Monday, October 31, 2011

Eric O'Grady - By Your Side - Ben Rosenthal

1. A young boy walks through his school. He is of a small build, holding his lunch box in one hand. This is Chris King. His head is looking to the left, a smile on his face as he talks to his imaginary friend.


I dunno Eric. He’s a lot bigger than--

2. We are now looking from behind Chris. He is looking up at three larger boys of typical bully appearance. Kid 3 is in the middle of the three, cracking his knuckles. Kid 1 is to the left of Kid 3, and Kid 2 to the right. Kid 2 is looking at Kid 1, laughing as he speaks.




Talking to yourself again?


Nah, his imaginary friend.


Gimme your lunch King. We’re hungry.

3. Looking down at Chris, the shadows of the three bullies eclipse him. Chris looks scared as he clutches at his lunchbox handle with two hands, shoulders shrugged up as Kid 3’s hand reaches for his lunch box. A speech bubble appears to be coming from his shoulder. Chris’ imaginary friend, Eric is talking.


Looks like you've had enough, lard arse.

4. Same as Panel 2, however all three bullies are confused, as the voice they just heard was not that of Chris King.



5 - 7. A succession of three quick panels, all contained within the one. The first showing Kid 1 reacting as if he was punched in the stomach. The second shows Kid 2 reacting as if he was punched in the cheek. The third shows Kid 3 reacting to being punched in the groin.

8. The three bullies lay one on top of the other. In the background Chris King is walking away, lunch box in hand. His head is once again turned to the left, smiling as he speaks to his ‘imaginary’ friend.


Wow, for a small guy you’re really strong. Thanks Eric!


Anything for you, son. I mean, kid.

Sunday, October 30, 2011

Eric O’Grady – Something About Apples And Trees – Ryan K Lindsay


1. Eric O’Grady hides in red hair. He is in some sort of cold weather Ant-Man suit.
Caption-O’Grady: I’ve done some pretty shitty things in my time.
Caption-O’Grady: The girl at the grave – what was her name?
Caption-O’Grady: Those three girls at the casino. Full moon, yeesh.
Caption-O’Grady: I even committed mopery. Once.

2. We pan back to see Eric on the head of a lovely looking woman. She’s got gorgeous red hair and a fantastic face.
Caption-O’Grady: But I haven’t seen my sister since she was sixteen walking out the backdoor with a backpack full of my favourite books and our father’s blood on her knuckles.

3. We pan back further to see this woman, Eric’s sister, walking across a snow field. She has a backpack on her back and all sorts of field gear strapped to her – crazy binoculars, one of those stupid trench digging tools, some rope, and plenty of pouches.
Caption-O’Grady: I haven’t even said hello to her yet and I feel bad about that.

4. We have panned back further. Eric’s sister is walking away from us now, we can see a large HYDRA symbol on her backpack, and in the distance there is a helicarrier crashed into the frozen tundra of northern Norway.
Caption-O’Grady: I’m just trying to find the right time.
Caption-O’Grady: The right words.
Caption-O’Grady: The right weapon.

Why Eric O’Grady?

Every hero is heroic, right? That’s why we like them, because they can do things we can’t do. They do these things and they do them for the greater good. That is why we read about these four colour titans of avenging and justice, right? We aspire to be more and so follow the lead set by decades of perfection.

Or do we want to be entertained, or see a little of ourselves on the page, or just have a whole mess of fun? Eric O’Grady isn’t a heroic guy. He isn’t perfect and what little he stands for isn’t in any interest of the greater good of anyone else. O’Grady is a self-centred jerk and he does all the things we’d think about doing with superpowers but never dare discuss with others.

They say a great test is to ask someone which superpower they’d prefer – flight or invisibility. If the person answers invisibility then they’re a jerk because there’s nothing magnanimous you can do with that power – it’s a selfish wet dream of adolescent fulfilment to not be held to your actions. I guess people think flight is a super helpful power (those people should read THE CAPE from IDW).

Eric O’Grady can’t turn himself invisible but with the Pym Particle-powered Ant-Man suit he managed to acquire from his time as a S.H.I.E.L.D. agent he can get so small as to pretty much be undetectable. He rarely uses this ability to save the world, or really do any good. Instead, O’Grady wants to get laid and he works hard for it. He wants to perve on hot chicks with full impunity and then he actually gets to do it. He’s living the dream, the dream of so many.

And, yet, underneath it all lies a true heroic man. A man determined to be himself. A man who can actually do some good, but he’ll be looking down your blouse with a hand up your skirt as he does it.

The best part of Eric O’Grady, the man we’ve come to know and love as the Irredeemable Ant-Man, is the fact he’s so damn refreshing. He’s the guy you can kind of do anything with. You can make him a terrible person while also getting away with making him do something incredibly sweet and selfless. I like that versatility because it feels real. This is something you can aspire to and actually reach.

Hell, you could probably exceed this guy without trying hard, but I’ll never like you as much as I do the man with the red sideburns.

Oh, and to be honest with you, I chose invisibility.

Saturday, October 29, 2011

Wile E. Coyote – aPad – MK Stangeland Jr.

(7 Panels)

Panel 1: A computer screen showing the website for ACME.NET as WILE E. COYOTE prepares to purchase an ACME Portable Wormhole Rifle (essentially an ACME off-brand portal gun). To the side is a ‘SHIP IT NOW!’ Button. Underneath the button are the words ‘Have it delivered to your exact location!’

Panel 2: WILE E. is shown to be holding a portable ACME off-brand iPad that has ‘aPad’ written on the back. WILE E. looks happy about the ‘SHIP IT NOW!’ button and pushes it.

Panel 3: WILE E. has a sinister look on his face as he rubs his hands together and thinks about how he’ll FINALLY catch that road runner (which, of course, is NEVER going to happen). He fails to notice a small box-shaped shadow has formed on the ground under his feet.

Panel 4: WILE E. stops and looks up as he realizes something is wrong. The shadow on the ground is much larger.

Panel 5: A large metal box, far bigger that would be necessary for the product inside, lands where WILE E. previously was standing and kicks up all sorts of dust and sand. WILE E. stands just to the side with eyes open wide as if he’s just barely stepped out of the way of being crushed by the metal box and was missed by just a hair.


