The Ventriloquist - It Takes A Warehouse Of Millions To Hold Us Back - Niel Jacoby

Panel 1: Batman is just about to open the door to a warehouse in Gotham's warehouse district, and is talking to Oracle over a radio transmitter in his cowl.

Batman: BARBARA, I THINK I'VE NARROWED DOWN THE VENTRILOQUIST'S HIDEOUT. THIS SHOULD BE A WALK IN THE-

Panel 2: Batman has opened the door and is reacting in surprise.

Oracle: BRUCE? BRUCE?

Panel 3: We see what Batman is reacting to, a warehouse full of discarded, decrepit mannequins, with the Ventriloquist sitting on a throne made of mannequin parts, Scarface on his knee. Ventriloquist is staring blankly ahead.

Batman(whispering):BARBARA, GET NIGHTWING AND ROBIN OVER HERE FAST.

Panel 4: Same viewpoint as P3, but the mannequins are beginning to get up, and are looking towards Batman. The Ventriloquist's voice is coming out of different mannequins in different parts of the warehouse, and the speech bubbles should reflect that.

Ventriloquist(1):HELLO
V(2):GATMAN
V(3):SO NICE
V(2):TO SEE
V(4):YOU
V(1):AGAIN.

Panel 5: Batman is overwhelmed by the mannequins, who are taking off his utility belt and restraining him.

Batman: WESKER!

V(1):NOW, NOW
V(2):GATMAN
V(3):PLAY NICE
V(2):YOU WON'T
V(1):GE LEAVING
V(4):FOR A
V(5):WHILE.

Panel 6: Close up on The Ventriloquist in his throne, Scarface on his knee. The Ventriloquist's voice still doesn't come out of his mouth, but out of a mannequin head integrated into the throne

Ventriloquist: DON'T YOU LIKE THE NEW ADDITIONS TO MY ACT, GATMAN? EVEN SCARFACE HERE LIKES THEM.

Scarface: YEAH, THIS MUG ACTUALLY DID SOMETHING GOOD FER ONCE, AN GOT ME A GANG TO TAKE OVER GOTHAM WIT.

Ventriloquist: THOUSANDS OF WALKING DOLLS, ALL WITH MY VOICE... MY WILL... MY MIND.

The Ventriloquist - "The Ventriloquist's No-no / Bat-Comedy-a-Go-Go" - R.A. Wonsowski

OK, couple notes about this script. One, a local TV station has been running episodes of the '60's Batman series. It's the one show all of us at home agree on and watch as a family. We love it. Now my boys read Jeff Parker's "Batman 66" on their tablet, and they think it's a hoot. So today, we'll explore that bygone era. I think you'll find my casting choice appropriate... Two, the following jokes are not mine. A college friend of mine whose name escapes me, that introduced me to the world of stand-up comedy, did this routine in an early version of his act. He was an amazing mimic, and did the voices perfectly - I still remember it word for word, if not my friend's name. Long overdue thanks to him. So, on with this week's thrilling Bat-chapter...

Layout:
123
444
444

Panel 1- the stage of an underground comedy club. ADAM WEST BATMAN sits on a wooden barstool with a microphone on a stand in front of him. BURT WARD ROBIN sits on his lap, make-up lines from the corners of his mouth straight down to his jawline, giving his face the look of a ventriloquist's dummy. BATMAN is calm and cool as he launches into his routine, but ROBIN does not look as confident...

CAPTION: What's this? The Dynamic Duo doing vaudeville at Gotham's Ha-Ha-Hacienda?

BATMAN: Say, old chum, just the other day I saw the Penguin walking his prize cocker spaniel.

Panel 2- same as Panel 1, but ROBIN's expression is open-mouthed, wide-eyed surprise, as BATMAN continues his story...

ROBIN: Holy Hound Dogs, Batman!

BATMAN: I said, Stop! Penguin, where are you going with that dog?

BATMAN: He told me that it had been biting, and was going to have to be put to sleep.

Panel 3- same as Panel 1&2, this time ROBIN nervously smiling as BATMAN enthusiastically delivers the punchline...

BATMAN: I said, Great Scott, Penguin, is your dog mad?

BATMAN: He said, no, but he isn't happy about it either.

Panel 4- Foreground, left, we see THE VENTRILOQUIST (played by Edgar Bergen) holding SCARFACE (an appropriately dressed "Charlie McCarthy" dummy) as they laugh over the Caped Crusaders' plight. Background, BATMAN and ROBIN are facing the heckling audience of EGGHEAD (Vincent Price), MARSHA, QUEEN OF DIAMONDS (Carolyn Jones), KING TUT (Victor Buono), the SIREN (Joan Collins), and the BOOKWORM (Roddy McDowell). The JOKER (Cesar Romero) stands on his chair menacingly.

JOKER: Boo! Hiss! Your jokes stink!

VENTRILOQUIST: HAHAHA!

CAPTION: Will Batman and Robin escape from this cackling cadre of killer critics? Tune in next time...

SCARFACE: Sane Gat-Tine, Sane Gat-Channel!

The Ventriloquist – Layers Upon Layers of String – MK Stangeland Jr.

(5 Panels)

Panel 1: ARNOLD WESKER is on the floor, backing up from a walking SCARFACE doll which, unbeknownst to ARNOLD, is a contraption being controlled by TOYMAN.

SCARFACE (1): Shut up n’ stand up!

SCARFACE (2): You’re an embarrassment, you know?

WESKER: But, but…

Panel 2: The SCARFACE robot has run up to WESKER and is slapping his face.

SCARFACE (1): Blah, blah, blah!

SFX: smak! smak! smak!

SCARFACE (2): Stop waddlin’ around like a baby and stand up like a man!

Panel 3: Inside a dark room, where TOYMAN is sitting in a chair. In front of him are control panels and monitors that allow him to control and see the POV of the SCARFACE robot. He’s talking into a microphone attached to a helmet that at first glance looks like its an overly elaborate earpiece setup, but is in actuality a mind-control helmet that allows ULTRA HUMANITE to influence TOYMAN’s decisions.

WESKER: (From monitor) Please, Scarface…

TOYMAN (1): PLEASE NOTHIN’! We got work to do, see?!

