Thursday, March 31, 2016

Batman v Superman - Win, Lose, Or Claw - Perry Kent


Panel 1
Interior of an arcade, dim. Superman holds up his hands in a disarming gesture as if he is trying to calm Batman down. Batman stands with his back to a wall, neon lights and shadows around him, unperturbed. It is not yet obvious they are in an arcade.

1. Superman: We don't need to do this. You are pushing the issue. I don't want to best you.

2. Batman: This isn't about god-given powers, but hard earned skill.

Panel 2
Superman stands at a claw-machine that is filled with stuffed animals.

Panel 3
Inset to panel 2: The claw snaps shut just to the side of a stuffed bear.

3. Superman (OP): Shoot.

Panel 4
Batman stands at the claw-machine, with all the same stuffed animals as panel 2.

Panel 5
Inset to panel 4: The claw snaps shut empty again.

4. Batmn (OP): Hhmm.

Panel 6
Superman and Batman stand in front of the claw-machine, exchanging words.

5. Superman: I guess that settles it. Neither of us--

6. Wonderwoman (OP): Hey guys!

Panel 7
Wonderwoman stands deeper in the arcade, the neon lights of several arcade games behind her. She is holding a stuffed animal in one hand and is smiling in the direction of Superman and Batman (who are likely not on-panel).

7. Wonderwoman: Either of you know how to play Centipede?

-END-

Tuesday, March 29, 2016

Batman v Superman - Gladiators - Jonathan Morel

Panel 1: A close up of Batman’s face, looking directly ahead of him, to the right. He looks dire, serious, frowning. There should be nothing visible in the background.

(1) BATMAN: Alright, Clark. This will go no further. I will not yield. I will not budge…

Panel 2: A close-up of Batman’s feet forming a defensive battle stance on a hard surface. His back foot seems ready to push off towards what or whoever he is looking at.

(2) BATMAN: Your powers won’t save you from this fate. I’ve calculated every single scenario, provided for every single variable…

Panel 3: A close up his torso and arms, holding what appears to be a battle-staff, gripping the weapon in front of the bat-symbol on his chest.

(3) BATMAN: It’s all on the line now. Nothing will ever be the same after tonight…

Panel 4: A close up of Superman’s face, looking left, with a small rogue-ish smile. Similar to the previous panels, the background is only colour. No shapes or distinguishable features.

(4) SUPERMAN: I guess this is it, Bruce. But remember…

Panel 5: Both men are standing on a suspended bridge in front of a large crowd, sitting in stands, everyone smiling and cheering, tv cameras everywhere. Both men are holding a double-edged foam staff (think American Gladiators) with a pool of water under them. In the background there is a podium with a man standing behind it, and a big flashy sign that says: “Gotham Gladiators: Finals”. The whole thing should be very silly looking. Batman still seems very serious.

(5) SUPERMAN: …this is just for charity.

Monday, March 28, 2016

Batman v Superman - The People Versus Superman - Grant McLaughlin

1 - Batman stands alone in frame, wearing a lawyer wig on top of his costume.  He gesticulates in a manner appropriate to a wordy speech.

BATMAN: Ladies and gentlemen of the jury, I've gathered you here today because the hero to our nation - to our world - has failed us.

2 - Batman stands in front of the jury box (individual jury members are not visible in this panel), arms behind his back.

BATMAN: Indeed, he has completely and utterly abandoned his core values and beliefs.

3 - Switch angle to show the jury - it's a bunch of Justice Leaguers like Wonder Woman, Flash, Aquaman, Martian Manhunter, and the like.  Pretty much everyone seems between somewhat annoyed and rather exasperated, with Flash as the only exception (he seems to be considering Batman's words very seriously).

BATMAN: There is no more truth.  No justice.  And the only Way of consequence is his own.

4 - Superman sits at a table, as if in a court of law.  Batman stands in front of the table, looking at Superman in disappointment.  Superman looks to be a mixture of apologetic and frustrated.

BATMAN: He has become a stranger to us all.

5 - Superman tries to get a word in edge-wise, while Batman slams his fists down in anger.

SUPERMAN: Bruce, I said I was sorry I ate the last of your peanut butter.

BATMAN: It was very clearly labelled!

Sunday, March 27, 2016

Batman v Superman – Poor Winner – MK Stangeland Jr.

(5 Panels)

Panel 1: SUPERMAN, FLASH, GREEN LANTERN, and AQUAMAN are sitting around a table playing a game of cards.

AQUAMAN: May I ask, from a position of curiosity, why it is that Batman was not invited to this?

SUPERMAN: You know that file he keeps with all our weaknesses so he knows how to defeat everyone?

Panel 2: BATMAN and SUPERMAN are playing CHESS – BATMAN has just made the final move.

BATMAN (1): Checkmate!

