Monday, December 30, 2013
Sunday, December 29, 2013
Sometime in the 1920s -- before Skinner Sweet meets Pearl Jones -- Sweet hitches a lift from a pilot named Fawkes in an old, enclosed cockpit bi-plane. Fawkes is driving Sweet insane with his small-talk.
Panel 1: Two-shot of the cockpit. Fawkes is flying, Sweet stares out the side with a murderous look in his eyes. Fawkes smiles obliviously. He is the stereotypical, middle-aged, upper-class British WW1-era pilot; moustache, white scarf, etc.
FAWKES: It was during the big war that I learned how to fly, of course, but I think it'll be a skill required more and more in this day and age. There may even come a time when every home has an aeroplane in the garage!
Panel 2: Same shot. Sweet now has his head in his hands.
FAWKES: ...after Barbara died, I moved out here to California. Yes, my boy, you Yanks certainly know how to live. I know you all get a bit of a bum reputation, but I think that's just jealousy, quite frankly.
Panel 3: Same shot, Sweet has now looked up with a wicked grin.
SWEET: I think you're on to something there, actually.
SWEET: Most of my dealings with Yoo-row-pee-ans... well, let's just say American values came out on top.
FAWKES: There you are, see? Although I suppose you can say you've met one nice Brit now. Why, without me, you wouldn't be in the air at all! Better hope nothing happens to me, eh?
Panel 4: Same shot. Sweet's claws are growing and his fangs are on display. Fawkes remains oblivious.
SWEET: Yeah, about that...
SWEET: Ever hear the tale of the scorpion and the fox?
END OF PAGE
A long time ago, before Twilight and its sparkly, expressionless would-be romantics, vampires were scary. They stalked the night, hiding in the shadows, creeping up on their human prey, only to sink their sharp fangs in and drink the blood like it was juice from a mango. Skinner Sweet is not only a return to that terrifying brand of bloodsucker; he's even scarier.
Co-created by acclaimed master of horror fiction Stephen King, Sweet is the first ever American vampire. With him, a new strain of vampirism is created; just as different animal species are found on different continents. Skinner Sweet is the next evolution of vampire. He, and all other American vampires, can walk during daylight, but are weak when there's no moon out, and are invulnerable to just about everything except gold.
But that's not all that sets Skinner apart. Don't let his sweet tooth (sweet fang?) fool you -- the man is evil to the bone. Even before he was feasting on the living, Sweet was a ruthless old west outlaw, the worst of the worst, with absolutely no empathy for his fellow man. In fact, he almost seems to go out his way to treat people worse. It's in his blood.
As a vampire, Sweet has lived a long time, and has seen much of America's 20th century unfold before him. Not that he'd care himself though, but Scott Snyder and Rafael Albuquerque's American Vampire is as much about history as it is about horror. Skinner Sweet is just along for the ride.
And there's nothing sparkly or romantic about him.
Saturday, December 28, 2013
Liam Cartwright (36) walks down the street. He looks in need of a wash and a sleep and a friend. He carries a light plastic carrier bag which holds a six pack of beer.
Liam walks down a different street, lined with pubs instead of shops.
Liam sits in a small kitchen. The six pack is on the table and Liam holds one of the cans. There are a dozen scattered empty cans on the counter behind him.
Friday, December 27, 2013
Cap: DASHING THROUGH THE SNOW
CLOSE TO CHRISTMAS DAY
Panel 2: Children run through the streets, frightened out of their wits.
Cap: O'ER THE STREETS THEY RUN
TREMBLING ALL THE WAY
Panel 3: Krampus graps a screaming child and puts him in the bag.
Cap: CAN'T ESCAPE HIS GRASP
MAKING CHILDREN CRY
Panel 4: Krampus chases after more children, a manic grin on his face.
Cap: OH WHAT FUN TO HEAR THEIR SCREAMS
A STEALING SONG TONIGHT!
Thursday, December 26, 2013
Panel 1: Wide shot. Krampus and Santa stand upon a cliff edge in the North Pole. They are sword-fighting with candy canes, locked together, intensely staring each other down. Santa's back is to the edge.
SANTA: You can't win, Krampus! Strike me down and I shall become more jolly than you can possibly imagine!
KRAMPUS: I don't need to strike you down!
Panel 2: Close-up of Krampus slicing off Santa's hand with his candy cane.
Panel 3: Santa kneels, clutching his hand, by the cliff edge, his candy cane discarded. Krampus stands over him, hand extended, candy cane pointing down.
KRAMPUS: There is no escape. Join me! With our combined power, we could rule Christmas!
SANTA: I'll never join you!
Panel 4: Close up on Krampus, gloating.
KRAMPUS: If only you knew the power of the Naughty Side. If only you knew what happened to your father...
Panel 5: Close up of Santa, in pain.
SANTA: You killed him!