TOYMAN (2): You’re a joke, you know that?

Panel 4: Similar to PANEL 3, with the view of the monitor making it look like the SCARFACE robot is still pushing WESKER around. The look of TOYMAN should nonverbally communicate that TOYMAN thinks that he’s completely in control, and enjoying it.

TOYMAN (1): But it’s time we had the last laugh, see?

TOYMAN (2): I got big plans!

Panel 5: ULTRA-HUMANITE stands in a far more elaborate looking base. He wears a laboratory coat and holds a cup of tea in his hands. He grins as he watches the monitors in front of him, some of which focus on TOYMAN, while others relay information about the SCARFACE robot. ULTRA-HUMANITE also wears a simplistic looking headpiece that he’s using to influence TOYMAN’s behavior.

WESKER: (From monitor.) Big…plans?

TOYMAN/SCARFACE (1): Shut up and do what I tells ya, see?

TOYMAN/SCARFACE (2): My plans are so big, you’ll hurt yourself if I tell your stupid brain too much about them!

(END PAGE)

The Ventriloquist - Table Manners - Grant McLaughlin

Three rows of panels.  Row one is made up of panel 1, row two is panels 2 through 5, and row three is panels 6 through 9.

1 - Wide shot of Arnold Wesker and Scarface sitting at opposite ends of a dinner table.  It's set out for a meal, with plenty of food spread out across its surface (think a salad, potatoes, ham, some additional greens, and the like).  Wesker and Scarface both have plates filled with food in front of them.  Wesker picks at his food gingerly, while Scarface is (unsurprisingly) untouched.  While the room is poorly lit, it's clear that they both are somewhat worse for wear, as if they've recently barely emerged from a serious dustup - Wesker has bruises, scratches, and torn clothes, while Scarface is dinged up, missing some teeth and a damaged eye.

NO COPY

2 - Focus on Wesker.  He cuts into his ham with his fork and knife.  While he's looking down at his food, it's clear that his attention is on Scarface.

WESKER: I wish you'd eat something.  You need to regain your strength after what happened.

3 - Focus on Scarface.  The dummy sits on the chair, enveloped in ominous shadow.

NO COPY

4 - Wesker has the ham going up to his mouth, but has stopped to look at Scarface and "respond".  He looks hurt.

WESKER: Please don't yell.

5 - Back to Scarface.  Move in a bit closer.  The puppet has not moved, although the shadows remain.

NO COPY

6 - Wesker has put down his knife and fork.  He is pleading with Scarface.

WESKER: I know your upset, but --

7 - Scarface.  Closer still - right up near the face at this point.

NO COPY

8 - Wesker holds his head in his hands, crying.

WESKER (quietly): I'm sorry.

9 - Scarface.  We're right up near the damaged eye, which is sufficiently creepy with the darkness.

WESKER (off-panel): I'm sorry.

The Ventriloquist - Puppet Master - J.D. Coughlan

Batman reviews video footage of a time when Arnold Wesker was put under hypnosis in order to understand the roots of the Scarface persona.

All of these panels look like a monitor screen, the image black and white and slightly stacic-y, with "REC" and maybe a date/time stamp on them.

Panel 1: Arnold sits behind a desk in a doctor's office, wearing his Arkham jumpsuit. His head is slightly slumped forward, eyes closed.

DOCTOR (O.P.): Arnold, can you hear me?

ARNOLD: (small) Yes.

DOCTOR (O.P.): How old are you, Arnold?

ARNOLD: (small) Six.

Panel 2: Same shot.

DOCTOR (O.P.): And where are you?

ARNOLD: (small) In my house. With my mommy and daddy.

ARNOLD: *sniff*

Panel 3: Same shot. Arnold looks a bit more uncomfortable.

DOCTOR (O.P.): What's the matter, Arnold?

ARNOLD: (small) I think... I think something's wrong with my mommy and daddy.

ARNOLD: (small) There was lots of noise so I came downstairs and now they're not moving and I think it's cause I'm up past my bedtime and I don't want them to be mad--

Panel 4: Same shot. Arnold even more uncomfortable now, his face screwed up, holding back tears.

DOCTOR (O.P.): Arnold, Arnold, it's alright. Stay calm. Tell me what you're feeling.

ARNOLD: *sniff*

Panel 5: Same. Arnold now looks of the verge of crying.

ARNOLD: (small) I'm scared. I duh-- I duh-- I don't wanna be alone.

Panel 6: Same shot, but now Arnold looks up, eyes open, right into the camera. There is a wicked grin on his face. The text in his speech bubble should be notably different.

ARNOLD: You ain't alone, Arnie. I'll protect ya.

ARNOLD: Nobody's gonna hurt you again.

END OF PAGE

Why the Ventriloquist?

When he was a little boy, Arnold Wesker saw his parents gunned down by mobsters and, as a result, developed a dark alter ego to cope with the trauma. Sound familiar?

The Ventriloquist has always been one of Batman's most underrated villains. He is, in a nutshell, everything the Dark Knight's rogues gallery represents: Absurd, but still dangerous. A meek, nervous, badly dressed man who expresses his darker thoughts via a ventriloquist dummy which he gives a cruel, manipulative personality.

Like most Bat-villains, the Ventriloquist also represents a form of mental illness gone wrong. In this case, dissociative identity disorder, sometimes called multiple personality disorder. To Wesker, his dummy, Scarface, is a completely different person from him. He genuinely has no idea he's the one from whom these evil ideas spring forth; it's all Scarface's fault.

Having been part of Wesker since he was a child, Scarface is very much the dominating personality. Wesker knows what Scarface does is wrong, and often tries to speak out against him, but always to no avail. Leading to the question of who is the puppet and who is the puppeteer?

Days of Future Past - Magneto - R.A. Wonsowski

Layout:

1111
2233
2233
2233

Panel 1- Close-up, the eyes of MAGNETO. They are showing the strain and exertion of his power, as well as his age, the white brows furrowed from exhaustion.

CAPTION: Do you remember what I told you, Charles?

CAPTION: What would happen if they passed that law?

Panel 2- MAGNETO is levitating in an electromagnetic storm, above a mutant death camp. He is dressed in his olive green prison jumpsuit with the "M" marked over his left breast. His fists are clenched as he readies for attack. Behind him, a giant Sentinel is about to wrap its hands around him.

