Multiple Man – One Woman Army - MK Stangeland Jr.

(1 Panel)

Panel 1: SPLASH PAGE!

The large SENTINEL army flies at the X-MEN’s Blackbird. In front of the Blackbird is an equally large air-force made up exclusively of ROGUE, having duplicated herself after absorbing the powers from the MADROX duplicate that jumped out the back of the plane. The ROGUE force is very much prepared to kick some serious SENTINEL behind.

(END PAGE)

Jamie Madrox - Double Dipping - Grant McLaughlin

So I'm not actually sure if I've ever read a comic with Multiple Man in it, but like everyone else, I find his powers to be really fun to play with.  I think I have something that could more or less fit within continuity (he and Layla Miller are an item, right?).

Three rows of panels. Two equal sized panels for rows one and two. One page-wide panel for the last row. They all show the same angled shot, with panel 5 just showing more.

1 – Jamie is sitting at his kitchen table, reading a book. He is engrossed. If you think it'll add to the piece, Layla's speech balloons from off-panel can be written with a slight “musical” or “sexy” twist to them to reinforce her meaning.

LAYLA (off-panel) (1): Come to bed already, sweetie.

LAYLA (off-panel) (2): You know I have a special surprise for you.

2 – Jamie continues to read. He has not moved an inch, but he has raised his hand to snap his fingers. The snap comes after his response.

JAMIE: Be right there!

SFX (from fingers): *snap!*

3 – Jamie is still reading. His newly created dupe walks towards the bedroom where Layla is.

JAMIE DUPE: You'll have to tell me how it ends.

4 – Jamie is still reading, continuing to hold the same position from all the previous panels. No dialogue.

5 – The dupe Jamie flies by in the background, having been thrown out of the bedroom with inhuman force. He is partially undressed (but within good taste, of course). Make his positioning as wacky as you like. We're playing this one for laughs. Original Jamie is finally torn away from his book, his concentration replaced by a look of terror at his dupe's fate.

LAYLA (furious): I HOPE THAT BOOK WAS WORTH IT, BECAUSE YOU'RE A DEAD MAN, JAMIE MADROX!

Jamie Madrox – The Moment After – Ryan K Lindsay

PAGE 21 - 3 PANELS

1. Madrox is getting a wicked punch to the face. His head is shot back and to the side, his neck is twisting.

Caption: There’s always a moment in any war where you doubt yourself.

Caption: Hate yourself.

2. We see Madrox standing above Madrox, one knocked down, the other tensed and breathing deep, ready to knock him down again.

Caption: Hurt yourself.

3. The large panel at the bottom – Madroxs surround the central two fighting, this is Fight Club and we need make no bones about it. The one Madrox is getting up off the floor and charging the other Madrox, the Madroxs around are cheering. The Madrox getting up is the one with the dialogue balloon.

Caption: It’s not how you get through it that matters.

Caption: It’s what you are ready to do next.

Madrox: Raaargh!

Jamie Madrox - Multiple Murder Mystery - Ben Rosenthal

This page has two panels. However Panel 1 takes up almost the entire page, with Panel 2 a small panel down in the right hand corner of the page.

I have written the description of the panel below, with a caption from Jamie as he notices them. These all take place within the on panel – it shows Jamie working out what went on in the crime scene.

Each of the ‘clues’ that Jamie is looking at has a red circle around them.

1. A small one bedroom unit. Jamie Madrox stands to one side, looking around the room. The outline of a body is seen in the middle of the room.

To the left we see a window, broken.

CAPTION (Jamie)

Detective 101 and countless movies tell me that if a window is broken then that is the point of entry. Unless there are glass shards on the floor.

There are a few shards of glass on the floor below it, however they look somewhat different.

CAPTION (Jamie)

These shards don’t look the same. They’re thicker, more rounded. They didn’t come from that window, but were placed there to make us think that they were. Clever.

Next to Jamie we can just make out the open door. There is a key still in the door.

CAPTION (JAMIE)

The key still left in the lock confirms it. The victim knew the killer.

Splatters of blood can be seen on the nearby bed and up the wall.

CAPTION (JAMIE)

The blood splatters suggest a gunshot to the head, but beginning point is too neat. Too perfect.

There is a pool of blood near the outline of head.

CAPTION (Jamie)

The pool has been disturbed. Like someone has gathered it up after the kill, and flung it to make it look like a simple home invasion. Very tricky. They only question now is—

2. A close up of a confused Jamie Madrox.

CAPTION (Jamie)

Why did I do it?

Jamie Madrox - XX-Factor - Rol Hirst

Panel One.

The offices of X-Factor Investigations (or whatever they’re calling themselves this week). Jamie Madrox peeps his head around the door, looking pissed off. That’s all we can see in this panel.

Madrox: There’s a woman here to see you.

Panel Two.

Inside the office we see the original Jamie Madrox sitting at his desk. Which I guess means that the one we saw in the previous panel must be a dupe. That dupe is still standing in the doorway, arguing with Madrox.

Madrox (original): Show her in.

Madrox (dupe): I’m not your secretary, honey.

Madrox (original): Yes, you are. That’s why I created you this morning. While the rest of the team are in Chicago, I need someone to—

Panel Three.

The dupe holds up his hand in a “talk to the hand” gesture. The original crosses his arms impatiently.

Madrox (dupe): What-ever! She looks familiar, by the way. Can’t place her myself, but: cheap!?

Madrox (original): Well, if you can’t, I somehow doubt I’ll be able to. Not that I’ll get the chance unless you SHOW. HER. IN.


Panel Four.

The dupe storms out. Madrox sits with his chin resting on his hands, elbows on the desk. He looks grumpy.

Madrox (dupe): Huff... bitch!

CAP (Madrox): Great. I had to let my moody queen dupe out, didn’t I? It’ll be murder reabsorbing--

Panel Five.