Panel 6: WILE E. takes a huge sigh of relief as he wipes sweat from his brow. The dust begins to settle.

Panel 7: The side of the large metal box opens up to fall on top of WILE E. and crush him. We don’t see what’s inside the box, however. Only WILE E.’s arm can bee seen poking out from underneath. The forearm is pointed up from the ground and the aPad is flipping around in the air right above WILE E.’s hand, indicating that it is falling out of the poor Coyote’s hand after he’s been crushed.



Friday, October 28, 2011

Wile E. Coyote - A Matter of Opinion - Grant McLaughlin

Three rows. Rows 1 and 2 are of equal height, while row 3 is slightly larger. Row 1 is made up of three panels of equal size. Row 2 is made up for two panels of equal size. Row 3 is made up of a single panel.

1 – Wile E. Coyote is in his home, walking towards his bookshelf. A sofa chair is visible in foreground.

2 – Close-up of the bookshelf. It is overfilled with books.  The largest and most prominent is an enormous tome with "ACME Ordering Catalogue" written along the spine.  It is clearly well-used and worn.  Beside it is a smaller book titled "101 Ways to Cook a Road Runner", which is pristine - as if it has never been used.  However, Wile E. isn't going for either of those; he's reaching for a simple dictionary (listed as such on the spine, of course).

3 – Same angle as the first panel. Wile E. Coyote is now sitting on the chair, reading the dictionary.

4 – Switch shot to focus on the page of the dictionary. The panel is focused on the entry for “perseverance”. It reads as follows:

per·se·ver·ance (pur-suh-veer-uh'ns). n. 1. steady persistence in a course of action, a purpose, a state, etc., especially in spite of difficulties, obstacles, or discouragement.

5 – Similar shot to panel 4, but this time, the panel is focused on the entry for “madness”. It reads as follows:

mad·ness (mad-nis). n. 1. steady persistence in a course of action, a purpose, a state, etc., especially in spite of difficulties, obstacles, or discouragement with the expectation of different results.

6 – A wide shot of Wile E. Coyote sitting on the sofa chair. The book remains open on his lap, but he is no longer paying it any mind. Instead, he looks towards the reader with his hand on his chin, wearing a very concerned and trouble look.

Tuesday, October 25, 2011

Wile E. Coyote - Due Diligence - Ryan K Lindsay


1. Wile's face is up close, he's concentrating on something hard, brow furrowed, determination in his eyes.

2. Wile is still concentrating, tongue hanging out.

3. We see Wile is painting. We can't see what.

4. Wile is painting one of his famous tunnel boards. In the background, leaning against the wall of this valley, are other boards: more tunnels, a bridge, maybe even a picture of Venice.

Monday, October 24, 2011

Wile E. Coyote - A Coyote's Gotta Eat - Ben Rosenthal

1. The classic over head shot of Wile E. Coyote falling from a great height to the desert floor below. In his hand is a sign that reads ‘YIKES!’

2. The same as Panel 1, however Coyote is further away from as he falls closer to the ground.

3. Same as Panel 1, but there is no Coyote in frame. There is however a small dust cloud from where he has hit the ground.

4. From ground level, we see a deep Coyote-shaped indentation in the desert floor, where Coyote came to rest. From this hole we see Coyote’s single hand reaching up to pull himself out.

5. Coyote is out of the hole, dusting himself off. He looks annoyed. A single thought balloon is above his head with a dollar sign within.

6. Coyote is looking at the reader, clicking his fingers as the thought balloon has changed from a dollar sign to a bright light bulb. Coyote is pleased with his idea.

7. A carnival. At the front of the panel is a tent. Next to the tent is a sign. It is advertising for a show that takes place within the tent. The sign reads:

Come see the Coyote that cannot die!

Marvel as he brushes off Death!

Only $20

Sunday, October 23, 2011

Wile E. Coyote - There’s No Such Thing As Victory - Rol Hirst

Panel One.

(Inset at the top left of the larger panel 2.) Close on Roadrunner, looking shocked and sad.

Roadrunner: Meep—

Panel Two.

Here we see why. He’s been caught in a nefariously complex deathtrap by Wile E. Coyote. No expense has been spared by our cunning hero – there are ropes (with pegs) and manacles tying Roadrunner to the ground; knives, guns and a flamethrower all pointing at the annoying bird (rigged up to various ACME contraptions to fire automatically if he even tries to escape); sticks of dynamite strapped round his chest; cartoon bombs fizzing in a circle around him; and a huge boulder balanced precariously above him, ready to fall.

Wile E. stands watching, a knife and fork in his hands; a huge, satisfied grin on his face. He’s licking his lips.

We are in the desert, naturally.

Caption: Roadrunner: Beepus Beatus.

Caption: Wile E. Coyote: Undeniablious Victorious.

Roadrunner: --meeeep…!

Panel Three.

Long panel across the middle of the page. To the left we see a grinning close-up of Wile E, imagining the delights in store for him. Following this we see a series of images… a cooked Roadrunner on a plate… a big-bellied Wile E. sitting back with an empty plate before him, picking the last meat from a drumstick… then a bored-looking Wile E sitting beside a deserted desert road with nothing to do… and Wile E. staring down that same desolate road, alone and with nothing left to do… despairing.

Panel Four.

Wile E. crouches down and unties the Roadrunner. The pesky bird can’t believe its eyes. Wile E. is filled with self-loathing.

Roadrunner: Meep?

Panel Five.

Freed, the Roadrunner scarpers in a cloud of dust. As he “meeps” in celebration of his freedom (sticking his tongue out as he runs) the noise makes the boulder above Wile E. begin to topple. Wile E. looks directly at us, a single tear in his eye.

Roadrunner: Meep meep!

SFX: Creaaaaak!

Panel Six.

The boulder has fallen, crushing Wile E. beneath it. An arm extends from under the boulder, it’s holding out a ‘To Do’ list. The list reads:

1. Get a hobby
2. Make some new friends
3. Join a dating agency
4. Take a pottery class
5. Seek professional help

SFX: Crash!

Why Wile E. Coyote?

Because God loves a trier.

Everybody loves the underdog.

And I hate that darned Roadrunner!