CAPTION: So much worse than chains and numbers. I never thought I'd see the ovens again.

CAPTION: We should have been gods striding the world, not marching toward smokestacks.

Panel 3- same as Panel 2, but the Sentinel has been taken apart, the components hanging in the air like a designer's exploded drawing. MAGNETO is calm before what he will accomplish next.

CAPTION: So if I am destined to face the extinction of Homo Superior...

CAPTION: I'll make sure Homo Sapiens marches right with us.

Days Of Future Past - 2099 Problems - Niel Jacoby

Panel 1: JAKE GALLOWS, the Punisher of the year 2099, and VICTOR VON DOOM in his 2099 incarnation stand before a portal. Gallows is uncertain, but Von Doom is resolute.

Gallows: YOU BETTER KNOW THIS, DOOM: WE AIN'T BROTHERS, WE AIN'T PARTNERS, AND WE AIN'T FRIENDS. ONCE WE'VE DEALT WITH THIS TIME-THREAT, I'M PUTTING A BULLET IN YOUR HEAD.

Doom: I AM WELL AWARE.

Panel 2: Gallows and Doom step into the portal.

NO COPY

Panel 3: Gallows and Doom exit the portal and find themselves in the year 2014.

Gallows: I CAN'T BELIEVE IT! CLEAN AIR, TREES, SUNLIGHT? THIS ISN'T ANY EARTH I'VE KNOWN.

Doom: YOU HAVE STUDIED YOUR HISTORY POORLY, JAKE GALLOWS. THIS INDEED WAS EARTH--BUT IF WE DON'T ACT FAST, IT MAY NOT BE MUCH LONGER!

Days of Future Past - Be Not Afraid - J.D. Coughlan

I haven't read the storyline, but as I understand it, Professor X is killed off quite early in this timeline. This is just before those events.

Three normal sized panels across the top, one large panel dominating the page.

Panel 1: Close up on Professor X. Over his shoulder, we see the gigantic leg of a Sentinel. It's probably not visible in this panel, but the mansion around him has been destroyed by the Sentinel, ripped open. The Professor is calm.

PROFESSOR X: I always knew this day would come.

Panel 2: Side view of the Professor. He remains staring ahead, almost not acknowledging the Sentinel. His hand is on the control for his wheelchair and he is slightly starting to turn.

PROFESSOR X: Throughout history, there have been people in power who seek to control or eliminate those who are different from them.

Panel 3: Close up on the back of the Sentinel's head as it looks down on the tiny Professor X, who is now half turned to face it.

PROFESSOR X: I have tried my whole life to show that such thinking is wrong...

Panel 4: Large. The giant Sentinel looms over Professor X, who now faces it, looking up, in the ruins of the mansion.

PROFESSOR X: But now that we are here...

PROFESSOR X: That those in power have deemed me too different to live...

PROFESSOR X: I am not afraid.

END OF PAGE

Days of Future Past – Doomed Either Way – MK Stangeland Jr.

(6 Panels)

PANEL 1: DR. DOOM crashes through the ceiling  - in typical DOOM style of feet first and arms proudly crossed - of a UN-type building in western Europe. A commotion erupts from the shocked and surprised delegates who are present.

SFX: CRASH!

PANEL 2: DR. DOOM lands at the podium at the center of the room, shoving aside the man who was standing there.

DR. DOOM: Representatives of the still free world. I AM DOOM! And I am now your lone salvation from destruction!

PANEL 3: A large holographic image appears behind DR. DOOM, displaying the state of SENTINAL-controlled USA.

DR. DOOM: Thanks to the short-sightedness of the PUNY RICHARDS’ home country, the world is threatened by pitiful machines that turn their eyes from across the ocean.

PANEL 4: Display of the EUROPEAN COASTLINE as a line of DOOMBOTS form a protective ‘boarderline’ around it.

DR. DOOM: The superior technology of my personal army of DOOMBOTS have already taken up position around Europe, Asia, Australia, and Africa to protect against Sentinel incursions.

PANEL 5: DR. DOOM in front of a map of the world – the map is divided into two sections. One part is labeled as ‘Sentinel Territory’, while the rest of it is labeled as one big ‘LATVERIA’.

DR. DOOM (1): Obviously, DR. DOOM cannot provide such a gift to a world that could so easily undermine his generosity with simple squabbling and indecision.

DR. DOOM (2): Therefore, Latveria hereby annexes the rest of the free world so that DOOM may properly protect the world as if all were citizens under his rule.

DR. DOOM (3): Because now they will be.

PANEL 6: DR. DOOM floats up into the air above the podium – arms proudly crossed in front of him much like they were when he entered – as he prepared to leave without giving anyone a chance to respond.

DR. DOOM: DR. DOOM and LATVERIA hereby accept your own failure to solve this problem on your own as acceptance of these terms.

DR. DOOM: DR. DOOM shall expect you to deliver plans by which to turn over leadership of your nations by this time tomorrow.

(END PAGE)

Days of Future Past - Some Retcons Are More Necessary Than Others - Grant McLaughlin

This scene would take place in the Mongolian monastery immediately after Wolverine is sent back in time by the rest of the X-Men.  Forgive me if the logistics aren't quite right - seeing as the movie hasn't yet released here, I'm basing some of this on the Wikipedia summary.  Either way, the important thing is that these are the movie versions of the characters (including their respective actors).

1 - In said monastery.  Wolverine has just been sent back in time.  Professor X, Magneto, Storm, and Kitty stand around looking at each other with expressions running the gamut from hope to doubt.  Professor X is particularly serious as only Patrick Stewart can be.  Towards the left side of the panel, there can be a door leading to another room - the only important thing about it is that it be visible.

PROFESSOR X: Now all we can do is wait and see.

2 - Move the focus to that door mentioned in panel 1.  Nothing has appeared, but a distinctively yellow word balloon emerges from it, as someone (guess who) is clearly just off-panel.

DEADPOOL (off-panel): Don't worry guys, I'm here to help!