KRAMPUS (O.P.): No, Santa...
Panel 6: Medium shot of both. Krampus clenches his fist, grinning. Santa looks utterly defeated.
KRAMPUS: I AM YOUR FATHER!
END OF PAGE
Wednesday, December 25, 2013
Monday, December 23, 2013
1. A father sits on his child's bed on X-Mas eve. He is putting his little girl to sleep.
Daddy. I'm scared.
Scared of what honey?
That the Krampus is going to come and get me.
2. The father is smiling. He is amused at her youthful gullibility.
Remember darling the Krampus only takes away little girls who have been naughty.
Have you been naughty?
I don't think so.
Well there you go. Now you just have to make sure you keep on being good and the Krampus will leave you alone.
3. The father is up and is walking out the door, turning off the light to the little girl's room. The corridor in front of him is dark.
Good night darling.
4. The father is in his dark room. He looks around cautiously as he readies himself for bed. He thinks he can hear something.
Is someone there?
VOICE (off panel)
Lying to your daughter?
5. The man is petrified. Behind him we see two large eyes, two large horns and a row of teeth glistening in the moonlight, emerging from the shadows of the room.
Sunday, December 22, 2013
Splash Page - Setting: the cave lair of the KRAMPUS. Foreground, the KRAMPUS is locked in combat with a powered-up SANTA CLAUS, who is wreathed in Christmas light-like Kirby crackle. In the background, LUKE CAGE is leading the captive CHILDREN to the cave mouth exit as IRON FIST smashes open another prison pen, next to a gigantic Simonson-esque bone-pulverizing, bread-making machine.
IRON FIST: Hurry, Luke! Get the kids to the sleigh!
CAPTION: It's a Cruel Yule in the Mighty Marvel Manner! The Heroes for Hire in an epic battle between Naughty and Nice, In a Xmas tale we hadta call...
TITLE: LUKE CAGE'S SSSSSSSWEET CHRISTMAS SONG!
CAPTION: a Wonsowski-Aja joint.
|c'mon...just look at him!|
Saturday, December 21, 2013
Bandette running left to right, toward a corner. She carries a map bag. Ref -http://www.applegazette.com/
Around the corner, running right to left, we see Amelie - http://www.imdb.com/title/
She carries a red bag, ref http://4.bp.blogspot.com/_
The two reach the corner at the same time and crash into each other. Their bags fly from their shoulders with the impact.
The two sit on the ground. Little red birds fly around Bandette's head, little blue ones around Amelie's. One red and one blue bird have a cheerful conversation in the foreground.
From Amelie's bag has fallen a photo album full of reconstituted torn-up photobooth pictures - all of different people. One photo of a garden gnome in front of the Eiffel Tower pokes out from another page.
From Bandette's bag has fallen some documents in manilla folders marked "TOP SECRET"
Bandette looking down at the photo album.
Amelie eyeing the "TOP SECRET" papers.
Tight cropped shot, forehead to chin. Both look at eachother and smirk.
Both run off in opposite directions - Amelie with Bandette's bag and vice versa.
Friday, December 20, 2013
Fantomas: SO IT SEEMS WE WERE ALL DELIVERED A MYSTERIOUS MISSIVE UNDER COVER OF NIGHT, NOTIFYING US THAT THE RUBY RINGS WOULD BE ESPECIALLY VULNERABLE TONIGHT.
Bandette: SOMEONE MUST HAVE MEANT FOR US TO MEET HERE, AT THIS TIME... BUT WHY?
Panel 2: Inset panel. Bars shoot up from the windowsills, making all windows impassable
Panel 5: All the thieves have realized that they are trapped, and a mysterious voice emanated from an unseen speaker.
ALL: A TRAP!
SPEAKER(OP): I SEE YOU'VE REALIZED MY INTENTIONS. I HAVE IMPLANTED A SERIES OF TRAPS IN THIS MANSION, AND THE ONLY WAY TO ESCAPE WITH YOUR LIVES IS TO PROVE THAT THERE IS INDEED... HONOR AMONG THIEVES.
Thursday, December 19, 2013
Panel 1: Full-page splash. An unveiling at a very expensive art gallery. Except, instead of their priceless artwork, there is a portrait of Bandette half out of a window with the actual painting under her arm. She is winking at the viewer. This is the main focus of the page, with gasping patrons looking on, one of whom still holds the curtain that was over the painting. Inspector BD Bélgique stands in the foreground, raising his fist and shouting at the sky.
END OF PAGE
Wednesday, December 18, 2013
Monday, December 16, 2013
1. The inspector is sitting at his desk. It is dimly lit. He has a cigarette in his hand, his hair frazzled. HE is looking very grim.
It's not the same any more. They city has been plunged into darkness. Filth walks the streets
BANDETTE (off panel)
Do not worry, Inspector.