Forget Hamlet, Oedipus or Willy Loman: I'm willing to argue that Wile E. Coyote is the greatest tragic hero ever created. He's cunning, he's ingenious, he's hilarious, he's doggedly determined... he's wily... yet he's destined to never find true happiness. He is my favourite cartoon character, Chuck Jones' greatest creation... and yes, he is a genius.

He also provided the inspiration for what's possibly the most moving comic book I've ever read. Animal Man #5, 'The Coyote Gospel', by Grant Morrison and Chas Truog. If you've never read it... do yourself a big favour.

As a writer, I take my inspiration from Wile E. Coyote. After every rejection letter, every knockback, every failure, I always ask myself WWWED? He'd pick himself up, dust himself off... and get back to work. Now excuse me, I've got a Roadrunner to catch...

Saturday, October 22, 2011

Rocket Raccoon & Groot - Stakeout - Ryan K Lindsay


1. Rocket stands in front of a suburban house at night.
Caption: This place looks nice, right? Splendid family inside, two cars in the garage, 815 channels on the widescreen tv.

2. Rocket walks across the front yard.
Caption: Yeah, right.
Caption: You wouldn't believe the evil we tracked here.

3. Rocket looks down the side of the house, there's a slight path leading out the back.
Caption: If I told you what was really here you'd leave your home straight away and take off for the hills.
Caption: It's better you never realise what's most likely in your neighbourhood, too.

4. Rocket looks up at the big tree up the side of the house. We can tell it's actually Groot, incognito.
Caption: The evidence we need is finally where we can get it.

5. Rocket looks down at the bins out the back.
Caption: But it feels like someone is taking the piss out of me.
Rocket: [sigh]

Friday, October 21, 2011

Rocket Raccoon & Groot - Three's Company - Grant McLaughlin

Three rows of panels. Rows one and two each take up a quarter of the page and each have two panels. The third row is a single panel that takes up the remaining half of the page.

1 – A forest on Earth. Rocket Raccoon is talking with two regular raccoons. They look kind of bored.

ROCKET: ...and so that's when I busted out my rocket skates --

2 – The regular raccoons have grown tired of Rocket and start scurrying away. Rocket reacts in surprise, yelling at them not to go.

ROCKET: Hey! Where are you going?! Come back!

3 – Rocket stands in the same position, watching as they run off. They move further away. No dialogue.

4 – Rocket turns back towards the reader, putting his hands in his pockets and kicking at the ground in an “aw shucks” kind of pose. It's kind of hard to tell, but it looks like he might be on the verge of tears. The raccoons are quite far away at this point.

ROCKET: Whatever. I don't need those flarks. They were terrible conversationalists. I'll be fine on my own. Besides...

5 – Slight switch in perspective. Elsewhere in the forest. Groot is standing beside a big redwood tree. Groot is offering a bouquet of flowers to said tree. The bouquet is clearly picked from the surrounding woods, with clumps of dirt apparent at their base. Groot looks quite bashful (at least as bashful as an extraterrestrial plant monster can). Groot's speech bubble is sprinkled with little hearts. Rocket is far off in the background, although he is still visible.


CAPTION (ROCKET): I-it's not like my best bud has abandoned me for some tawdry gal pal.

Rocket Raccoon and Groot in "Let Go" by Danial Carroll

Groot sits by a small stone grave on a grassy hill. The gravestone reads, "Rocket Racoon". Around him are all the Marvel cosmic characters as well as various other anthropomorphic creatures. They all look sad.


CAPTION: The oldest tree on Earth is around 5000 years old.

Same shot, except that Groot is on his own. The grave is partially overgrown with greenery and moss. So is Groot.


CAPTION: With such a life-span, time has a much different meaning.

Same shot again, except the gravestone has partially decayed and crumbled.


CAPTION: Though one fact remains...

The grave stone has now completely crumbled and the grassy hill is no longer grassy. Groot has risen and is walking away, though still looking a little sad.


CAPTION: There comes a time when you just have to let go.

GROOT/WHISPER: I am... Groot.

Tuesday, October 18, 2011

Rocket Raccoon & Groot - The Ballad of Groot - Rol Hirst

In response to Ben's post...

Panel One.

Close on Rocket Raccoon (head only). He’s holding a microphone, talking straight to the camera.

Rocket: Laydeez and gentlemen… Ovoids, H’ylthri and Poppupians… please put your hands, claws, flippers, twigs and sphincters together for our next performer…

Panel Two.

Pull out to reveal Rocket Raccoon is on a stage in the corner of a packed space-bar (think Star Wars Cantina). A variety of alien races sit at tables before him, drinking a disgusting array of space cocktails. Behind him, on the stage, Groot sits on a stool, holding an acoustic guitar.

Rocket: Direct from Planet X, via the Negative Zone, Monster Island and the Pine Barrens of New Jersey…

Rocket: This is ‘The Ballad of Groot’!

Panel Three.

Rocket flies off stage left while Groot starts playing the guitar.

Mellifluous musical notes drift out across the audience.

Panel Four.

While Groot continues playing, we pan around the audience. They are captivated by Groot’s music. The notation continues to drift through the air.

Panel Five.

Wide shot of the stage with Groot still playing the guitar, music continuing to drift across the room, the entire audience rapt. While he plays, Groot reaches out a tendril to grab the microphone stand.

Panel Six.

Having pulled the microphone closer to his face, Groot now bellows out the lyrics…

Groot: I AM GROOT!

Panel Seven.

Close on two aliens, a M’Ndavian and a Watcher, sitting at a table in the corner, staring in admiration at the stage while sipping on their cocktails.

M’Ndavian: Man, that’s, like, so deep.

Watcher: You’ve no idea… I saw how long he worked on those lyrics.

Monday, October 17, 2011

Rocket Raccoon and Groot - The Ballad of Rocket Raccoon - Ben Rosenthal

1. Rocket Raccoon crawling into a room reminiscent of the old west. His hand is reaching towards the copy of Gideon’s bible on the bedside table.


Rocky Raccoon checked into his room

Only to find Gideon’s bible

2. The pages of the bible are open, with Rocket Raccoon’s hand pulling out a sci-fi looking laser from its pages.


Rocky had come equipped with the gun,

To shoot the legs off his rival.