3 - Switch back to a focus similar to that first panel, but Deadpool has now entered the frame from the left side of the panel.  Unfortunately, it's the terrible Ryan Reynolds movie version who has no mouth, a bunch of random mutant powers, and has pretty much nothing to do with Deadpool.  That being said, he does speak in the yellow Deadpool word balloons.  The gang from the panel 1 looks towards him in complete confusion.

THE GANG: ...

4 - Repeat panel.  The X-Men are still confused, and Deadpool is becoming somewhat bewildered as well.  He gesticulates wildly as he tries to jog their memory.

DEADPOOL (1): Don't you recognize me?  It's Wade Wilson!

DEADPOOL (2): aka Deadpool!

DEADPOOL (3): aka The Merc with a Mouth that everyone knows and loves!

5 - Close-up of Kitty as she leans towards Professor X to ask him a question.  In the background, Storm and Magneto are unimpressed.

STORM (quietly, in the background to Magneto): Why would anyone call him that if he doesn't have a mouth?

KITTY: Professor, what is he?

PROFESSOR X: The very thing that Logan is trying to prevent from ever happening in the first place.

Days of Future Past - Complete - Ben Rosenthal

1.  A close up on Master Mold's eyes.  They are scanning something off panel.

MASTER MOLD
Scanning.


2.  Pulling out on Master Mold.  It has finished scanning.

MASTER MOLD
Complete.  Analysing molecular structure.


3.  Further out still, from Master Mold's chest, up.  He is in the process of changing from the traditional pink to a silver.

MASTER MOLD
Complete.  Upgrading.


4. Reveal - Wolverine's adamantium laced skeleton lays on a slab in front of Master Mold, the same silver colour that Master Mold now is.

MASTER MOLD
Complete.

  

Future Shock - X-Men: Days of Future Past - Simon McDonald

PANEL ONE
Present day Eva Bell - Tempus - is suffering from a nightmare, bathed in sweat. Her eyes crackle with temporal energy.

TEMPUS

Nnngh - -

 

 

PANEL TWO

Cut to the past, where Destiny has her crossbow aimed at Senator Kelly, as behind her, Tempus's temporal energy begin to flicker. Perhaps we can see a fraction of Kitty Pryde, hiding and watching the scene.

 

 

DESTINY

Do not try to evade my crossbow bold, Senator.

 

PANEL THREE

Destiny (who is blind, remember) seems to sense something, turns in the direction of Tempus' glowing ethereal form.

 

DESTINY

I will sense your plans a heartbeat before you even - -

Eh?!

 

PANEL FOUR

Kelly takes advantage of Destiny's distraction, lunges at the crossbow.

 

SENTATOR KELLY

I won't give you that satisfaction, witch!

 

PANEL FIVE

Pull back. Kitty Pryde comes out of hiding charging at the tussling Destiny and Kelly, while Tempus's temporal energy lights the scene in an eerie glow.

 

KITTY PRYDE

Senator, no!

 

SENATOR KELLY

Break your neck...

 

PANEL SIX

On Sentator Kelly's eyes, through his glasses, wide with shock.

 

SFX

Thuck!

 

SENATOR KELLY

(small)

Ah.



Why X-Men: Days Of Future Past

I hadn't read Days of Future Past until a couple years ago, when the film adaptation was announced. I'd read bits and pieces of the Claremont and Byrne run at that point, but honestly, I don't think that stuff has aged particularly well. Too much exposition, too many words cluttering the art. Sacrilege? Maybe.

Most surprising to me was that the storyline is so finite. Given its resonance in comics history, I'd figured Days of Future Past was a Stephen King Dark Tower-esque opus. But it's actually a tight three issue arc, taking place in the pages of Uncanny X-Men #141-142. In it, an adult Kitty Pryde transfers her mind to her younger self, and rallies the X-Men to prevent a fatal moment in history that will lead to a dystopian future founded on anti-mutant hysteria. High stakes stuff, huh?

Cut to 2014, and just a few days from now, we'll be watching Days of Future Past on the big screen. A very different version, sure, with Wolverine taking center stage - but with its core narrative seemingly intact.

This week, we're playing in the Days of Future Past sandbox. Utilizing characters from the original comics, or from the adaptation, the Thoughtballoons crew has the opportunity to play in one of the greatest X-Men sandboxes of all time.

See you on the other side.

Delilah Dirk - Mexican Standoff - R.A. Wonsowski

Layout:
1111
1111
2233
4444

Panel 1- Center, DELILAH DIRK and ZORRO, both holding rapiers and bullwhips, barely standing, surrounded by fallen Mexican soldiers. In the background, we see smoke billowing from the entrance of Los Cajones silver mine.  Freed prisoners are cheering in the distance. Our heroes are breathing heavy from their exertions.

BOTH: Hh...hh...hhh...

Panel 2- Head and shoulders of DELILAH & ZORRO as they exchange sidelong glances.

BOTH: Hh...hhh...

Panel 3- Close-up on their faces as they look longingly into each other's eyes. ZORRO is smiling mischievously.

DELILAH: Do you have any idea what I want to do right now?

ZORRO: I can only imagine...

Panel 4- In a lavish parlor, DELILAH is doing a victory dance as she moves her white queen to topple the black king. In her other hand she is sloshing tea out of her china cup as she kicks up her feet. Her chair is knocked over.  DON DIEGO DE LA VEGA looks on at all this, dressed in evening wear and wishing he was elsewhere, contemplating another glass of red wine as he looks upon the chessboard on the table.

DELILAH: Checkmate again! Checkmate again!

DON DIEGO: ...not what I had in mind at all...

Delilah Dirk - Between Adventures - J.D. Coughlan

Panel 1: Wide panel. Delilah stands proudly in a cafe which looks like a disaster area, the aftermath of a fight, tables and chairs lying all strewn about, window smashed. The cafe owner glares angrily at her, arms folded. In the background, Selim sweeps up some glass.

DELILAH: Obviously I apologise for the damage to your property. These things happen when your on the trail of a jewel thief.

Panel 2: Close up of the manager. Still glaring.

MANAGER: And just how do you plan to compensate for the damages? Does catching jewel thieves pay well?

Panel 3: Close on Delilah. She remains confident.

DELILAH: Only in satisfaction.

DELILAH: However, given that my companion and I have some downtime now...

