: What's with the...?

5/ Then it dawns on him.  Maybe a little glint of light off the plaque for everyone reading who's only just now catching on.

Hood: Oh.

Hood: Oh!

6/ A devious grin spreads across the hoodlum's face.

Hood: Bruce Wayne is--

Friday, January 20, 2017

Page Turn-"Terminal"-David Press

A wide shot of a man sitting at the airport. Take it from behind his head looking out at the tarmac and various commercial air line buses waiting for passengers. His head is bowed, looking at a phone.
He's looking down at his iPhone screen. It's an Instagram feed. Show a photo of a plate of food or something. 
THE MAN stares up at the television screen just over his shoulder. It's red and blue with intense graphics displaying News Alert. A salivating ANCHOR stares out at the MAN and the empty terminal. 
We bring you urgent news today to say that the President-Elect has been shot
A SECRET SERVICE AGENT is standing over the shoulder of the MAN who is now being identified as MITCHELL WARREN, ESQ.--he's an entertainment lawyer. 
Mr. Mitchell Warren? 
Please come with me. 


Tuesday, January 17, 2017

Page Turns – RVNP: Adventures on Crichton Island – MK Stangeland Jr.

(Another piece featuring my ‘ROBOT VIKING NINJA PIRATES’ concept. This takes place after they’ve discovered they’ve acquired ‘robot scurvy’ – that is, they’ve started rusting. A trip has been taken to an island to try to acquire citrus fruit in order to make a cleaning solution to fix the problem. The trip has not exactly gone smoothly.)

(3 Panels)

Panel 1: The landing team is rushing along a path, with E-DRONES carrying baskets of CITRUS FRUIT. CAPTAIN ODIN is signaling for the robots to keep moving.

ODIN (1): Let’s MOVE, people!

ODIN (2): That thing is close, and I don’t expect it to take it’s sweet time…

Panel 2: Large panel as a female ARACHNOSAURUS REX bursts through the treeline with a roar.



Panel 3: Close up on ODIN as he looks towards the A-REX and begins to draw the swords on his back.

ODIN (1): (Downplayed) …getting here.

ODIN (2): Ah, (‘Censored’ symbols.)


Monday, January 16, 2017

Page Turn - Every Journey - Grant McLaughlin

I may be on something of a theme at the moment.

1 - Interior of a shed that's been converted into a sculptor studio space. However, we're focused on one of its windows, looking out - the day is overcast and rainy, drops hitting the window. We can also see some of the windowsill and interior wall. Little work has gone into making this place habitable - it's all exposed and worn wood, rusted nails, and the like.


2 - Close-up on a well used and worn work table. There are various sculpting tools - hammers, chisels, calipers, etc - spread across it, but we're at a distance where we can't see the whole table surface.


3 - Closer still, looking at one of the hammers. Its handle was painted, but the colour has mostly worn away from the middle due to prolonged use. It's partially covered by a shadow - Serena's (the sculptor) hand above it.


4 - Focused on a block of marble sitting atop a pedestal. It's untouched, rife with possibility. Like previous panels, frame at a distance so that we can't see the entire block.


5 - Close-up of Serena's hand holding a chisel up to the marble block (we can't see the block, or really the end of the chisel, just the handle and part of the metal portion). Have part of the mallet hovering above the chisel, ready to impact down.

SERENA (off-panel): Here we go.

Sunday, January 15, 2017

Page Turn - A Villainous Plot Begins - Perry Kent

For this one I decided to do the page that would precede my page from last week. This is a Batman Beyond story.

Panel 1
Exterior, night, futuristic Gotham city museum. The museum doors are hanging wide open and a red siren is blaring over the doorway.  

1. SFX (siren):    RRRRRRRRrrrrrriiiiinnnnnngggg!

Panel 2
Batman (Terry McGinnis), lands in front of the museum doors. The doors are hanging wide open and red siren is still going off over the doors.

2. SFX (siren):    RRRRRRRRrrrrrriiiiinnnnnngggg!

Panel 3
Batman’s leg crosses a green beam as he steps into the museum.

3. SFX (digital): beep

Panel 4
Electric darts fly out from the sides of the doors toward Batman from hidden places.


Panel 5
Batman arches back in pain as electricity shocks him through his suit.

4. SFX: ssssshhhhzzzzzz!

5. BATMAN: AAAaaahhhh!

Panel 6
Batman lays on the ground unconscious. A tactical boot stands close to his head, but you can't see the rest of the owner of the boot.

6. BOOT-OWNER: That was shockingly easy.

- END -

Why Page Turn?

This is kind of a weird prompt, but one that is vital to comic writers everywhere. It’s the art of the Page Turn. Or rather, which panels we end our pages with to try and compel the reader to flip to the next page. The essences of the technique is to end a page with some minor cliffhanger: a question seeking an answer, a reaction needing a reveal, or a missing piece to a puzzle. It functions as a little suggestion to the reader that if they want to know more they’ll have to keep going on. Every page is an opportunity to push a reader away or pull them in deeper. The page turn is a physical manifestation of that opportunity. 

Why is this week’s prompt weird? Well, because we only write one page. Meaning you’ll be able to setup the page turn, but you won’t get the reveal. Still, take this opportunity to practice your setups and leave your reader wanting more.