3. An old western saloon, but with a sci-fi twist. It is filled with numerous looking aliens, all in different types of space uniforms. However, in keeping with the sci-fi western theme, the space suits have call backs to the dress of the days of the old west. Sitting in a booth in the corner is Groot, sitting with his arm over a humanoid rabbit lady, dressed as a saloon girl.


His rival it seems, had broken his dreams

By stealing the girl of his fancy.

4. Rocket Raccoon has entered the saloon through the space-age looking saloon doors (perhaps made of hard-light or some such). He wears a grimace on his face.


Rocky burst in and grinning a grin,

5. Rocket Raccoon has taken a seat opposite Groot and his girl at the booth. He holds his laser on the table, pointed directly at Groot. Groot has one hand around the girl, the other cannot be seen under the table.


He said Danny Boy this is a show down.

6. Same as Panel 5, however a laser has pierced the table from underneath as Groot has fired his laser. The bolt has hit Rocket, who has a look of shock on his face.


But Daniel was hot, he drew first and shot

7. Same as Panel 6, however Rocket is slumped over the table, with Groot leaving the bar in the distance, his arm around the Rabbit girl.


And Rocky collapsed in the corner.

Da, da, da, da, da.

I’m being a little self-indulgent this week. As such, this takes place in no continuity whatsoever.

Sunday, October 16, 2011

Rocket Raccoon & Groot – Would the Real Groot Please Stand Up? – MK Stangeland Jr.

Rocket Raccoon and Groot have just finished cleaning up a Badoon outpost, though the fight left Groot literally in pieces.

(7 Panels)

Panel 1: ROCKET RACCOON peers over a small ledge to where the pieces of what used to be GROOT are scattered across the ground.

ROCKET RACCOON: Groot! Buddy! Say something!

Panel 2: Small panel, close-up on the various GROOT splinters as they begin to move.

Panel 3: Like panel 2, this is a small panel. The GROOT splinters take on a humanoid form, each one resembling some form of miniature GROOT. They pick themselves up.

Panel 4: ROCKET RACCOON is thrilled to see that his friend is still alive.


ROCKET RACCOON (2): I knew I could count on you to…

Panel 5: ROCKET RACCOON has a worried look upon his face as he realizes just how many miniature GROOTs there really are.

ROCKET RACCOON (1): Wow…usually there’s not this many.

ROCKET RACCOON (2): So which one of you is the Groot?

Panel 6: Some of the mini GROOTs have their hands in the air.

GROOT 1: I am Groot!

GROOT 2: I am Groot!

GROOT 3: I am Groot!

Panel 7: ROCKET RACCOON is noticeably concerned as he considers the implications of his situation. Off-panel, we can ‘hear’ other GROOTs join in on the ‘I am Groot’ chorus.



Why Rocket Raccoon & Groot?

Come on, this one should have been half-obvious from the moment I said that Rocket Raccoon is my favorite comic book character. You can read up on him there if you want to basics on why he’s showing up this week. Groot, however, might not be as obvious, especially since it means that my favorite character has to share the spotlight.

But you know what? I don’t think Rocket would have it any other way.
There are some things that, while all well and good on their own, can be paired up with something else so that both become something much, much more than the sum of their parts. Like Peanut Butter and Chocolate. The exact same principal applies to Comic Book characters, sometimes in ways you might never expect. Who would have thought, when they were originally created, that Power Man and Iron Fist or Blue Beetle and Booster Gold would one day be teamed-up and become the iconic parings that they remain to this day?
Such is the case with Rocket Raccoon and Groot. And it’s amazing to think of how great a pair they’ve made in spite of how it was less than five years ago that someone got the bright idea that putting a wise-cracking raccoon and
a walking talking tree together might be a smart idea. But that’s just what happened when Keith Giffen first stuck them together for his Annihilation: Conquest – Star-Lord miniseries. And of course, I’d hate to diminish the contributions of DnA in the matter, who managed to take the concept and run with it in a way that’s allowed the Raccoon and his Tree to get their own miniseries post-Guardians of the Galaxy. One which manages to far outshine the main book they’re supposed to be a ‘backup’ story to, I might add.
I have little doubt that Rocket Raccoon and Groot still have a bright future ahead of them, and I look forward to seeing just what scripts both our regular and guest writers come up with this week that I have no doubt will provide further evidence to this effect.

Saturday, October 15, 2011

Static Shock – AC/DC – MK Stangeland Jr.

(5 Panels)

Panel 1: STATIC flips his flying disk around with his feet (similar to how a skateboarder would do a kickflip) causing the far end to hit LIVEWIRE under the chin.

STATIC: Look Lively!

SFX: Zzz-gkong!


Panel 2: Close-up on LIVEWIRE’s chin as the board connects, showing some kind of electrostatic cling connection being made.


Panel 3: As the board flips around, LIVEWIRE gets dragged with it, and it should be clear that moving along her current path is about to cause her to impact with STATIC. STATIC is noticeably unprepared for this turn of events, leaving him unable to do anything but wait for the imminent collision.

STATIC: What the…!?

Panel 4: STATIC and LIVEWIRE impact with one another, though LIVEWIRE goes through STATIC. The result is a giant electrical surge that hurts both. STATIC is shown with his skeleton lighting up much like you see when someone is electrocuted, while LIVEWIRE is shown with an electrical lighting bolt stick-figure running inside her frame since she really doesn’t have a real skeletal structure anymore. The background should be lit up as a result of the electrical charge they’re causing.



Panel 5: Short panel that stretches across the bottom of the page as both LIVEWIRE and STATIC fall to the ground. Both are alive, but they’re singed and half-way unconscious.


(As much as it might look like it, this isn’t intended to be any kind of prequel to Ryan’s page. I am, however, amused by how we both thought that pitting Livewire against Static would be a good idea on some level.)

Friday, October 14, 2011

Static Shock - Gesundheit - Grant McLaughlin

Quick set-up: Virgil is sick, but he is insisting on going to school nonetheless. His mother will have none of it and insists that he stay home to get better.

Alright, let's see if I can explain what I'm imaging panelwise for this one. Four “rows” of panels. The first row takes up a quarter of the page. The third row takes up about half the page. The fourth row takes up the remaining quarter.

The second “row” is actually three panels that are kind of floating in the top part of the third row. The three panels increase in size, going from small to large. As I said, they are “floating”, so they don't touch each other either. Maybe it'll make more sense in the panel descriptions.