2. Reveal of Bandette - she is in a new costume which looks decisively noir-ish. This is a darker Bandette who means business.
I will bring the light back to our city. I will clean up this town!
3. In the street Bandette is giving orders to two obvious criminals. One is screwing in a new light bulb into a street light while another sweeps up rubbish in the street.
Only twenty nine more streets to go, hoodlums.
Sunday, December 15, 2013
Saturday, December 14, 2013
- The set-up: The unthinkable has happened - a McDonald's has opened next door to Bob's Burgers...
Panel 1 - ...BOB (left) stands in front of his storefront, fuming angrily, as SIMON MCDONALD (right) struts to the sidewalk space before his McDonald's, carrying a sandwich board sign.
Panel 2 - BOB starts scrabbling furiously at his slate sandwich board with a piece of chalk. SIMON's is whiteboard with marker. He stands pridefully,one hand resting upon the sign that reads: BEN's ROAST'n'ALL sandwich - a 1/2 lb. Roast Beef sandwich on a toasted bun with all the fixin's.
Panel 3 - BOB reveals his blackboard sign: the FRYIN' MAN-TON - 2/3 pound of shredded crispy deep-fried grilled burger topped with fried onions, fried tomatoes, and fried jalepeños, on a french-fried roll. SIMON, meanwhile, reworks his sign in cartoonish clouds of dust.
Panel 4 - SIMON now stands smugly by his sign which now reads: the GRAND MAC - 3/4 lb. burger patties, special sauce, lettuce, cheese, pickles, on a sesame seed bun (patent pending). BOB, more angry, reworks his sign.
Panel 5 - BOB glowers at SIMON as he reveals his sign: the J.D. - 7/8 lb. burger, marinated in Jack Daniels, topped with Jack-Denby cheese and crispity frizzled onions. SIMON reworks his sign again.
Panel 6 - SIMON angrily reveals his sign: the BIG MK - 1 pound of all-beef pattie, special sauce, lettuce, cheese, pickles, on a sesame seed bun (patent still pending). BOB furiously works again.
Panel 7 - BOB shoots daggers out his eyes as we read his sign: a caricature of Terrance Stamp's ZOD reads: KNEEL, JACK.O.B. - 5 quarter-pound patties topped with pepperjack, onions, and baked beans. SIMON, near exhaustion, gives his sign one more go.
Panel 8 - SIMON, sweating, shows off his sign: RYAN's KI-LO - One full kilogram of beef, topped with cheddar, avocado, and crunch pork rinds. BOB, lightbulb over his head, finishes his sign.
Panel 9 - BOB, arms crossed over his chest in victory, stands by his sign: the 1-SOW-SKI! - 1 kilo of chopped sirloin, topped with a pound of bacon, sandwiched between two skids of fried pork chop - comes with a side of Fried Chicken. (For the ladies: toss Shaun's Richest salad!). SIMON carries off his sign down the sidewalk in defeat as we see his McDonald's is now closed.
Friday, December 13, 2013
Panel 2: Jon Benjamin, from Jon Benjamin Has A Van, walks intently into the shop with his crew, as he talks to the camera.
Jon: WE'RE HERE IN BOB'S BURGERS, A LOCAL HAMBURGER SHOP, TO ASK THE PROPRIETOR WHAT HE THINKS ABOUT THE WAR IN SYRIA.
Panel 3: Gene and Louise run in and start goofing off for the camera as Jon Benjamin points his microphone into Bob's face.
Bob: WHAT? WHAT IS THIS?
Jon: WAR IN SYRIA, WHAT DO YOU THINK?
Panel 4: Bob shrugs as Gene and Louise keep messing around. Jon's expression stays the same.
Bob: UH, I DUNNO. PROBABLY PRETTY HARSH FOR THE SYRIANS, I GUESS.
Panel 5: Bob stares awkwardly into the camera, as Jon keeps staring at him and Gene and Louise keep mugging.
Panel 6: Bob, noticably anxious, starts to talk to Jon.
Bob: SO, WHAT, ARE WE DONE HERE? I HAVE THINGS TO DO. BURGERS NEED TO BE EATEN. BY PEOPLE.
Thursday, December 12, 2013
Panel 1: In the art style of Ivan Reis. Close-up of a burger sitting on a counter. Very detailed.
CAPTION: Geoff Johns
BOB (CAP): My name is Bob Belcher.
BOB (CAP): When I was a child, my father would take me for a burger every weekend...
BOB (CAP): Then he died, and I vowed to make burgers every day of my life for him.
Panel 2: In the art style of John Romita Jr. Wide shot of Bob's burger joint. A thug in a leather jacket and balaclava smashes through the window, firing off a gun. Bob levels a shotgun at him from behind the counter. Customers and Bob's family run screaming.
CAPTION: Mark Millar
THUG: THIS IS A SHITTING ROBBERY!