A woman stands in the office doorway. A woman who looks slightly familiar. Just like Jamie Madrox, in fact, after a sex change. She’s not a bad looking woman. Pretty good figure on her. Her hair is shoulder length and streaked with blonde highlights. Not too heavily made up. She’s regarding Jamie with a wry smile, hands on her hips in a slightly provocative / packed with attitude pose.

CAP (Madrox): --her!?

Panel Six.

Close on Madrox, his jaw having dropped, pointing at the woman. Unlike his dupe, he knows exactly who she is.

Madrox: Who… what…when… where… how… why?

Panel Seven.

Close on She-Madrox, taking a sly pleasure in his shocked reaction.

She-Madrox: Exactly who you think; gender reassignment surgery; November, 2009; L.A.; you were drunk for three whole days and didn’t notice me gone when you finally sobered up; because I’m the part of you who never felt quite right in our... old body.

She-Madrox: Now, will you take my case or what…?

Why Jamie Madrox?

Because Peter David's X-Factor is a consistently enjoyable book and Jamie Madrox is one of my favourite mutant characters. He's a grumpy gumshoe detective (for those of you who dig the noir) who can't help getting dragged into mysteries involving the whole of the Marvel Universe. He has a very complicated love life. And some of the most argumentative, contrary and downright obnoxious teammates in comics.

Add to this his unique duplicating super power - every dupe having its own distinct personality, many of whom just don't want to go back into Madrox-prime once they finally get out - and you have an endless string of storytelling possibilities. Here's a character who can truly be anything you want him to be... as well as being himself. Go crazy.

Ghost Rider – Vengeance For Sale – Ryan K Lindsay

5 PANELS

Note: This would have to be Chris Eliopoulos doing this one.

1. Ghost Rider sits behind a lemonade stand type stall made of wood. It reads: Vengeance 4 Sale. Of course, some of the E’s are backwards and it looks pathetic. He’s sitting with his elbows on the stand and his flaming face in his hands.

Credits

VENGEANCE FOR SALE

2. A lone and young kid rides his bike down the street. The bike has a pole with a flag at the back, there’s a card pegged into the front wheel. The whole nine yards.

NO COPY

3. The kid pulls up in front of Ghost Rider’s stand. Ghost Rider looks excited, optimistic.

Ghost Rider: Vengeance for sale!

4. The kid flips a coin on the stand in front of Ghost Rider.

NO COPY

5. The kids rides off on his bike that has been Vengeance-ified. The flag is trailing flame, the handlebars are flaming. It still looks like the kid’s original bike but it’s cutely flaming. The kid is doing his best to look hardcore while still actually being cute.

Kid: Aw, yeah!

Ghost Rider - At The End Of The World - Dan Hill

I went a little 'off reservation' with this one. I've always been fascinated with some of the people who had the mantle of Ghost Rider before Johnny Blaze. In fact a mini-series or a batch of one shots would be great (similar to the one Ennis did about the Civil War era Rider).

At The End Of The World

Page One (Six Panels)

1.1

Large panel. We OPEN on a tight shot of Ghost Rider atop his bike screaming across a body of water, kicking up steam as he goes.

The first thing we notice is that this isn’t Johnny Blaze. The bike is slightly different (http://www.motorcyclespecs.co.za/Gallery%20%20A/Norton%20Dominator%20650SS%2066%20%201.jpg) and the clothing is closer to what Brando wore in The Wild One.

The second thing we notice is that this Ghost Rider appears to be falling apart with bits of his blazing skull shedding and trailing behind him like ash.

RICHARD KALE (CAPTION): My name is Richard Kale.

RICHARD KALE (CAPTION): I am the Ghost Rider.

RICHARD KALE (CAPTION): And I’m dying.

1.2

Kale has come to a stop somewhere on a stark looking beach. Everything looks dead or frozen. We’re a long way from civilization.

Reference: http://v5.cache2.c.bigcache.googleapis.com/static.panoramio.com/photos/original/32476903.jpg?redirect_counter=1

RICHARD KALE (CAPTION): This is a good a place as any.

1.3

Close up on Kale, his skin continuing to shed.

RICHARD KALE (CAPTION): They did something to me.

1.4

Large panel. ZOOM OUT to show a large group of HOODED ACOLYTES encircling and approaching Kale.

Kale has stepped off his bike, a small chain hanging at his side. He walks towards his enemies. He’s not afraid.

RICHARD KALE (CAPTION): Foolish zealots of Ba’al eager to please their master.

RICHARD KALE (CAPTION): They don’t understand.

RICHARD KALE (CAPTION): I’m just a safety on a loaded gun. A container.

1.5

Inset panel. Tight on Kale. Shafts of Hellfire have started to shoot out from the cracks in his face. The end is coming.

RICHARD KALE (CAPTION): It’s happening.

1.6

Large panel. Similar to Panel 1.4. Kale is near critical mass. Beams of hellfire shoot off from him in every direction, killing some of the acolytes in the process.

RICHARD KALE (CAPTION): “The Lord is a jealous God filled with vengeance and wrath.”

RICHARD KALE (CAPTION): I love you, Christina.

RICHARD KALE (CAPTION): I’m sorry.

CAPTION: Novaya Zemlya, 30th October 1961.

Ghost Rider – And Now for Something Completely Different - MK Stangeland Jr.

(If this idea has been used before, then I apologize. I don’t have much familiarity with the character, so any similarities this has to any existing Ghost Rider comics is purely coincidental.)

(6 Panels)

Panel 1: JOHNNY BLAZE is on his bike on the side of the road, and looks annoyed. He doesn’t look like GHOST RIDER at the moment. Behind him, a Motorcycle Cop has parked his bike, and the cop – OFFICER JONES (No Reference) - is standing next to JOHNNY BLAZE.