Panel 4: Same shot. Delilah has a "what if?" expression on her face and in her body language, extending a hand. Selim stands behind her.

DELILAH: ...might I offer you my services in some kind of security capacity?

Panel 5: Close on the still angry manager.

MANAGER: You mean to prevent people from breaking my window?

Panel 6: On Delilah again. She is somehow even more confident, pointing a thumb over her shoulder at Selim, who rolls his eyes.

DELILAH: Did I mention that my friend makes a great cup of tea?

SELIM: sigh

END OF PAGE

Delilah Dirk – Bigger, Better, More Absurd – MK Stangeland Jr.

(2 Panels)

Panel 1: SPLASH PAGE.

The FLYING FRIGATE, a scaled-up and heavily militarized version of DELILAH’s flying ship, exits its construction/launch bay and its sails begin to spread.

DELILAH DIRK and ERDEMOGLU SELIM watch from their nearby, hidden location as the ship launches.

Panel 2: Small, corner panel, looking towards DELILAH and SELIM as they react. SELIM looks wide eyed with shock and surprise in a ‘look at the size of that thing that is FLYING!(!![!!!!!])’ kind of way. DELILAH looks irritated, though she’s far more passive in her own reaction.

SELIM: That…it…how…but…it…that…it…

DELILAH: I believe that I am starting to regret not stabbing Mr. Lunzwit when I had the chance.

(END PAGE)

Delilah Dirk - Decisions, Decisions - Grant McLaughlin

Panels 3 through 8 are single moments over the course of the same day.  Feel free to have the day's progress visible in the amount of light in the background of those panels.  Panels 1 and 2 are in the morning; panels 9 and 10 are the night of that same day.

1 - Delilah Dirk and Erdemoglu Selim sit around a camp fire, drinking some of Selim's delicious tea in the early morning.  Delilah wears a relaxed expression; Selim cocks an eyebrow inquisitively in response to her words.

DELILAH: I've come to a decision.

SELIM: Oh?

DELILAH: If we are to be traveling companions, I think it would be prudent for you to learn how to defend yourself in the event of a fight.

SELIM: We do seem to get up to an awful lot of those.

2 - Delilah is up and on her feet, offering a hand to help Selim up.

DELILAH: Exactly.  And while your delicious tea is most appreciated, it might not be enough when we're starring down fifty hostile swords.

SELIM: This is also true.

3 - Selim stands holding a sword.  It is still in its hilt.  Delilah looks disappointed in the background.

CAPTION: And so

DELILAH: No

4 - Selim, a look of panic on his face, swings the sword wildly at a nearby buzzing bee, missing every time.  Delilah looks on in a mixture of disappointment and frustration.

DELILAH: No

5 - Selim, looking confused, holds his jacket out, a big wide gash cut through it.

DELILAH (off-panel): No

6 - Delilah is crouched in front of a tree, a look of surprise on her face.  Above her, Selim's sword is embedded within the wood, as she has just managed to ducked under it.  Selim stands a few feet away, looking incredibly shocked and embarrassed.

DELILAH: No.

7 - Selim runs away from the bee from panel 5.  Delilah facepalms in the background.

DELILAH: No

8 - Selim and Delilah look up at the top of a tall tree, where the sword is impaled deep into the top of it.  They are both quite confused as to how this could have happened.

DELILAH: I don't even.

9 - The end of the long day.  Selim and Delilah are sitting around the same campfire as in panel 1 (although its flame is far more brilliant now that it is night).  Selim is tired and his clothing is scuffed up from the exertion.  Delilah is in similar circumstances.

DELILAH: I've come to a much better decision.

SELIM: Oh?

10 - Close-up of Delilah's hands holding that warm and steaming cup of tea.

DELILAH (off-panel): Delicious tea is more than enough.

SELIM (off-panel): Agreed.

Why Delilah Dirk?

There's a lot of great names in comics.  If you're reading this site, such a pronouncement is unlikely to take you by surprise.  This week, I'd like to use my selection to direct your attention to a creator and their creations who you may not yet be familiar with.

There's a charming and delightful Canadian comicker by the name of Tony Cliff who, if he isn't already, should be on your radar.  This past August he released Delilah Dirk and the Turkish Lieutenant through First Second books, and let me tell you, that comic is one hell of a read.

I came across it almost by accident, stumbling across some preview pages while figuring out who to interview while covering New York Comic Con last year.  The art was absolutely gorgeous and I was instantly smitten.  I fired off a quick email to see if I could get in some words with Mr. Cliff and raced through the book in preparation.

Delilah Dirk is a terrific example of the strong female protagonist that so often seems to be lacking from mainstream comics.  She can hold her own in a fight, is never at a loss for a clever remark, and is completely without fear.  It also helps that she gets into all types of madcap adventures that recall a certain degree of Indiana Jones, but set in and around early 1800s Europe (or Africa, or North America, or...).

She also has a most delightful traveling companion in Erdemoglu Selim, the turkish lieutenant of that titular pair.  A brilliant tea maker, Delilah accidentally saves his life towards the beginning of the narrative, and while he isn't initially cut out for a life of adventure, he starts to grow into it (at least a little bit).

Crack!!

Delilah Dirk and the Turkish Lieutenant was one of my absolute favourite graphic novels of last year.  It's an enchanting mixture of history, humour, and hijinx that has many of the visuals and sensibilities of the European bandes dessinées that I love much, while also following various North American stylings.

However, like so many of my Thought Balloons selections, what it all comes down to is that Delilah Dirk is fun.  So.  Much.  Fun.

I am ever so excited to know that a sequel is already in the works, but for the moment, I'm also rather excited to spend some time playing in that sandbox this week.  Should you be unfamiliar with Delilah Dirk, Selim, and company, the first half of Delilah Dirk and the Turkish Lieutenant is available to read free of charge at the Delilah Dirk website.

Feel free to give it a gander, and then don't hesitate to join in on the fun!

4th Year Anniversary - War Of Northern Aggression - Niel Jacoby

Full Splash: Commander JASON WILLIAMS parachutes into the ruins of Washington DC. On the ground we can see troops, APCs, and tanks, all bearing the familiar symbol of the maple leaf.