1 – A shot of the Hawkins' family kitchen. Virgil's mom on one side of the room and Virgil sits at the table on the other. Virgil's mom has her hands on her hips and is wearing a rather stern expression. Virgil is slouching and generally looks really tired and super sick. The background is going to sound really busy, but bear with me. Virgil's sister is looking at an iPad, it's screen visible to the reader. His father is preparing some breakfast – he's got eggs going on the stove, juice in the blender, and toast in the toaster. You also have stuff like a microwave, fridge, and so forth. Finally (and unrelated), for Virgil's dialogue, think a really big and empty word balloon, with his words written small and faintly.

JEAN: You're sick.

VIRGIL (weakly): I'm fine.

2 – Small panel. Virgil is about to sneeze. Cue the most ridiculous about-to-sneeze face you can. Go as wild on this one as you'd like.

Virgil: ah-!

3 – Middle sized panel. Virgil is still about to sneeze. Move in a little closer, showing mostly just his face.

Virgil: Ah-!

4 – Large sized panel. Virgil is almost there. Move all they way in to focus on his mouth (and maybe nose). We're just on the cusp of the sneeze, so things still look pretty silly.

Virgil: AH-!!!

5 – This is a big, black panel. There's nothing going on here except for the onomatopoeia representing Virgil's actual sneeze. In that vein, we get a huge “CHOO!” written as if it were electricity / lightning. Go really crazy on this one, having streaks fly out in all directions, filling up this otherwise blank panel. As mentioned above, panels 2 through 4 will be floating above most of this, but feel free to have the streaks go “behind” these panels.

SFX (Virgil): CHOO!

6 – Repeat panel 1. Virgil's mom has her arms crossed, one eyebrow raised. Virgil looks even more exhausted. His father and sister look super surprised. Everyone's hair is ridiculously frizzy, as if they've just been shocked. All of the electronic appliances are fried. The blender has exploded juice all over the place. The eggs have burst. The toaster is on fire. The iPad is dead.  The microwave and fridge are sparking.  You get the idea.

Virgil (weaker): I'm sick.

Tuesday, October 11, 2011

Static - Bang & Blame - Rol Hirst

I think I've unconsciously written a sequel to Ryan's page yesterday...

Panel One.

Static sits on a rooftop, sulking, his hands over his head, elbows shielding part of his face. It’s night time and we can see the lights of the city in the background.

Static: I’m sick of it, all right?

Panel Two.

Elsewhere. Street level. A man in a business suit has parked his car at a meter. He’s just got out of the car and is reaching to close the car door when he’s jolted by a spark of static electricity.

Man: Yeoww! @!#$!

Panel Three.

In her bedroom, a young woman pulls on a woolly polo-neck jumper. Her hair stands up from her head due to the static. She glares into the mirror.

Woman: Grrrrr!

Panel Four.

A romantic scene – a cosy apartment lit only by candles. A young couple snuggling on the sofa lean closer to kiss each other, their lips about to touch…

Panel Five.

Pull out from this scene, through the open apartment window as though we’re looking in from outside. We can see the apartment is on the top floor and that on the rooftop above, that’s where Static is sitting in his sulk. We can’t see much inside the apartment, maybe just the back of the sofa and the silhouettes of the young couple, standing now. The curtains are billowing slightly in the wind.

Girl: Owwwch!

Boy: Ooh… sorry, hon’… kinda spoiled the mood, I guess, huh? Damned

Panel Six.

Angry and unappreciated, Static flies away from the rooftop on his saucer. He doesn’t hear the girl’s reply.

Static: I get the blame for everything round here!

Girl: No, no… actually, I liked it. Let’s try that again…

Static– Breaking Bad Timing – Ryan K Lindsay


1. Static is raised off the ground in a massive hero pose. He’s putting everything he’s got into sending out an EMP (electro-magnetic pulse). This pulse should be echoing out from him in a circular fashion – however you can make that happen :) The surrounding street, full of apartment buildings, is losing all power. Hitting the ground in front of Static, after a very long fight, is Livewire. She is being knocked down, and powered down due to the EMP. She is losing her powers, perhaps becoming just an ordinary human – we don’t know yet but we know she’s not electric anymore.

2. Static is bent over, hands on his knees, he’s pretty worn out. Livewire is comatose on the ground in front of him.
Static: You left me no choice, dammit.

3. A guy sticks his head out the window of a nearby apartment. All the lights are off, there’s no electricity in a pretty wide radius.
Guy: C’mon, man, it’s the Breaking Bad finale. What am I s’posed to do now, ya jerk?

4. Static stands there with his hands on his head, he’s tired and a little bewildered. Windows are opening up all over the building, people shaking fists, a tomato sails through the air at Static.
Static: You’d be dead if I didn’t stop her, you know?
Guy: I’d rather be dead than miss the show, you know?
Static: {sigh}

Monday, October 10, 2011

Static Shock – Fundamental Interactions - Ben Rosenthal

Just a bit of house keeping - firstly, you may want to brush up on knowledge of particle physics so you know what I'm getting at here. Secondly, Panels 3-6 should all appear on the same line, and be the same size.

1. Virgil Hawkins, in his Static costume is coming to after being knocked unconscious. His hand is to his head as he tries to get his bearings. The background is not too descriptive, but does resemble a science lab.


Wha...where am I?

VOICE (off panel)

It isn't obvious to you?

2. We are seeing this panel from behind Static. He is looking up to see Deathstorm (Professor Stein) standing before him. Suspended high above Deathstorm are the costumed heroes The Ray, Geo-Force and the two men who make up Firestorm – Jason Rusch and Ronnie Raymond.


Somebody hasn't been doing their physics homework.

3. A close up of the unconscious Geo-Force suspended in the science lab.



4. A close up of the unconscious Jason Rusch and Ronnie Redmond suspended in the science lab.


Both a strong nuclear force--

5. A close up of the unconscious Ray suspended in the science lab.


--and a weak.

6. A close up of the confused and somewhat scared Static.


And of course, electromagnetism.

7. Back to a similar framing of Panel 2. However Static is now standing, ready to battle. Deathstorm towers above him, looking imposing.


You select few make up the basic building blocks of the universe.

And by harnessing your powers, I can end it.