JOHNNY BLAZE: Something wrong, officer?

OFFICER JONES: Sure is. Where’s your helmet?

Panel 2: JOHNNY BLAZE isn’t looking at OFFICER JONES, but has a very annoyed look on his face – the kind that says ‘why am I putting up with this?’

OFFICER JONES is pulling his ticket book out of its pouch.

JOHNNY BLAZE: I don’t wear one.

OFFICER JONES (1): tisk, tisk

OFFICER JONES (2): Can’t have you riding around without a helmet, can we?

Panel 3: There’s a fire that’s starting to light up in JOHNNY BLAZE’s eyes.

OFFICER JONES: Mr…?

JOHNNY BLAZE: Rider.

OFFICER JONES: Alright, Mr. Rider. Can I see your license and registration, please?

Panel 4: JOHNNY BLAZE is looking up at OFFICER JONES.

JOHNNY BLAZE: Don’t you have anyone better to go ticket?

OFFICER JONES: Sorry, Mr. Rider, but law’s the law, and it’s for…

Panel 5: JOHNNY BLAZE has lit up and become GHOST RIDER. OFFICER JONES is rather shocked by this turn of events.

SFX: (From JOHNNY BLAZE transforming into GHOST RIDER) gghhhhuuuFF!!!

GHOST RIDER: It’s for what?

OFFICER JONES: GUAH!

Panel 6: OFFICER JONES has fallen to the ground in surprise. Panel looks up as GHOST RIDER looks down on OFFICER JONES.

GHOST RIDER (2): For my own good? My own safety?

(END PAGE)

Ghost Rider - Burdens - Grant McLaughlin

Four rows of panels.  The first row is a single, thin panel stretched across the page.  The second row is comprised of three panels (2 through 4), all of equal size.  The third row is comprised of two panels (5 and 6), also of equal size.  The fourth row is again a single panel stretched across the page, but it can be a little taller than panel 1.  Frankly, rows two through four can all be, more or less, of the same height.

1 – Night time. A far shot of Ghost Rider driving across a desert road. The road stretches form one side of the page to the other. There's no light other than Ghost Rider's own fire, which is brilliant against the night's darkness.

JOHNNY BLAZE (caption): It's a lonely road being the Spirit of Vengeance.

2 – Swing down to a 3/4ish shot from behind. Still pretty far off. It looks like there's a dingy bar off in the distance.

JOHNNY BLAZE (caption) (1): Souls cry out to you for retribution.

JOHNNY BLAZE (caption) (2): And they won't stop until you've made things right.

3 – The shot is still pretty far off. Ghost Rider is pulling into the parking lot. There's only one other bike there.

JOHNNY BLAZE (caption): You can say goodbye to your hopes and dreams. This here is a full-time gig.

4 – Ghost Rider stands in the bar's doorway, silhouetted by the light coming from within.

JOHNNY BLAZE (caption): You'll never get any thanks. There's nothing glamourous about it. And you can forget about ever being a “hero”.

5 – Shot from behind Ghost Rider's flaming skull. Ghost Rider is looking down at the drink on the bar.

JOHNNY BLAZE (caption): At this point, I know what you're thinking.

6 – Close-up of Ghost Rider's hand around the aforementioned drink. The hand is, of course, on fire, slowly boiling the drink.

GHOST RIDER: Then why do it?

JOHNNY BLAZE (off-panel): Darlin'...

7 – Switch angle to a straight on shot of Ghost Rider.  There's two reveals happening in this panel.  First, the Ghost Rider we've been following throughout the page is actually Alejandra, the young woman who got the GR mantle coming out of the events of Fear Itself.  Second, she is not alone.  Johnny Blaze sits next to her, but he is without any powers, just a regular man.  Alejandra is slouching forward, tired and defeated. Johnny has his hand on her shoulder, trying to reassure her.

JOHNNY BLAZE: You do it because you're the only one who can.

Ghost Rider - Last Man Standing – Rol Hirst

Panel One.

A man in a dentist’s smock rides a satanic golf buggy across a scenic green, swinging a burning golf club before him. Middle-aged men in golfing pants run screaming in terror. It’s a glorious summer afternoon. The buggy leaves scorching tread marks across the green. The man’s head is a flaming skull, distinguished by a pair of those thick plastic safety goggles dentists wear.

Dentist: Under par? Under par!? I’ll give you under par!

CAP (Dr. Strange): A dentist in Wyoming with a faustian five iron…

Panel Two.

A 2 year-old girl in a fiery Hello Kitty push chair tears through a Parisian children’s playground, raising hell. This baby ghost rider is armed with a brightly coloured plastic toy flame-thrower. French parents grab and shield their children, running for cover. What remains of the child’s mother is dragging along behind the pushchair, her hands seared to the handles.

Child: Je ne veux PAS une glace fraise!

CAP (Dr. Strange): A Parisian toddler who hated strawberry ice-cream…

Panel Three.

An enormous fat trucker with a flaming ghost rider skull sits at a table a motorway service / transport café. The table before him is filled with body parts, served up as a ghastly meal. Lots of blood and gore but also the occasional tyre mark scarring the skin of the arms and legs and torsos he is feasting on. Outside the café window behind him we can see a flaming, hellish juggernaut truck. His ride.

The man is thumping his fist on the table, demanding service from a terrified waitress.

Trucker: More ketchup!

CAP (Dr. Strange): A British truck driver with a necrophagic penchant for human roadkill…

Panel Four.

Close on Dr. Strange, looking worried. If Dr. Strange is looking worried, things are BAD. He’s wearing casual clothing (a brown jacket and tie) rather than the full-on Strange suit but he does have a swirly, Ditko-patterned cravat so we know it’s him. Although we can’t see much of the background, he’s standing in a seedy, dimly lit bar. We also can’t see who he’s talking to in this panel, but obviously it’s Johnny Blaze.