BOB: Today's Burger of the Day: YOUR ASS-BURGERS!
Panel 3: In the art style of Bryan Hitch. Close up of Bob's face as he looks contemplative. Almost the entire panel is captions.
CAPTION: Brian Michael Bendis
BOB (CAP): Okay, here's the deal... I'm Bob, I make burgers.
BOB (CAP): But that's... Listen, that's not all there is to me, okay?
BOB (CAP): I got my family too. That's a whole other thing. Okay?
BOB (CAP): What I'm saying-- Look, listen... what I'm trying to say is... there's more to me than burgers, okay?
BOB (CAP): Seriously.
BOB (CAP): Come on!
BOB (CAP): ExACTly.
BOB (CAP): Okay?
Panel 4: In the style of Kevin O'Neill. Wide shot of the diner. There is an extraordinary level of detail in the background. Like, you can see characters' entire life stories. In the foreground, a mysterious customer sits at the counter, talking with Bob, and looking with far too much interest at his burger.
CAPTION: Alan Moore
CUSTOMER: What horrors from the Hells of Dante and Milton take form in this, a maddening gastronomic conflagration of what once were delicacies, sits now in front of me? Oh, for the bygone days when once a man could enjoy a simple meal without such grotesque deformities of former simplicities.
BOB: So, you want ketchup with that?
END OF PAGE
Wednesday, December 11, 2013
Sunday, December 8, 2013
Meet Bob - burger artist extraordinaire.
Bob's Burgers is an American animated sitcom created by Loren Bouchard. The series centres on the Belcher family – parents Bob and Linda, and their children Tina, Gene, and Louise – who run a hamburger restaurant.
While the Simpsons remain the most famous animated family, Bob and Co. are fast earning their place as one of the most relatable and likeable families on TV. There is a huge ensemble cast of extended family, friends, neighbours and customers and a healthy love of puns throughout. Though the situations they find themselves in are often absurd, the family dynamic is always believable and remains the core of the show. I guess it also helps that it is one of the funniest programmes currently in production - animated or otherwise.
So get ready for the grand re-re-re-opening of Bob's Burgers on Thoughtballoons!
P.S. I hope everyone includes a Burger of the Day pun :)
Saturday, December 7, 2013
1 - From a distance, we see the 8TH DOCTOR floating cruciform, upside-down and askew, in the nothing; he is battered, bloodied, and most definitely "dead". There is a Kirby-esque spear through his torso and his sonic screwdriver is nailed into the center of his forehead.
CAPTION: I have watched you wage your private war forever.
2 - Close-up on the 8TH DOCTOR's face. His eyes are rolled up and the bloody sonic screwdriver is flickering out.
CAPTION: I have watched you bleed and die for a Creation that does not acknowledge your presence or thank you.
3 - Same as 2, but pull out a touch, as the TARDIS warps in the background.
CAPTION: I have found you, and lost you, and found you again.
4 - Pull out a touch, as we see the impaled 8TH DOCTOR waver and shine as the regeneration begins, the TARDIS closer now.
CAPTION: And I have sheltered your broken body and mind as you are born again.
5 - Close back in on the head and torso, the TARDIS closer now. The DOCTOR has regenerated, the spear now gone, revealing the clean and unhurt 9TH incarnation.
CAPTION: Because your war continues. Because you are needed.
6 - Close-up on the 9TH DOCTOR's face, framed by the open door of the TARDIS, now right behind him. The DOCTOR's eyes are slammed wide open.
CAPTION: Because I love you.
Friday, December 6, 2013
Thursday, December 5, 2013
Panel 1: Long panel, extreme wide shot of the TARDIS in the Time Vortex. It is just barely visible, so small. At either end of the Vortex is an explosion hurtling towards the middle, where the TARDIS is. Both look like fiery meteors about to smash the little blue box.
DOCTOR (CAP): "Okay, so we're at the precise middle of time, exactly halfway between the Big Bang and the Heat Death, and the Universe is having a mid-life crisis."
Panel 2: The TARDIS Control Room (current version). The Doctor (11th) frantically works the controls, while pointing at the viewscreen depicting Panel 1 to a worried Clara.
DOCTOR: Someone has activated an energy magnet in the Vortex that is attracting those two points together through time -- the two most powerful energy outputs in history -- and if they collide at this perfect halfway moment, the shockwave will reverberate backwards and forwards in time equally, destroying everything that ever was or will be!
Panel 3: On Clara, panicked, as the Doctor continues working controls.
CLARA: Well, what are you gonna do?
DOCTOR: Me? Nothing.
Panel 4: Same as Panel 1, but now the energy explosions are closer to the TARDIS.
DOCTOR: It's up to the TARDIS now.
DOCTOR: She needs to reverse the polarity... of the Universe!
END OF PAGE