CAP(Williams): THERE HADN'T BEEN AN INVASION OF US SOIL SINCE 1812. SOME OF US THOUGHT THERE NEVER WOULD BE AGAIN. BUT NOT ALL.

CAP(Williams): SOME THOUGHT IT WOULD BE THE RUSSIANS, SOME THE CHINESE. SOME EVEN THOUGHT THE UN WOULD TEAM UP WITH THE SECRET MUSLIM CALIPHATE AND THE ILLUMINATI-TRAINED NORTH KOREAN COMMU-FASCISTS.

CAP(Williams): (WELL, MORE LIKE ONE GUY WHO WOULDN'T SHUT THE FUCK UP ABOUT IT)

CAP(Williams): BUT NONE OF US EXPECTED IT TO BE THE CANADIANS.

4th Year Anniversary - R.A. Wonsowski

Part One of the Walker Roth Trilogy:  JACKRABBIT

Set-up: The Don Bosco Salesian School is a high-priced K-12 Catholic alternative for the children of expats, diplomats, and executives in the upper echelons of Paraguayan society, an educational oasis for the scions of the Latin American third world.  It has been taken hostage by a radical offshoot of the EPP (the People's Paraguayan Army).  Two teachers plan to stand against them, Howard Scott, a former Marine Sergeant, and Walker Roth, a literature professor whose past has just caught up to him.

The VIDEOTAPE:

Layout is 3 rows of 2, panels in the shape of TV screens. Captions beneath the screens hold the dialogue. This page is a continuation from the previous page where the video began.

Panel 1- the MARISCAL, our villain, walks between a row of 2nd graders, foreground, and 3rd graders,background, in what looks like the school cafeteria.  He is dressed in olive fatifgues and a wood handled revolver holstered on his hip. A young female teacher lies in front of them, dead and bloody.  The children are crying silently scared. They are dressed in Catholic school uniforms.

CAPTION, MARISCAL: Some may ask, why speak this message in English? One must admit, it is the language of business, and I am here to negotiate.

Panel 2- the MARISCAL stops to face the camera, one finger held up.

CAPTION, MARISCAL: One, 25 million US dollars, part used cash, part in gold jewelry priced at today's exchange.

Panel 3- the MARISCAL now holds up  two fingers.

CAPTION, MARISCAL: Two, official recognition of Boqueron province as a sovereign nation, as well as my leadership of this new country. All foreigners, get out.

Panel 4- the MARISCAL touches the head of one crying boy in the row before him, a Hispanic child whose nose is running.

CAPTION, MARISCAL: While you arrange this, I will get to know some of the students.

CAPTION, MARISCAL: What is your name, child?

BOY: H-Hector...

Panel 5- The children react in horror as the MARISCAL pulls his pistol and shoots HECTOR in the back of the head. His face explodes in a pulp toward the camera.

CAPTION, SOUND FX: BLAMM!!

Panel 6- flat black.

CAPTION: End message.

4th Year Anniversary - Pirate Eye - J.D. Coughlan

PAGE ONE

Panel 1: Wide panel. A small, one-room flat. It is a mess; littered with papers, clothing, food, and generally not well kept at all. Our hero, Arkley Gold, lies face down in the bed. Note that this takes place in the early 18th century, so clothing and setting should reflect that.

SFX: KNOCK KNOCK KNOCK KNOCK

GOLD (CAP): Life on the ocean had taught me one thing...

GOLD (CAP): Well, many things, but one thing seemed very relevant now...

GOLD (CAP): Never trust a moment of calm.

Panel 2: Gold raises himself from the bed. He is unshaved, scruffy and his clothes dishevelled. He looks wearily towards the door.

SFX: KNOCK KNOCK KNOCK

GOLD (CAP): I was in the middle of enjoying a few days of sleep in my busy schedule of nothing when I was interrupted with my first case in some time.

GOLD: Innaminute.

Panel 3: Gold on his way to the door, swigging out a bottle.

SFX: KNOCK KNOCK KNOCK KNOCK

GOLD (CAP): As much as I enjoy doing fuck-all, there's no denying my work has its bonuses.

GOLD (CAP): Namely money.

Panel 4: Gold opens the door to his landlord, an old, bearded man with a parrot on his shoulder.

GOLD: There had best be reasons numerous for this visit, Mr. Cartwright. Besides rent, which I have already made excuses for; it's not my fault if they're terrible excuses...

GOLD (CAP): Y'see, what I do can be pretty grim -- acting as a private detective for pirates.

Panel 5: Close up on the landlord and his parrot.

PARROT: There's been a murder, Mr. Gold!

GOLD (CAP): It's a tough job, but someone's gotta do it. And that someone is me...

Panel 6: Close up on the parrot. It narrows its eye.

GOLD (CAP): Arkley Gold--

PARROT: A murder at sea!

GOLD (CAP): --Pirate Investigator.

END OF PAGE ONE

4th Year Anniversary - Mondo Mega Mechs - Big Trouble in Old Kyoto - MK Stangeland Jr.

(For various reasons which probably relate to laziness somehow, I decided to simply pull my script this week directly from a draft of a full script I'd written at a previous point in time which never got anywhere aside from a few pages getting preliminary art. It was meant to be a 'prequil' issue which introduced the setting of the comic with a more action-heavy story featuring a character who I intended to introduce to the main series at a later point.)

(Important information - KING RUMBLER is a giant 'wild' robot, KWAN SATOMI - SATOMI - is the main character of this story, and F-SIERRAH is one of three fighting robots that she commands.)

Page 12 (9 Panels)

Panel 1: Close up on a portion of KING RUMBLER as a sonic cannon pops out.

SFX: wrK-chSHHHH

Panel 2: KING RUMBLER fires its sonic cannon at SATOMI. It hits her, knocking her off her feet. She screams as she covers her ears in pain.

SFX: (Sonic Cannon) Wrr-wrr-wrr-wrr-wrr-

SATOMI: (SFX) Eeeaak!

Panel 3: KING RUMBLER opens it’s ‘mouth’ and charges a high-powered energy weapon.

SFX: (Energy Cannon) tzzzZZZZZZZZZ

Panel 4: F-SIERRAH flies up into the sky.