Friday, January 13, 2017

Batman Beyond - "Driver"-David Press

Imagine we're a bird way above the future GOTHAM CITY and the shadows of light that shine up into the night sky there's a black hole in the shape of a the flying BATMOBILE. 
This used to be the time of my life. Now it's just the same thing every day. 
A better shot of the Batmobile as it edges between skyscrapers. Let's try to mask Darwyn Cooke's design sensibilities here with the sharp lens flares all around the buildings, bouncing off the edges of the Batmobile. 
I've been Batman for five years now, and I feel like I should have graduated by now. That's what Bruce used to say: 

We're in the cockpit. Red and black, with TERRY MCGINNIS driving, draped in the colors. He's older here, let's say this is about five or so years after the original animated series ended, and I know there's no way to show this here but imagine him with some stubble--like he hasn't shaved in weeks. He's no longer a teenager--he's now in his mid-twenties. 
"Do you know why school is structured to four years?"
"Because that's how life goes-we graduate every four years and end up a freshman all over again."
From behind Terry's head: we see the skyscrapers and the other flying cars looping around the futuristic Gotham City. 
But a year after he's been gone, there's just this. Driving endlessly.

Thursday, January 12, 2017

Batman Beyond - Past Crimes, Present Punishments - Perry Kent

Panel 1
Interior, dim, warehouse. A single lamp illuminates Terry in full bat-suit, sitting in a chair with his head slumped forward and his arms secured behind the chair. Terry groans as he wakens. 

1. BATMAN:    Uhhh… What the hell just happened. I think I got knocked--
Panel 2
Terry strains to pull his wrists apart, but they are fastened together with some futuristic looking cuffs at the wrist. They are secured together behind the chair.

2. BATMAN: What the hell? 

3. BATMAN: My wrists.

Panel 3
Terry tries to stand awkwardly with the chair being lifted with him as he looks around.

4. BATMAN: And my gizmos aren't responding...

5. BATMAN (hushed): Big B, you there?

Panel 4
A baseball bat slams into Terry’s gut, knocking him back down into the chair. The villain is not yet revealed, but she is wearing tactical gloves.

6. IRON-WOMAN (OP): Sit down!

Panel 5
Reveal of our villain. A shorter woman, in tactical gear with a mask that looks like it is made of iron. She steps into the light, baseball bat in hand. 

7. IRON-WOMAN: You’re not leaving yet. Not before I tell you the tale of a lowly henchman, whose life you destroyed 20 years ago. 

8. IRON-WOMAN: And his poor daughter who was left to rot.

- END -

Wednesday, January 11, 2017

Batman Beyond – Bat in the Machine – MK Stangeland Jr.

(BRUCE WAYNE has finally died – but it turns out he left a program based on his brain inside the BAT COMPUTER. Turns out this has not gone without problems.)

(6 Panels)

Panel 1: TERRY MCGINNIS is in the BATCAVE. His mask is off as he faces the BAT COMPUTER. Text is displayed on the BAT COMPUTER that matches its dialogue.



TERRY (1): No.

TERRY (2): Batman…Bruce Wayne, he’s gone.

Panel 2: The BAT COMPUTER.



Panel 3: TERRY.

TERRY (1): You’re right. Batman must protect Gotham.

TERRY (2): But you’re not Batman.

TERRY (3): And you’re not trying to protect Gotham, you’re trying to control it.



Panel 5: TERRY attempts to close in on the BAT COMPUTER.

TERRY (1): I’m sorry, but no, you’re not.

TERRY (2): You’re a program gone wrong.

TERRY (3): And it’s time to let go.

Panel 6: TERRY gets hit by a large electrical shock and flung backwards.



Monday, January 9, 2017

Batman Beyond - Machine Learning - Grant McLaughlin

1 - Close on an in-progress marble bust. It's suppose to be Alfred, but that is not an easy thing to decipher.

BRUCE (off-panel): Terry, I said to do this without assistance.

2 - On Bruce and Terry. Both are sculpting marble busts based on the completed bust of Alfred between them. Bruce is using classic sculpting tools, including a hammer, chisel, pointing machine and calipers. Terry has the hammer and chisel, but he's wearing some big goggles with red lenses that look very tech-y. Let us say that Bruce's bust is the rough one from panel 1, while Terry's actually is looking pretty similar to the model at the moment.

TERRY: That you're asking me to do this at all is ridiculous.

3 - From Terry's point of view, looking at his Alfred bust. There's a computer readout giving various numbers and measurements, as well as a point on the bust itself that has a tag reading "SUBSEQUENT IMPACT POINT, 37.5° ANGLE".

TERRY: Technology exists specifically so we don't need to know this kind of stuff.

4 - On Terry as he hammers the back of his chisel into the point marked by the glasses. Perhaps have a small crack fracturing out from the point of impact.

SFX: whap!

5 - Terry is surprised as his bust crumbles apart, completely and utterly ruined.


6 - On Bruce, wearing a serious expression (does old Bruce have any others?).

BRUCE (1): Technology fails.

BRUCE (2): The only thing you can rely on is what you know.