(5 Panels)
Panel 1: Night, just outside of GOTHAM CITY, at the
entrance to a cave.
Panel 2: Continuation from PANEL 1.
SFX: (From inside cave)
arg…
Panel 3: Continuation from PANEL 2 – we see BATMAN
emerging from the cave. He looks worse for the wear, but still standing and
ready for action; he bears a look of defiant determination against whoever or
whatever might try to tell him its time to pack it up and go home, even against
the world itself.
BATMAN: grrrr….
Panel 4: BATMAN stands at the entrance to the cave,
looking into the night sky.
TEXT BOX (1): Striking terror.
TEXT BOX (2): Still best part of the job.
Panel 5: Panel switches to behind BATMAN to show what
he’s looking at – the background that BATMAN is facing should be the skyline of
GOTHAM CITY.
It’s not the skyline
of GOTHAM itself that BATMAN is looking at, but rather the sky above it – the
sky is lit up from countless lights being shined into the sky, resulting in
either a large number of lights each forming their own little homemade version
of the BATSIGNAL or a large number of smaller lights which have been
coordinated to form an impromptu version of the BATSIGNAL. Which version is up
to the artist depending on which actually plays out better artistically on the
page itself.
TEXT BOX: But an argument could be made otherwise.
(END PAGE)
I like the light-hearted nature and the warm sentiment of Gotham's need / appreciation for Batman, but I just don't know that it fits with the Dark Knight Returns vibe. Frank Miller has rarely struck me as one for endearing moments.
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