Panel 5: F-SIERRAH flies towards the panel with the sun directly behind it.

Panel 6: F-SIERRAH flies towards KING RUMBLER and shoots a light missile at its head.

SFX: (Missile firing) pfew!

Panel 7: The missile hits KING RUMBLER in the side of the head. The head is knocked sideways as a result, causing the energy beam the robot was about to fire to go off in a random direction, completely missing SATOMI.

SFX: (Missile Impact) bkuum!

SFX: (Energy weapon firing) BTZUUM!

Panel 8: F-SIERRAH flies past KING RUMBLER’s head as it roars in anger.

KING RUMBLER: GRAAHHHHWR!

Panel 9: SATOMI, having just picked herself up, has a happy look on her face as she thinks things are starting to turn around for her.

SATOMI: YES!

(END PAGE)

4th Year Anniversary - Deniables - Simon McDonald

DENIABLES

ISSUE #1

 

Simon McDonald

 

 

 PAGE TWO

 

1.

An unmarked black government sedan is parked in an underground garage. It's very early in the morning and almost entirely empty. The car looks vulnerable, alone, neighboured by empty spots. The windows are tinted. We can't see inside, or maybe indistinguishable blurs, one in the backseat, another in the driver's.

 

CAPTION [1]

Gant had arrived early.

 

CAPTION [2]

Partly because of Brenner's concerns - an underground

warren of tight turns and few exits was a security nightmare.

 

CAPTION [3]

But mostly, it was because Gant wanted Willows meeting

him here. He wanted to set the agenda.

 

2.

Inside the sedan, tight on an expensive looking analogue wristwatch. The time is 03:18.

 

CAPTION

But Willows was late.

 

3.

Now on William Gant. A silver-haired politician. The kind of guy who can flash a warm smile for the cameras, but out of the spotlight, it turns malicious. His anger is etched on his face. He is not a man accustomed to waiting.

 

CAPTION

And not by a little.

A whole ninety-two minutes.

 

4.

Gant peers out the window, at the desolation. There is nobody there. Not a single hint of another human presence.

 

CAPTION [1]

He had just about eviscerated Gant's goodwill.

 

CAPTION [2]

He understood this was a darker world he was embracing.

That he was not yet cognizant of its rules.

But he expected a smidgen of professional courtesy.

 

CAPTION [3]

And William Gant refused to be treated like a fool.

 

5.

On Gant's phone, resting on the plush leather seats beside him, dark an inactive.

 

CAPTION

As far as he was concerned, that total lack of respect

was reason enough to call this whole thing - -

 

6.

Same as PANEL 5. Only now, the phone is glowing, the words UNKNOWN on its screen.

 

SFX
Deet!
Deet!

CAPTION

- - off?





4th Year Anniversary - Adventure Calling - Grant McLaughlin

I've had parts of this sitting around for a while.  It currently exists as a short piece written entirely without dialogue featuring Sara and Donovan, but something about this beginning makes me want to look at expanding it into something more...

Page 1

1 – Sara stands in the rain. She is soaked pretty much to the bone, but instead of being upset about this, she is excited about a reward poster she sees hanging on a wall / post / whatever. Beyond having “Reward” written on it and maybe some implication of cash, further details aren't of the utmost importance.

NO COPY

2 – In a pub. Sara meets with her friend Donovan. Sara is still wet from the rain, while Donovan is dry and relaxed. Donovan wears a heavy apron on top of simple clothing, all marked up with various scorch and burn marks to show their wear and tear from his work as a smithy. Sara is still wet from the rain, but she has brought the reward poster and placed it on the table for Donovan to see. Sara is still pretty darn excited; Donovan is less certain, but he is intrigued.

NO COPY

3 – In the workshop area of the smithy. Donovan is working on some armour / weapons for he and Sara. He's clearly been working for a while, as sweat beads on his head and his clothes are damp from the exertion. In the background, Sara is looking at equipment hanging on the wall that she might like to use.

NO COPY

4 – Sara and Donovan are heading out on their adventure, the city behind him as they leave. The are well equipped, wearing some new armour courtesy of Donovan with some big packs on their backs and weapons at their sides. Sara remains as excited as ever; Donovan seems to be coming around to the idea of this little expedition.

NO COPY

4th Year Anniversary - Dojo Kun - Ben Rosenthal

PAGE One                 

1.  Wide panel.  Out the front of an old traditional karate Dojo (ref: http://www.dvdactive.com/images/reviews/screenshot/2011/8/vlcsnap45593.jpg) .  Two students stand facing each other, fists up ready to fight/train.  Student A on the left is female, with Student B on the right being male.  (ref: http://www.theskylineview.com/wp-content/uploads/2006/12/2047115190.jpg).  Both are in their 20’s.  Their Sensei looks on from the porch.  He is old, in his 60’s but still stands.  He has a quiet strength about him.  Around the doorway of the Dojo is a valuable gold ‘Shinto Shrine’ (ref: http://1.bp.blogspot.com/-wptvf95rd_4/UAXcgxf3zJI/AAAAAAAAAaU/bJb593SaMZ8/s1600/DSCN6697.JPG)

CAPTION

Jinkaku kansei ni tsutomuru koto.

‘Seek perfection of character’.

2.  A thin panel showing the concentrating eyes of Student A on the left.

3.  Another thing panel right next to Panel 2 showing a cocky smirk from Student B on the right.

4.  (This reference picture will help with the description of the blocks http://media-cache-ec0.pinimg.com/736x/d2/5e/e2/d25ee257c715c92bf15627c816a000d9.jpg) The fighting has begun – a series of quick panels showing the speed of the fight.  A close up of a punch from the student on the left (Student B) being blocked with an ‘Age Uke’ by Student A.

5.  Student A is now punching with her opposite hand aimed at Student B’s solar plexus (ref: http://s2.hubimg.com/u/7319417_f260.jpg) It is not yet connecting but it looks as if it will.

6.  Student B has blocked the counter punch from Student A has used a ‘Gedan Barai’ block to counter the block to the solar plexus.

7.  Student A is sweeping out the leg of Student B using an ‘Ashi Barai’ (http://planetkarate.free.fr/techniques/attaques/57._De_ashi_barai.jpg).  Student B is falling to the ground.