Sunday, October 9, 2011

Static Shock - Magnets, How Do They Work? - Maxy Barnard

Premise: The return of a fun concept from Morrison's JLA run, transferred from Blue Superman to Static, presented through the filter of Milestone's thinly veiled references to their universe and creator's place in the universe and treatment thereof. So pretentious, derivative, but at least I've managed to post it eventually.

This page/scene occurs just after Mister Terrific has told Static of his gargantuan task.


STATIC is standing out on a grey expanse (it's the moon!) with MISTER TERRIFIC, whose T-balls (is that what they're called? Filth!) ar flitting back and forth between two gigantic, off-panel tesla coils.

STATIC: You want me to do WHAT?

TERRIFIC: If anyone can, it's you.

Close on STATIC, looking down at his feet, teeth gritted, yet his eyes are more sad than angry.

STATIC: Don't tell me that! No-one can stand this pressure, man.

STATIC is now looking up and yelling.

STATIC: It's too much!

MISTER TERRIFIC has put his hand on STATIC's shoulder, supporting him and looking him directly in the eyes.

TERRIFIC: Look, Virgil, I know what it's like. To have so much difficult stuff going on, and only adding more. It makes it harder to do the small things.

TERRIFIC: But believe me when I tell you; something like this? Something bigger than anything else?

Close on MISTER TERRIFIC as he looks directly at the reader (STATIC's POV).

TERRIFIC: Something this big... When it's beyond anything you've done before, it can break you in the right way. And be as easy as breathing.

Long-distance shot of STATIC and MISTER TERRIFIC standing on the moon, between the two huge tesla coils, both looking up into space.

TERRIFIC: Pep talk over. You ready to stop the universe collapsing in on itself already?

STATIC: Well, when you soliloquise like that, how can a guy say no?

Why Static Shock?

Aside from him being one of the best characters of all time, an effective modern Spider-Man style character, part of the best comics line of the 90s (Milestone!!), a favourite of mine from his old TV show (a show that at one point had as many viewers as Pokémon) and being part of DC Comics' New 52 relaunch?

No reason.

For real though, this is a chance to take a young teen character who thinks he's hip and cool and with proper geek credentials. Kid's smart and proving it everyday as a hero in New York. There's stuff to play with here.

You can read about Static here

And buy a trade of his early adventures and Rebirth of the Cool miniseries HERE

[yeah sorry this isn't a substantial why post, real life takes priority. Script should follow soon, if not back-posted shortly]

Saturday, October 8, 2011

Superman’s Pal Jimmy Olsen – Jimmy and Kal-El – By MK Stangeland Jr.

(For the best mental image of this script, picture it as being drawn by either Bill Watterson or Art Baltazar and Franco Aureliani.)


Panel 1: JIMMY OLSEN is writing something on a cardboard box with a marker. SUPERMAN lands on the ground next to him.

SUPERMAN: Hello, Jimmy! What are you working on so intently?

SFX: (From marker writing on box) Squeek squeek squeek.

Panel 2: JIMMY OLSON holds up the box in front of him.

JIMMY OLSON: I finally figured out a way to discover your secret identity, Superman!


JIMMY OLSON: Not just any box, a magic box!

Panel 3: Close up on the box and JIMMY OLSON pointing to the word ‘Superman’ that’s written on the side with an arrow pointing to it.

JIMMY OLSON: When I push my special magic button, it’s going to turn me into you! And then your secret identity is all but mine!

Panel 4: JIMMY OLSON holds his magic box over his head and lets it drop on top of him.

SFX: (From JIMMY OLSON) He, he, he

JIMMY OLSON: It’s foolproof! And there’s nothing you can do to stop me!

Panel 5: Double panel, with the top half showing a close-up on SUPERMAN’s eyes and the bottom half matching the first, except that SUPERMAN’s eyes are red to indicate he’s about to use his laser vision.

Panel 6: Double panel. The top half shows SUPERMAN’s lasers writing something on the box in front of the word ‘Superman’. The bottom half shows that the arrow on the box now reads ‘NOT Superman’.

Panel 7: JIMMY OLSEN takes the box off of him. He now looks like BIZZARRO by way of JIMMY OLSON.

Panel 8: The BIZZARRO/JIMMY OLSEN hybrid stands in the same place, with the box behind him and SUPERMAN hovering above the ground next to him.

JIMMY OLSEN: Me Jimmy no think that didn’t work like it was supposed to.


Friday, October 7, 2011

Jimmy Olsen – Copy Editor – Ryan K Lindsay

The following is a complete front page from The Daily Planet. I won’t set it out in panels, I’ll set it out in articles. It’s something different. Enjoy.

THE DAILY PLANET banner runs across the top.
Forecast - Rain, Lots of it. Lotto #s - 4, 8, 15, 16, 23 and 42


Main cover image – a building with windows blown out in a circle, the window in the middle is still intact and shows a room full of hostages with hands tied behind their backs and faces pressed to the glass. They are all crying.

Small article inset of image reads – A partygoer Tweeted, “New arrival looks messed up. Dripping water everywhere. Going to be a night.” The accompanying photo reveals what the man thought was a costume but may in fact be a rogue Atlantean now holding the entire party hostage. Details PAGE 4-5

Small photo accompanying article, still inset of image – a grainy iPhone 3 shot of a grey Atlantean shambling through the door. A waiter is trying to serve him a complimentary champagne.

Smaller article headline– Planet’s Own Lois Lane Wins Arm Wrestling Comp. Pics on P7

Smaller article headline - Superman Last Seen Underground. Luthor's Litany on P3

Advertisement – Be Superman’s Pal – Buy A Watch Today
Image of a smiling Jimmy Olsen cartoon giving a thumbs up

The next page would be Jimmy holding this newspaper, natch.

Wednesday, October 5, 2011

Jimmy Olsen - Incorporated - Sime McDonald

Jimmy Olsen is standing rigidly atop the Daily Planet rooftop, looking out over the City of Tomorrow, his back to three operatives of N.O.W.H.E.R.E, all of whom have handguns trained on him.

"You've had offers from elsewhere.

Time's up!

You're either with us - - 

- - or against us. 

Tight on Jimmy, rolling his eyes.

Cliche, much?

"You're an anomaly, James Olsen.
But an asset nonetheless."

Jimmy's turned to face the operatives. No fear. Smug. 