Strange: And that was just the first three. There have been hundreds more in the past seven days. It’s taken me that long to find you.

Blaze (O/P): Complete and utter waste of a week.

Panel Five.

Pull out to a wider shot. Johnny Blaze sits at the bar, staring into a whiskey glass. There’s a three quarters empty bottle of bourbon on the bar next to him and a nervous looking bartender eying him warily. Strange stands behind Johnny, trying to persuade him how BAD things are getting. Johnny doesn’t want to know.

Strange: You don’t seem to grasp the severity of this situation, Johnny. The whole world’s going Ghost Rider!

Johnny: Not the whole world…

Panel Six.

Finally Johnny turns to face Dr. Strange. But something's wrong with the good doctor. His face is starting to smoke, his skin starting to bubble, his hair starting to frazzle. Johnny's face looks terrible: wracked with guilt and remorse worse than he's ever experienced before. What has he done?

In the background, the bartender's head goes up in flames.

Johnny: See, I made another deal, Stephen...

Johnny: I’ll never be Ghost Rider again.

NEXT: One Man vs. One Billion Ghost Riders.

Ghost Rider – Own Private Hell - Ben Rosenthal

1. A room in an intensive care unit. Johnny Blaze lays in the bed, hooked up to various medical machines. He is gaunt – a shell of who he once was. He is barely conscious. An unknown woman is by his side. She loves him, and is with him in what appears to be Jonny’s final hours.

JOHNNY

It’s alright. I’ve served Him well.

2. A close up of Johnny’s face. His eyes closed for the last time.

JOHNNY

It’ll be.....

3. Same as Panel 2. Johnny is unmoving.

4. Same framing as Panel 2, however Johnny’s head has burst into flames, skull beginning to show as Johnny’s flesh burns away.

5. Ghost Rider is getting himself out of bed, pulling the various cables out of his body. The unknown woman is screaming at him. She knows of Johnny’s alternate identity, and is furious that he cannot let Johnny rest peacefully

WOMAN

Why can’t you just let him rest? JUST LEAVE HIM ALONE DAMN YOU!

GHOST RIDER

Your boy Johnny’s soul is owned by Mephisto. He goes to hell once he dies.

6. Ghost Rider stands tall, looking sad for Johnny.

GHOST RIDER

I am his Hell.

Ghost Rider – Bounty Of The Beast. - Shaun Richens.

PAGE 1.

5 PANELS.

1. A run down bar at the side of a desert road. Motorcycles are parked up outside. We are looking straight on at it.

CROOK (FROM INSIDE THE BAR) 1: Oh Shit

CROOK (FROM INSIDE THE BAR) 2: No man, come on. What the fuck?

2. The body of the crook comes smashing through the front window of the bar, glass going everywhere.

            SFX: KA-SSH

3. Ghost Rider walking out of the bar. He has a shotgun in hand and a slight grin on his face. This is the ‘damn’ Ghost Rider looks badass panel.

4. We look down over Ghost Riders spiked shoulder as he points the shotgun towards the crook laid out on the ground. Little sparks of electricity fizz from the fingertips of the crook as he raises his arms to defend himself.

GHOST RIDER 1: A little electricity power?

GHOST RIDER 2: Is that all a souls worth these days?

GHOST RIDER 3: You can explain yourself on the way.

5. A page wide panel. We are looking down from a bird’s eye view. A desert road stretches form the left hand side right across the centre of the panel to the right. The Ghost Rider is on his bike speeding down the road, his flaming skull leaving a slight trail of smoking flame behind it. Dragging alone the rear of the bike is the crook, attached to the bike by a thick chain.

            CROOK: Let me go man, I’ll do whatever you want.

GHOST RIDER 1: Can’t do that I’m afraid.

GHOST RIDER 2: You gotta date with a demon. Seems a two-bit cons soul ain’t much of an investment. He wants his power back.

This idea has been bouncing around in my head for a while. It’s a mini series idea that tells a tale that would see the Ghost Rider on a countywide mission to bring in crooks who had been selling their souls to other worldly demons for a slice of demonic power. Ghost Rider playing the role of super powered sheriff. Riding out to bring ‘em all in. It would play out like a dirty rock ‘n’ roll superhero road movie.

Why Ghost Rider?

Ghost Rider is one of the most visually interesting characters on the marvel rooster, from his flaming skull to the leather jacket and huge motorbike. He is pulp at its best, and yet he is always over looked.

His comic series have had ups and downs and even with this week’s release of the Ghost Riders second go at making it on the big screen. I sadly see little hope for our flaming hero having the same silver screen success as those other guys, Tony Stark, Steve Rogers and Peter Parker, you may have heard of them. This is a crying shame. So much potential lies in this material.

So it falls to us, the writers of Thought-balloons to show the world why Ghost Rider deserves their attention as much as those other heroes. Are you up to the challenge?

What with the him being the earthly embodiment of hellfire and vengeance, plus a motorcycle riding stuntman to boot it shouldn’t be to hard to showcase how awesome Johnny Blaze is.

So mount up and ride out.

It’s time to burn some rubber and set the world ablaze.

Black Manta - The Man Comes Around - Dan Hill

Page One

Three small-ish panels run across the top of the page with the rest taken up by a single, large image (Panel 1.4).

1.1
CLOSE UP on BLACK MANTA. He’s somewhere deep underwater, bubbles trailing behind him. The red eyepieces on his mask glow, cutting a swathe through the murky depths.

BLACK MANTA CAPTION: Perfect, mechanical death.

1.2
CUT TO a TIGHT SHOT on an ATLANTEAN GUARD somewhere on the fringes of Atlantean territory.

He peers towards CAMERA, into the distance.