BATMAN (2): I win.

Panel 3: BATMAN and SUPERMAN are playing SETTLERS OF CATAN with GREEN ARROW and CAPTAIN MARVEL.

BATMAN (1): That makes 10 points.

BATMAN (2): I win.

Panel 4: BATMAN and SUPERMAN are playing RISK against MARTIAN MANHUNTER, ZATANNA, HAWKGIRL, and WONDER WOMAN.

BATMAN (1): And that should accomplish my secret mission.

BATMAN (2): I win.

Panel 5: Back to original scene from PANEL 1.

SUPERMAN: Turns out it doesn’t just apply to how to beat us in a fight.


(END PAGE)

Why Batman v Superman?

Honestly? I could probably just post this if I wanted to give the quick, dirty, and honest answer.

“Who would win?”

It’s an age-old question of endless possibilities. It’s an especially prevalent question among the kind of nerd and geek communities that make up the core comic book fan communities. And there are some variations on the question that could arguably be described as legendary.

“Who’s the better captain, Kirk or Picard?”
“Who’s faster, Superman or The Flash?”

And, of course, “Who would win in a fight between Batman and Superman?”

Which, of course, is silly if you think about it too much. After all, they’re supposed to be on the same side. They are the “Worlds Finest”, after all. But, of course, when two forces meet, the human mind seems wired to try to pick a winner regardless. Does Superman stand a chance when all it takes is the Dark Knight’s prep-time and some Kryptonite? Or does the mere human nature of Batman mean he’s forever doomed to come in second to the Man of Steel?

We’ll probably never have a solid, definitive answer.

But that doesn’t make it any less fun to think, debate, and write about it.


Saturday, March 26, 2016

X-Files - Geese? - P. A. Nolte


1/ A backwoods road through Vancouver.  A sleek, government-issue car tears away from the small gathering of lights indicating a small town.  In the driver's seat is Fox Mulder.  Riding shotgun is Dana Scully.

Scully: Another dead end.

Mulder: Careful, Scully.  You almost sound upset.

2/ Inside the car.  She gives him a disdainful look.

Scully: Everything at stake, and these are the things you're choosing to pursue.

Scully: It's reckless.  Even for you.

3/ From the backseat, their conversation continues.  The road ahead is quiet.  Mulder and Scully are silhouetted.

Scully: Just how many more of these small town goose chases do you expect to go on?

Mulder: I don't know, how many has it been?  I mean, you see one, you see 'em all, right?

4/ Her disdainful look has gone full glower.  Silence.  She stares out the window.  By now, she could never be partners with anyone else, but would she?  It takes some thought.

5/ Deep in the forest they're driving through is a small cave.  Secluded, dark, and mostly hidden by underbrush and other foliage.

Scully: That's not funny, Mulder.

6/ From within the cave, half a dozen pairs of eyes light up.

Mulder (Cap): It was kinda funny.

Friday, March 25, 2016

X-Files--"The Rumor Mill"--David Press.

1.1: We’re going to open as the show usually does with an unmarked CAR pulling up into the frame. The headlights streaming at the reader--it’s pulling into a wooded area in the middle of nowhere. For the display lettering format it in the way that the show normally would: in a non-enclosed caption in courier font.

DISPLAY LETT:        Watertown, New York.

1.2: Similar to the previous, but now MULDER and SCULLY have stepped out of the town car. They are trying to make their way through the woods. Scully is teetering on her side, wearing running sneakers, arms extended. Mulder is giggling because he’s wearing muck boots and just trudging through the mud like a kid. Just so you know these are big, giant, boots for walking around a horse’s stable and are usually camouflage. Lots of foresters wear ‘em.

1. SCULLY:           Ugh. Mulder. It feels like I’m stepping in—
2. MULDER:           That’s because you are, Scully. We’re out on a cattle ranch and you better believe it’s more than just mud.
3. SCULLY:           Perfect.

1.3: A flashlight gleams in their faces—they protect their eyes. Mulder has his badge up in his right hand.

4. FROM OFF:         FBI?
5. MULDER:           That’s us—Mulder and Scully.

1.4: From Mulder and Scully’s perspective: We can see TWO LOCAL POLICE—one is wearing SHERIFF stripes and is shining the flashlight at our heroes. The other OFFICER looks fairly young and sheepish and terrified.

6. SHERIFF:          HA! Watch out for that last step—
7. MULDER:         Please spare us.


1.5: Now Mulder and Scully are behind the Sheriff and the DEPUTY—all four of them are looking in horror at what is before them. The Sheriff is the only one who isn’t shocked by what he’s seeing.


SHERIFF:             Second one this week.

Then we go to a second page and see the dismembered body of the cattle rancher. 