I'm afraid you're gonna have to take this up with my CEO, boys.


Jimmy grins. And he's got something in his hands.
Shaped like bats.

"A potent combination. 
Just what I'm looking for."

Dynamic shot of Jimmy expertly throwing the Batarangs at his foes. 

I'm incorporated now!

Tuesday, October 4, 2011

Jimmy Olsen - More Snakes Than Ladders - Rol Hirst

Panel One.

Jimmy Olsen is as tall as the Daily Planet building. His skin is purple with yellow spots and he has Chameleon Boy style antennae. His familiar geek-chic clothes are torn and dirty but his bowtie is intact (if wonky). He’s being fired upon by tiny spaceships filled with alien invaders. He’s trying to stop them while also keeping the property damage to a minimum. Chloe Sullivan is standing on the roof of the Daily Planet building, shouting at him. She looks cute but mad.

Chloe: Careful, Jimmy – you nearly stepped on another taxi cab!

Jimmy: Hey, Chloe, it’s kinda difficult watching your footing when you’re a gazillion feet tall and being blasted to bupkis by a fleet of Lepre-Borgs!

Jimmy: Oww! Stop that!

Panel Two.

Jimmy Olsen sits up in bed, suddenly awake following a nightmare. He’s wearing cool silk pyjamas. This is the new look Jimmy – reddy-brown hair cut all Bieberish, no freckles, not the Jimmy we knew… nor the one we were watching in the previous panel. He looks shocked, sweating, freaked out.

Jimmy: Woah!

Jimmy: Not again. That’s every night this week.

SFX: Knock-knock-knock! Knock-knock-knock!

Panel Three.

Jimmy gets up and heads out of the bedroom towards the front door of his apartment. He’s running a hand through his hair, trying to wake himself up properly.

Jimmy: Horrible, horrible… why do I keep dreaming… I’m a ginger!?

Jimmy: The girl’s cute though. I wonder…


Jimmy: Alright – I’m coming!

Panel Four.

Jimmy opens the door to find the Psycho Pirate, in full costume. He’s holding out a hand, a look of terror on his face.

Jimmy: Who?

Psycho Pirate: It’s happened again! Why does it keep on happening? You remember, don’t you? Tell me you remember?

Psycho Pirate: You were a success – you were making something of your life – you were happy. Why did they take all that away from you again?

Psycho Pirate: Why do they always take it away?

Panel Five.

Jimmy cover his face with a hand: an "oh brother!" expression.

Psycho Pirate (off-panel): The new 52! The new 52!

CAP (Jimmy): Great. Now the nutjobs can't even wait till I get to work. My life sucks...

Monday, October 3, 2011

Jimmy Olsen - Old New School - Ben Rosenthal

1. The iconic image of Clark Kent opening his suit shirt to reveal the Superman costume underneath.

2. This panel revels that the image in the previous panel is actually a photo. A hand is holding the photo. A watch-like device is visible on the hand’s wrist.

JIMMY OLSEN (off panel)

Oh man.

3. A shot of Jimmy Olsen’s face from front on. He is looking at the photo he has had printed out. The hand that is not holding the photo is resting on his forehead. Jimmy is conflicted.


4. We are looking at the photo once again, but further back than in Panel 2. We can now see the photo, Jimmy’s hand holding the photo and the watch-like device on his wrist. We can also see on the table a note pad and pencil, and Jimmy’s mobile phone, which is ringing. We can see than name of the caller on the mobile screen: Lois.


JIMMY OLSEN (off panel)


Sunday, October 2, 2011

Jimmy Olsen - Love Hurts - Grant McLaughlin

Three rows of panels, each taking up a third of the page. The first two rows both have three panels, all of equal size. The last row is a stand alone panel, taking up the remainder of the page.

1 – Jimmy Olsen and Lois Lane are walking down the street, carrying some bags and supplies. Jimmy has his arms crossed and visibly upset. Lois is calm and nonplussed, giving his displeasure no mind.

JIMMY: I can't believe you talked me into this.

LOIS: Jimmy, everyone from the Daily Planet is going to be there.

2 – Jimmy is getting animated, trying to argue his point. Lois will have none of it.

JIMMY: Well then why don't they wear the costume? Steve could do it. Or Clark. He could manage it if he just took of those glasses.

LOIS: Steve said no. And Clark's busy -

JIMMY (quietly): Clark's always busy.

LOIS: And besides, you already agreed to do this.

3 – Jimmy is in front of Lois, pointing at her casually. For some reason he's under the impression that what he's about to say will make things better.

JIMMY: To be fair, I wasn't really listening when you suggested it.

4 – A shot of only Lois. She is glaring in the direction of panel 5. No dialogue.

5 – A shot of Jimmy. He is apprehensive, backed in a figurative corner. He has his hands in the air, miming surrender. He is faced in the direction of panel 4.

JIMMY: All right, all right. I'll do it, but I just want you to know that this is going to be embarrassing for all of us.

6 – Back to Lois. She wears a sly grin.

LOIS: I don't know about that, Jimmy.

7 – A convention-type situation. Feel free to include as many of the Daily Planet's staff as you want (except for Clark, who is busy). They are set up in a booth with a large banner that reads “You'll love the Daily Planet's Valentine Day's subscription sale!”. The booth is decorated in various Valentine's Day paraphernalia: hearts, pink, and so forth. There's a table where Lois (and perhaps a few others) are set up, taking down people's information and so forth. Finally, standing on the table is a rather unhappy Jimmy Olsen, wearing an ill-fitting Cupid costume. He looks rather miserable, half-heatedly doing some type of Cupid pose. Aiming his bow or something. Many onlookers smirk derisively in his direction, including a very obvious Steve Lombard.

CAPTION (LOIS): ...I'd say it will mostly be embarrassing for you.

Why Jimmy Olsen?

This is mostly Nick Spencer's fault. Granted, Jimmy Olsen has been up to his fair share of wacky shenanigans over the years, but it was Nick Spencer and RB Silva's brilliant Jimmy Olsen series of backups in Action Comics (which eventually became the 80 page one-shot simply titled Jimmy Olsen) that reminded just how much fun this character can truly be.