What is that?

BLACK MANTA CAPTION: Ancient and untouched.

1.3
FIXED PANEL. Bubbles shoot from the guards mouth as he cries out in shock.

BLACK MANTA CAPTION: They will not bend to your will.

1.4
LARGE PANEL. From the guards POV we can see a seventy foot Megalodon approaching (http://en.wikipedia.org/wiki/Megalodon), it’s jaws open, an abyss of terror and pain. Sitting atop it is Black Manta, his red eyepieces still glowing.

Behind the Megalodon, through the murk, we can make out more dark shapes approaching.

BLACK MANTA CAPTION: You are not the master of all you survey.

BLACK MANTA CAPTION: King of Atlantis, son of Arthur Curry, we are coming for you.

Black Manta - Branding – Ryan K Lindsay

5 PANELS

1. Black Manta sits in a corporate board room. He is wearing his full regalia of helmet, etc, but he also has a suit and tie on over the top – and the tie is loosened and Manta looks kind of rumpled.. He is watching a corporate slideshow but we don’t see any of that, we just see the man slumped in his chair, it is not going well.

Exec(op): As you can see, we use the already established colour tones and we make you the mystery man on the scene.

2. Cut to a smug exec standing in front of slideshow projected on the wall. Think Barney Stinson, if you must. On the projected image is an artist’s rendition of Manta looking like some sort of midnight Miami Vice throwback.

Exec: You’ll be B.Manta, the midnight ghost who doesn’t take any crap from anyone.

3. The exec now isn’t sure.

Exec: No? Okay, here’s the last one.

4. The biggest panel of the page. Exec stands in front of a new image, it’s one of those sweet GI Joe style box graphics – this one shows Manta riding on top of his aqua jeep that’s got all sorts of inappropriate gaudy colours and yellow torpedoes. Manta is on top firing the mounted massive machine gun. I’d research the actual gun if I had the energy.

Exec: How boss are those torpedoes?

5. Manta is walking out of the room, he is pulling his tie completely loose.

Exec(op): C’mon, Manta, it’s right downstairs. Let’s hit Cabo and see how it feels on you.

Black Manta - Long Live the King - Grant McLaughlin

Okay, I'm putting a lot in here, but the basic premise is that Black Manta defeated Aquaman and his forces years ago and then became the ruler of Atlantis. Surprising no one, he hasn't been a great king, and things have been pretty tense throughout his rule. However, there have been various random acts of violence of late, and things have reached a tipping point. The people are rioting and Black Manta is scrambling to figure out what to do.

The panel layout isn't super important, but the last panel should take up at least a third of the page, if not more.

1 - Outside shot of the palace. It has seen brighter days. The buildings are worn and dilapidated.  People are rioting all around. There are guards trying to hold them back.

UNDERLING (from inside palace): We're trying, King Manta!

2 - Inside the throne room.  Unlike the outside of the palace (and Atlantis as a whole), no expense has been spared here.  The room is filled with opulence and the like, showing where Black Manta's priorities are. Black Manta is helmetless, but he maintains his signature colours and appearance. He wears a crown that is jet black, with two blood red gemstones inset like eyes. He also happens to be holding Aquaman's trident.  Black Manta is yelling at the underling.  He is furious.  Spittle flies from his mouth.  The underling cowers pathetically.

BLACK MANTA (1): I don't want excuses, I want results!  When I put out an order to stop the rioting, the rioting better damn well be stopped!

BLACK MANTA (2): If people won't listen, then send out the death sqauds and make them listen!

3 - Similar shot to the last panel, but Black Manta's body language has completely changed.  He is rather shocked and it is clear that he is also a little scared by what he's hearing.  The underling continues to cower.

UNSEEN FIGURE (off-panel): Spoken like a true tyrant.

BLACK MANTA: That voice...

4 - Close up of Black Manata.  He is now looking towards the (still) unseen figure.  His shock is now replaced by pure terror.  A cold sweat is already beading on his brow.

BLACK MANTA: B-but that's impossible!  You're dead!  I killed you!

UNSEEN FIGURE (off-panel): You clearly didn't do a very good job of it.

5 – Jackson Hyde stands in the centre of the throne room. Like Black Manta, he is much older than the Jackson Hyde we are familiar with. He is now a grown man, sporting many scars and wounds. Of particular note is a large group of scars that covers most of his neck and part of his lower face. He wears an expression of calm fury. Hard water constructs form at his sides. He is ready for a throw down, and it's not going to be pretty.

JACKSON: You'll soon wish you had.

Black Manta - Don't Drink The Water - Rol Hirst

Panel One.

Close on Black Manta’s mask. We’re looking up at it – worm’s eye view. Is it grinning at us, or is that just a trick of the light?

Manta: How long can a man survive without water?


Panel Two.

Wider shot. We are in a dry and dusty dungeon. Manta stands in front of the open doorway, half turned away from us, reading from a handheld computer. He’s wearing a nefarious looking shoulder bag (ie. one that matches his evil outfit). We’re still looking up from down on the floor.

Manta: I googled it. Between 3 and 7 days, depending on a variety of different factors I won’t bore you with.

Manta: My research, however, was unable to find the answer to a more specific question…

Panel Three.

Switch the viewpoint. Now we’re looking from above and behind Manta, down towards where we were looking up from in the first two panels. Manta has put the computer away and is pulling a bottle of mineral water from his bag.

Down on the floor before him is a severely dehydrated Aquaman. He’s reaching up towards us, desperate for a drink, yet still defiant, refusing to be broken.

Manta: How long can an Aquaman survive without water?

Aquaman: I won’t… beg…

Panel Four.

Aquaman’s pov again. Manta has crouched down and is offering Aquaman the bottle of water, having removed the top. Drops glisten in the light.