8.  Student B is on his back on the ground with Student A above him, fist clenched and ready to strike at the throat of Student B.  She still holds Student B’s Gi in her hand, but has stopped her attack due to her Sensei commanding it with one word.

SENSEI (off panel)

Yame.  

4 Years of Thought Balloons

This Thursday, May 5th marks four years of Thought Balloons.

I kinda covered that in the topic already.

As the only surviving OG tenured writer (well, technically Sime is, but he went away for a while so I'm claiming the title as my own) it is my task to look back on these four years.

Many talented individuals have passed through our little website.  Most have gone on to do some very exciting things in the world of comics.  Off the top of my head Rol Hirst is self publishing 'Department of the Perculiar', Dan Hill is also self publishing his own works as well as editing the very very very very good Headspace which happens to be written by Thought Balloons founder Ryan K. Lindsay.  Some of us have even banded together to come up with a new series, which is coming soon (seriously you guys - sooooo good).

Oh yeah, I also have comics out for free over at Man In Suit Comics and benjum.com.  Hey, what's the point of being a puppet dictator if you can get a cheap plug in every now and then.

Thought Balloons is such an invaluable tool.  I have met many great people on here, honed my writing and even used it as a testing ground for techniques in my writing.  It continues to grown week to week, and I am positive that it is only getting started.

This week the tenured writers and I are celebrating with another 'Creator Owned Week'.  One page of scripts of creator owned properties will be filling the pages this week.  And now more than ever we would LOVE your feedback.

Have an idea of your own you would like feedback on?  Post your single page script below, each and every week.

I have rambled on long enough, but would like to close by saying thank you to each of the tenured writers, both past and present and also to all of you who continue to read our words.

Best,

Ben Rosenthal
Puppet Dictator, Thought Balloons
May 1, 2014.

Rhyno - Lights, Camera, Action! - Niel Jacoby

Panel 1: Rhino is in a locker room, psyching himself up. The benches and lockers are reinforced.

Cap(Rhino): I BEEN TRYIN' TA GO STRAIGHT FOR A WHILE NOW, BUT NOTHIN' EVER SEEMED TA STICK

Panel 2: Flashback, Rhino, in a tailored security guard outfit, the hat hanging off his horn, stands at the door of a bank.

Cap(Rhino): I TRIED SECURITY GUARDIN', BUT TURNS OUT A GIANT SCHMUCK IN A RHINO SUIT DON'T MAKE PEOPLE FEEL ALL DAT SECURE.

Panel 3: Flashback, Rhino is standing next to Arnold Schwarzenegger, who is at least a head shorter and narrower than him.

Cap(Rhino): TRIED STUNTMAN WORK, BUT THEY COULDN'T FIND ANYONE DAT I FIT IN TERMS A SIZE, IF YA KNOW WHAT I MEAN.

Panel 4: Flashback, Rhino is at a construction site, and the Wrecking Crew is scowling at him.

Cap(Rhino): EVEN TRIED DEMOLITION WORK, BUT TURNS OUT THERE WERE ALREADY GUYS WORKIN' DAT BEAT.

Panel 5: Rhino is standing in gorilla position in the UCWF(Unlimited Class Wrestling Federation) Arena in New York City, right about to go through the curtain. There's a heavyset guy with a ponytail sitting at a little table watching a monitor, and Rhino is talking to him.

Rhino: YOU THINK I'LL DO ALRIGHT, PAULIE?

Paulie: AH, DON' WORRY ABOUT IT, I BOOKED YOU AGAINST THE BEST GUY IN THAT LOCKER ROOM. JUST LISTEN TO HIM, AND YOU'LL HAVE THE HANG OF THIS IN NO TIME.

PA: APPROACHING THE RING AT 355 POUNDS, HAILING FROM LINCOLN NEBRASKA, THE DEMOLITION MAN!

Panel 6: Rhino is walking out to the ring, loudly arguing with children in D-Man shirts in the front row.

Cap(Rhino): I THINK I'M GONNA LIKE THIS GIG.

PA: APPROACHING THE RING AT 385 POUNDS, HAILING FROM NEW YORK CITY, RHIIIIIINOOOOOO!

The Rhino - Osborn's Six - J.D. Coughlan

Basically, the Sinister Six re-imagined as an "Ocean's Eleven" style heist crew in the 1960s. Slick con artist Norman Osborn has begun to recruit his team.

Panel 1: A seedy dive bar. Criminal types fill the place. They are all giving Aleksei Sytsevich, who sits in the foreground at the bar, the stink-eye. He is wearing braces over a vest, and a flat-cap. A large pint of beer sits in front of him, and he stares at it intensely.

OSBORN (O.P.): This seat taken?

ALEKSEI: Is free country.

Panel 2: Same shot, Osborn now moves to sit next to Aleksei. Osborn is grinning smugly, dressed in a sharp dark green suit and purple tie. His hair is greased back, but still looks a bit like his usual weird cornrows. Aleksei continues staring intently at his drink, ignoring Osborn.

OSBORN: Heh. Yes it is, Aleksei, yes it is.

OSBORN: I have to assume that's why you moved here from the good ol' U.S.S. of R.

Panel 3: Reverse angle. The other patrons are now in the foreground. Some are still giving Aleksei dirty looks, but not as many. Osborn has swivelled round to look at them, leaning back on the bar. Aleksei still has his back to us.

OSBORN: America! The land of opportunity! Not many opportunities for a dirty commie though, right?

Panel 4: Close up side view of the two men. Aleksei closest to us. He looks up, but still not at Osborn. Osborn leans back so we can see him behind Aleksei, still grinning.

ALEKSEI: Please do make point, man-who-knows-my-name, or you will to be leaving through window.

OSBORN: How d'you like to achieve the American dream, Aleksei -- money -- and lots of it?

OSBORN: See, I'm putting together a little team for a pretty big job, but my intentions are somewhat... sinister.

Panel 5: Back to front view. Aleksei now looks at Osborn for the first time.

ALEKSEI: How many men you have?

Panel 6: Close up of Osborn's hand as he holds up two fingers.

CAPTION: To be continued...

END OF PAGE

I may keep this going with future Spidey villains picks, we'll see.