Jimmy may be Superman's #1 fan, but he has a proven track record of quality stories behind him (as shown by the aforementioned one-shot and the ridiculously long-running Superman's Pal Jimmy Olsen). Therefore, I am eager and excited to see what kind of zany pages we can come up with for the Daily Planet's young photojournalist.

That being said, don't feel beholden to compose a lighthearted piece should you have a perfect poignant page. Just because I intend to be irreverent with my script, doesn't mean you have to do the same. Part of James' charm is certainly his ability to support any type of story, silly or serious, so let's do this.

Is Jimmy going to be an astronaut?  A wizard?  A talking gorilla?  A regular ol' boring photographer?  The options are endless, and it's all up to you!

So let's forget about Superman.  It's Jimmy's week to shine. Let's make sure it's as bright as it can possibly be.

Getting to Know Grant McLaughlin

Who is your favourite comic book character?

As you may have gathered from my first thought balloons choice, I am a huge fan of Brian Clevinger's Atomic Robo. I am a firm believer of the importance of comics being accessible to and enjoyable for all ages, and this is one of the best examples of that that is currently being published. It also doesn't hurt that it also happens to be one of the best comics being published right now, period. Seriously, if you somehow haven't taken a look at Robo, you owe it to yourself to do so, post-haste.

What is your favourite comic?

Building on my penchant for all-age comic books, it might not surprise you that I fell head over heels for Roger Langridge and Chris Samnee's Thor: The Mighty Avenger.  That this series only lasted for 8 issues (9 with the Free Comic Book Day addendum) is a crime of the highest order, but I will treasure the short time we had.  I wish that more books like this were coming out, and even more than that, I wish they could be financially successful.  Hopefully that day will come sooner rather than later.

Who is your favourite comic writer?

I've already touted both Brian Clevinger and Roger Langridge, and I would certainly rank both of them right at the top of my favourite writers, but to avoid repeating myself, I'll offer Jeff Lemire's name for your consideration.  Although he only came to my attention last year with all the hubub about the re-release of Essex County, he's quickly rocketed towards the top of my favourite writers list, as well.  He has a knack for character driven stories, and he writes dialogue like no one else.  While I've certainly enjoyed him paired with the various artists he's worked with, I must also say that I find his writing to be at its best when it's coupled with his art.  It's unreal.

Who has been the most fun to write so far?

I know it wasn't what Rol was looking for, but my Dracula script (from back when I was a play-at-homer) is perhaps the most fun I've had writing for thought balloons.  To be fair, all the scripts I've had the pleasure of putting together here have been fun for their own reasons, but I was particularly pleased with everything I managed to accomplish in that one page.  I felt that I managed to write two believable characters, living in a unique world and having a funny conversation.  I really need to expand on that idea one of these days...

Which character do you most dread having to write?

My first instinct is to say characters with which I have no experience, as it can be hard to get a handle on how to write them when you don't really know who they are, but upon reflection, I think my answer would actually be characters I really care about.  The more I like them, the harder it is to write, because I find that I want to live up to all the amazing depictions I've seen before, and it can be hard to meet those raised expectations.  Even when you knock out a stellar script, it's easy to imagine how it could have been better.

Which non-comics character would you most like to write?

While not a specific character, I would love to write some comics set in the world of The Warriors.  I'll be one of the first to admit that the 1979 film isn't actually that great, but it has so much style and creates such a rich world over the course of its hour and a half run time.  The Rockstar video game that came out years later only added to the franchise's lore and made me more excited for the many story possibilities.

Which script do you think has been your best so far?

I'm going to have to once again return to my play-at-homer days and go with my Lois Lane script, which is actually the first thing I wrote at this site.  I thought for two or three days trying to figure out what situation I could put Lois in, and just when I was on the verge of giving up, the simple "talking on the couch with Clark about paint swatches" idea came to me, nearly fully-formed.  I think it's among the best things I've written here, and I'm especially proud of it because it was the first thing I submitted.

While I'm tooting my own horn, I'll actually throw up a link to something I've written since getting my tenureship.  My Dashiell Bad Horse script is another one I'm rather proud of, particularly because I don't write such serious scenes nearly as often.

Which script do you think has been the best on the site?

Oh, gosh.  I haven't even been here since the beginnings of the site, and even so, I've come across an abundance of amazing scripts.  How could I possibly choose just one?  

I've been talking up my own stuff so much, I figure I could at least shine some light on some of my colleagues' earlier works.  So if you'll permit me (and frankly, even if you won't, 'cause I'm writing this post), I'll offer my take on one script that I particularly enjoyed from each of my fellow members.  These are from Lois Lane onwards.

Ben - Kate Kane - This page reads so well.  Kate and Renee's conversation plays out so perfectly.  The whole thing is fun and playful, but still feels really honest.

Danial - Ben Reilly - For someone who hasn't read any Spider-Man, you managed to put together one fine page featuring his cloned doppelganger.  This one is so cute is almost hurts.

Matt - Atomic Robo - I'm slightly biased on this one, but this was my favourite script from Atomic Robo week.  It blew me out of the water with how creative, intelligent, and exciting it was.  Love it to pieces.

Maxy - Stephanie Brown - This is a solid - and hilarious - Batgirl page.  Love the use of Johnny C (rest his comic book soul) and the quick banter.  Reads just like the Stephanie Brown we all know and love.

MK - J. Jonah Jameson - This page makes me laugh every time.  I know it's a J. Jonah page, but I love the way you write Spider-Man.  That last line is solid gold.

Rol - Dashiell Bad Horse - Perfectly conceived concept that was executed even better.  Bonus points for the incredibly dark humour.  More bonus points for coming up with the various screams of that poor sob.

Ryan - Dashiell Bad Horse - This one still sticks with me.  The idea took me completely by surprise and hit me like a ton of bricks.  I wish every page of every comic could feel so poignant (well, that might be a little exhausting, but still...).  The title is perfect, too.

Sime - The Riddler - Oh man, this one gives me shivers.  Great take on the Riddler - and an even better take on the Joker.  I don't envy Edward's plight, but I envy you for having written it.

Of course, these are only some of the many scripts I've had the pleasure of going through since discovering this site, and I can't wait to see the many, many more that are yet to be written.

If you've made it this far, you have my thanks for taking the time to read some of my somewhat self-indulgent thoughts.  I hope they've been somewhat enlightening for you.