Manta: Oh, Arthur, what sort of monster do you take me for…?

Panel Five.

Aquaman grabs the bottle and drinks greedily.

Manta stands watching, malevolent.

Panel Six.

Aquaman vomits the water back up. He can’t drink it.

Manta looks victorious.

Aquaman: Ahurrrghh!

Manta: …the kind who’d take my enemy’s native element… and make it anathema to him?

Black Manta - Slice of Life - Ben Rosenthal

1. Aquaman sits on a couch in his underwater home. He reads “The Daily Bite” newspaper in front of his fire place. In the background we can see his front door.

SFX: KNOCK KNOCK KNOCK

2. Aquaman has opened the front door. From behind Aquaman, we see who was just knocking – it is Black Manta. However, he is wearing a white chef’s apron and a giant curly moustache to conceal his identity.

BLACK MANTA

Pizza for Mr Man.

3. Side shot of the two. Aquaman looks confused as he takes the pizza anyway.

AQUAMAN

I don’t recall ordering a pizza.

BLACK MANTA

Oh, it’s our new deal to promote our new Chilli Bomb Pizza – it will make your tastebuds ‘explode’.

Hehehe.

4. Outside of Aquaman’s house. Black Manta is in the foreground, visible from chest up. He covers his ears, awaiting a boom from the pizza bomp he just gave Aquaman. Through a window in Aquaman’s house we can see Aquaman enjoying a slice of pizza. He does not see Black Manta outside.

BLACK MANTA

Hope you enjoy my special dynamite topping, Aquaman.

What?

5. A pile of pizza boxes are on a motorcycle. The top one has “This one” written on it. Smoke is pouring out one of the pizza box’s side.

BLACK MANTA

I gave him the wrong-

6. A panel showing an explosion.

BOOM!

7. Same as Panel 4. Black Manta is charred black(er) from the explosion. He frowns. Through the window, Aquaman is rubbing his stomach with a wide grin on his face, oblivious to the explosion.

BLACK MANTA

-one.

Black Manta – The One Where Black Manta Almost Took Over the World – MK Stangeland Jr.

(6 Panels)

Panel 1: AQUAMAN tries to use his aquatic telepathy to summon allies.

SFX: Wum-wum-wum-wum-wum

Panel 2: BLACK MANTA is riding on the back of a shark like it’s a horse and wearing some kind of additional pieces of armor beyond his normal suit. The suit emits anti-waves that interfere with AQUAMAN’s telepathy.

BLACK MANTA: I don’t think so.

SFX: Muw-muw-muw-muw-muw

Panel 3: AQUAMAN is knocked backwards, feeling pain from the feedback loop caused by BLACK MANTA’s device.

AQUAMAN: AUGH!

Panel 4: AQUAMAN tries to recover as BLACK MANTA pushes a button on his helmet.

BLACK MANTA: My turn.

Panel 5: A version of AQUAMAN’s telepathic waves emit from BLACK MANTA’s helmet.

SFX: Wum-wum-wum-wum-wum-

Panel 6: Distance shot of AQUAMAN and BLACK MANTA as the waves continue to emit from BLACK MANTA’s helmet. We can start to see various sealife enter the panel as BLACK MANTA summons them to do his bidding.

SFX: -wum-wum-wum-wum-wum-wum-wum…

(END PAGE)

Why Black Manta?

You see that image to the right? Yeah, that one. The one with Black Manta surfing on the head of a shark that’s got a frikken LAZER BEAM attached to its head.

THAT’s why Black Manta.

Background information, for the uninformed. That image is of a miniature from a game called Heroclix. It’s a collectable miniatures game that’s largely focused on Superheroes (but Halo and Street Fighter and Lord of the Rings have made appearances as well) in which you put together teams of figures and have them fight other teams. That Black Manta piece is an actual, real figure in the game. And it’s sculpt is pretty much the most awesome sculpt in the whole game, if you ask me. I have one, and I keep it on my desk.

But here’s the problem - while Heroclix Black Manta gets to do stuff like surf around on sharks being a bad***, comics Black Manta…not so much. Sure, the adaptations have done a good job of making him a credible villain, like in Batman: The Brave and the Bold and the Justice League cartoon (even if it technically wasn’t Black Manta), but it hasn’t done a whole lot to improve his standing in the comics. All he’s really know for is ‘that guy who fights Aquaman’. That, and maybe that he’s the new Aqualad’s dad.

But as far as villains go, that’s a pretty pathetic track record. Hardly anything like what you’d expect from a character who gets a miniature where he’s riding around on top of a shark (which has a frikken LAZER BEAM attached to it’s head!)

Which is why I picked Black Manta. Because I want to see some scripts worthy of a man who can surf on the head of a shark.

Make it happen, people!

The Warriors - Aggressive Expansion - Dan Hill

I had far, far too many ideas for this one. Anyway, here goes:

PAGE ONE

The page consists of a row of three panels, followed by a row of two panels before two page width panels finish off the page.

1.1
Night. An alleyway somewhere in Queens. COWBOY is being chased by several members of The Knockdowns. His feet kick up puddles as he runs.

SFX

Tek-Tek-Tek

1.2
Still in Queens-- a children's playground abandoned in the moonlight. REMBRANDT runs through the swing set, pushing the chair up as he goes.

Behind him, more members of The Knockdowns.

REMBRANDT

*hef-hef-hef*

1.3
A dimly lit street, cars either side.

COCHISE, his back to CAMERA, beckons with both hands towards The Knockdowns running towards him.

COCHISE

Come on!

1.4
A CRANE SHOT of Cowboy, Rembrandt and Cochise meeting at a crossroads in the centre of the panel.

Knockdown's approach from all sides except the road leading off the bottom of the panel.

Cowboy and Rembrandt pull Cochise away from the approaching Knockdowns, turning to leave via the only route left.

CAPTION (SWAN)

The proof of battle is action--

1.5
The LEADER of The Knockdowns puts an arm out to hold back his gang-mates.

CAPTION (SWAN)

--proof of words, debate--

1.6
WIDE PANEL: Facing CAMERA, standing in the street and taking up the width of the panel are Cochise, Cowboy, Rembrandt, SNOW, SWAN (the centre of the panel) and VERMIN.

Behind them, an army.

All dressed in The Warrior's colours and uniform.

Cochise, beckons with a single finger, smirking.

SWAN

No time for speeches now--

1.7
WIDE PANEL: A map of the boroughs of New York each coloured differently.

The dark red shade of Coney Island seeps over into Queens. Superimposed over the map is a CLOSE UP on Swan's face.

CAPTION (SWAN)

--it's time to fight.

The Warriors – Take Back the Streets – MK Stangeland Jr.

(6 Panels)

Panel 1: Two members of THE WARRIORS, HOTSHOT and GRIM (New characters, no reference) are in a sort of hideout, but it’s currently uninhabited aside from these two. They are looking towards the entrance, where they are looking at a handful of individuals who are armed with impromptu weaponry.

HOTSHOT (1): Two questions, moron.

HOTSHOT (2): Who you think you are and what business you think you got stepping foot in our territory uninvited?

Panel 2: One of the men, CALLAHAN, looks to the leader, McDONALD.

CALLAHAN: ‘Their territory’, he says.

McDONALD: Heh.

Panel 3: The group begins to approach HOTSHOT and GRIMM.

McDONALD: We heard the gangs were getting together. Planning to take over the city.

Panel 4: HOTSHOT and GRIMM try to look tough.

GRIMM: You’re in the wrong spot to be asking about that.

CALLAHAN: You’re part of gang, aren’t ya?

HOTSHOT: Right we are! Warriors for life!

Panel 5: The group continues to close in on HOTSHOT and GRIMM.

McDONALD: Then we’re definitely in the right place. We represent an interested party that you gangs have overlooked.

HOTSHOT: Oh yeah, and what party is that?

Panel 6: The group moves in on HOTSHOT and GRIMM and prepares to attack.

McDONALD: The Concerned Citizenry of New York City!

(END PAGE)

The Warriors – Trending – Ryan K Lindsay

PAGE 1 - 4 PANELS

1. This panel runs from top to bottom and about over half of the page across. It is a Twitter feed. The trending search is #warriors Here are all the tweets, fit what you can.

Riffs4Lyf: Shit be jumpin off. #warriors
DJVOICE: You cats know where the beats be at. You listen to the street and know the #warriors need to feel the heat.
Vy0lence: Packin more than the usual 8 inches in my pants tonight, laydeez. #warriors
richardprice: They gonna be wandering what happened! #warriors
ConeYilland: Yo. #warriors #jumpinoff
Matrix: I eat Warriors for breakfast, and right now I’m very hungry! #yargh #warriors
LutherClone: #warriors #threefingerclink
walterhill: #splashpage #warriors #jumpinoff
baldies: Nobody fucks with the Baldies. Not even the #warriors
blackswan: Frame up, yo. You gotta start listening. #warriors #help
hotfuzz: Camped at 96th and Broadway. Whistle if you see them headed out way. #warriors #shutdown
dreamb0@t: Ajax is my expositional dream. #warriors

2. These three panels are stacked squares down the right hand side. This one shows Luther sitting in the back of a pimped out car, he’s looking down at his phone.

NO COPY

3. The DJ sits at her computerised work desk. A second screen shows her Twitter feed.

NO COPY

4. Swan and Ajax run down the street.

NO COPY

The Warriors - Once Were - Rol Hirst

Panel One.

Two men stand on a Coney Island boardwalk, looking out to sea. We see them from behind, they’re mostly in silhouette. The sun is setting over the ocean.

Man #1: I told you, man, that was 30 years ago. I left all that behind.

Panel Two.

Opposite angle (looking in from the sea), closer so we can see their faces. The two men are Swan and Snow, former Warriors… now both in their 50s. Swan wears a business suit. Snow is wearing his old Warriors vest and colours. It doesn’t really fit anymore since he’s filled out with the old middle-aged spread, but he’s holding it together.

Swan looks at Snow through narrowed eyes. Behind them, the lights of a fairground are twinkling.

Man #1 (Swan): I thought you did too, Snowball.

Panel Three.

The discussion becomes heated. Swan looks pissed off. Snow holds his hands up, a peacemaking gesture.

Snow: You know I did, Warlord. Got a nice gig playing--

Swan: Don’t call me that, man. I ain’t no—

Snow: You’ll always be Warlord to me, Swan. After that night in the Bronx…

Panel Four.

Close on Swan, grim-faced.

Swan: Look, I don’t mind shooting the breeze with you about old times, man – but that’s all they is.

Panel Five.

Swan turns and starts walking away down the boardwalk. Snow calls after him.

Swan: Those days are gone.

Snow: For us, that's as maybe…

Panel Six.

Swan freezes in the forefront of the panel. Over his shoulder we see Snow, wiping a tired hand down his face.

Snow: But not for my kids, man.

Snow: They got ‘em, Warlord. The Rogues. They got my kids.

Snow: And you know what they want in return…

The Warriors - Come Out and Pay - Ben Rosenthal

1. An elderly man stands behind a counter of a small town deli. He has receding white hair, glasses and wears a white top with black suspenders. He isn’t showing much emotion. We are looking at him as if he were talking to us.

OLD MAN

Can I help you, son?

2. A youthful man, mid twenties stands in front of the counter. We are seeing him from the old man’s point of view. He wears gang apparel, with a cocky demeanour. He is looking to his left, out the window as he speaks.

YOUTH

Yeah old man.

3. Back to the framing of Panel 1, with the youth grabbing the old man’s shirt and pulling him towards us. His other arms is unseen, however from the angle we can tell that is resides on the counter top. Again, this is from the youth’s point of view, so the arm grabbing the old man should look as if it is our own. The old man isn’t scared, just stonier faced than before.

YOUTH

You can give me everthin’ you got.

OLD MAN

I don’t have much-

4. Same framing as Panel 2, however the youth’s eyes are wide. He looks pale, and looks as if he is about to be sick. His mouth hangs open in disbelief.

OLD MAN (off panel)

-but what I do have-

5. A shot of the Youth’s hand on the counter. Out of it sticks a switchblade, having just been plunged into the youth’s hand by the old man.

OLD MAN (off panel)

-is yours.

The Warriors - Home - Grant McLaughlin

Page 22

Three rows of panels.  Rows 1 and 2 each take up about a quarter of the page.  Row 3 is the remaining half.  Row 1 is made up of two panels.  Row 2 is made up of three panels.  Row 3 is a single panel.

1 – Night time. Swan leads a group of Warriors (say four or five) through a dark, dirty alley. They look determined. A Warriors tag is visible along the wall.

CAPTION: The Warriors look after their own.

2 – A lone Electric Eliminator wears a look of terror on his face. He is unconsciously raising his arms to defend himself. Shadows of the Warriors are being cast on the singular gang member.

CAPTION: That usually means going out and wasting heads.

3 – The Eliminator is full on cowering, placing his arms over his head and crouching to be smaller. However, while the Warriors are all around him, they are walking by, paying him no heed.

CAPTION: But that's not always the answer.

4 – The Warriors approach the fire escape at the end of the alley. They are in the process of climbing up, with some helping others do so. Below, the Eliminator is looking up, curious as to how he avoided the beat down he was sure he had coming to him.

CAPTION: Sometimes you need to get a different perspective on things.

5 – A ¾ angle shot from above, looking down as the Warriors attain the top of the fire escape and the building. The night time doesn't seem quite so dark as the Warriors spread out on the roof.

CAPTION: Sometimes you need to rise above things like what colour is on whose back.

6 – The sun is rising on a new day. The panel is done in silhouette. The various Warriors are visible on the roof top, looking out on Coney Island. That being said, the emphasis should be on the skyline. Various buildings and amusement park rides are visible in the distance, but the vast majority of the panel is taken up by the ocean. The sun is just starting to come out, sitting contently on the water's edge.

CAPTION: And remind yourself what's really important.

Why The Warriors?

I love The Warriors.  It's rather far from what one might call a perfect film, but it's always been one of my favourites.

I've always thought of it as an exemplary lesson in world building.  The opening scene of the movie tells the audience everything they need to know about the world that the Warriors live in.  The lingo.  The clothing.  The rituals and mannerisms.  It's all there, and it's all I want.

From the boppers to the soldiers to their rumbles for their turf, this movie literally oozes style from start to finish.  Every single character you see is another chance to learn just a little more about the strange world these gangs all inhabit.  The whole thing might skimp a little bit when it comes to substance, but's that's a sacrifice that I'm more than willing to make.

I've always wanted to spend more time in their world.  The Rockstar game back in 2005 was a welcome opportunity.  As was the Dable Brothers' comic book adaptation (although I only ever found one issue of it).  But now we have our own chance to revisit these faces, both old and new.

So what do you say, suckas?

Can you dig it?

Indiana Jones – Learning From History – Ryan K Lindsay

PAGE 5 - 5 PANELS

1. Indy stands in front of a packed lecture theatre. He can be small, leave room to the right for the speech bubble.

Indy: While history will no doubt always remember Hulle as the man who annihilated the Moa people, there is a much more fascinating side-tale the more erudite teachers of this fine establishment won't tell you.

2. An angel and a barbarian wrestle. The barbarian, Hulle, is behind the angel with his foot between the angel's shoulder blades and his fists wrapped around the two protruding wings.

Caption-Indy: Hulle was a religious man. Well, he believed in religion.

3. Hulle stands with wings aloft in his hands, bloody stumps dripping. He’s victorious.

Caption-Indy: He saw religion as a challenge, and one he could best.
Caption-Indy: One he did best.

4. Indy describes the current status of the legend

Indy: He used the feathers of Madrox the angel as a weapon, a quill, a decoration, a conversation piece, and even an aphrodisiac.

5. Two girls in the front row squeal.

Girls in unison: Sqeeeee!
SFX : SWOON

 

Indiana Jones – Indiana Jones and the Jar of Olympus - MK Stangeland Jr.

(5 Panels)

(INDIANA JONES and his partner GEORGE McHALE (MAC) have stolen a plane from the USSR in an attempt to escape Soviet agents and are currently flying over Eastern Europe. However, INDIANA JONES is being forced to fly the plane since MAC was hurt and unable to use both of his arms.)

Panel 1: Close-up on a pair of SOVIET PLANES as they fire their guns.

SFX: CHC-CHC-CHC-CHC-CHC-

Panel 2: Panel of INDY and MAC in the cockpit of their plane. MAC’s arm is in a sling. HIS EYES go wide as INDY takes the plane into a maneuver that no real and sane pilot would ever attempt.

INDY: Hang on!

Panel 3: Outside view of the plane, showing the maneuver INDY’s using to avoid getting the plane shot up.

MAC: $*&%@!

Panel 4: Interior Panel. MAC looks at INDY. He’s white-knuckled as he grips his seat.

MAC: I thought you said you knew how to fly!

INDY: I said I took a couple lessons!

Panel 5: Close-up on INDY’s face as he tries to concentrate on keeping the two alive.

INDY: Mostly I just learned how to land.

(END PAGE)