Thursday, March 24, 2016

X-Files - The Possum-Man - Perry Kent


Panel 1
Exterior, night, suburban neighborhood. Scully and Mulder walk quietly through the night, flashlights in hand. The street and sidewalks are deserted except for the two of them.

1. Scully: This is hopeless, Mulder. It was probably just some voyeur with a strange predilection for dressing as an animal.

2. Scully: There is no “possum-man”. Just a sad man, with a sad compulsion that probably skipped town as soon as the authorities showed up.

3. Mulder: Perhaps, Scully.

Panel 2
Mulder looks out into the darkness as he talks at Scully. Scully rolls her eyes as she listens.

4. Mulder: But there are legends of skin-walkers. Men who could adopt the guise of the very animals they worshiped. Those who weren't constrained to the likeness of man. They--

Panel 3
Mulder and Scully both turn toward a noise that was coming from a nearby house, shining their flashlights in the direction.

5. SFX (op): Clang!

Panel 4
The light of the flashlights illuminates a possum. The possum sits atop a metal garbage can staring back at the flashlight source, eyes glowing from the light. There are also some large hedges near the trashcan.

6. Scully (op): See Mulder. No skin-walkers here. Just regular old vermin.

Panel 5
Viewed from the direction of the possum. Mulder and Scully walk away from the house. Behind the hedges of the previous panel can be seen the silhouette of a large man-shaped creature, with a pointed face and hands with claws.

7. Mulder: Maybe you're right. Nothing here but picket fences and bored suburbanites.

-END-

Wednesday, March 23, 2016

X-Files – Agents in Black – MK Stangeland, Jr.

(6 Panels)

Panel 1: AGENT MULDER and AGENT SCULLY turn to see the arrival of a black car driven by AGENT J and AGENT K (of MEN IN BLACK) outside the scene of an ‘incident’.

Panel 2: AGENT J and AGENT K get out of the vehicle.

AGENT K: Agent Jones, Agent Smith, we’re here on behalf of Homeland Security to oversee operations here.

MULDER: Really? We hadn’t been informed any other departments would be involved here.

Panel 3: AGENTs J and K try to dissuade MULDER and SCULLY.

AGENT J: It’s a last minute thing. We were just given the heads up.

AGENT K: We’ll need your team to clear out in a prompt and orderly manner so we can begin our own work.

Panel 4: MULDER isn’t convinced, SCULLY isn’t as dissuaded, but isn’t interested in being shipped off by a mere claim of jurisdiction superiority.

MULDER (1): I’m perfectly happy to try to work together on whatever it is that went on in there, but I’m going to need something more official before I just hand things over.

MULDER (2): Who called you in on this?

Panel 5: AGENT K is a mix of impressed and annoyed at MULDERS response.

AGENT K (1): Agent…?

MULDER: Agent Mulder, this is Agent Scully.

AGENT K (2): Agent Mulder, I can assure you that we’ll get you the proper documentation and paperwork in due time, but believe me when I say that it is in your best interests at this moment to let us take over here.

AGENT K (3):  You can’t begin to imagine what’s going on here.

Panel 6: MULDER has put on a pair of sunglasses.

MULDER: Believe me, I can imagine quite a bit.


(END PAGE)

Monday, March 21, 2016

X-Files - Making Tracks - Grant McLaughlin

1 - Joe, a farmer in the American mid-West, walks alongside the outer edge of his crops with Mulder and Scully in tow.  Mulder walks beside Joe, listening intently, while Scully trails a few steps behind, not super into this conversation.

JOE: At first I thought it must have been a prank by some of the local kids.

2 - Joe, Mulder, and Scully wade into the crops, the plants coming up a little over their waists.  Joe looks towards Mulder apologetically, Mulder waves off his concern.

JOE (1): You know, crop circles and all that hooey.

JOE (2): Begging your pardon, of course.

MULDER: Of course.

3 - Worm's eye view as Joe, Mulder, and Scully come to a break in the crop within the field.  The three stand at said break, looking down towards the reader / camera.  Joe wears the same apologetic expression, Mulder is intrigued, and Scully is surprised.

JOE (1): But when I went to take a closer look--

JOE (2): Well...

4 - Bird's eye view looking down on the field.  Joe, Mulder, and Scully are looking down at a huge footprint.  It's T-Rex-esque, but way bigger - the three figures are dwarfed next to it.  There may be one or two other footprints on either side, giving the impression that whatever created this was headed somewhere.

JOE: That's about when I figured there might be something more to it.

Sunday, March 20, 2016

X-Files - Where’s The Truth? Where is it? - Jonathan Morel

Panel 1 - The first panel should take about a fifth of the top page. A foggy night, but not cloudy, with a few trees. Rural type background. A car (rental) is pulling up in front of a gate (the shot should be from whatever/whoever is behind the gate, with the gate itself between the reader and the car). The headlights from the car should show that it’s raining, in typical “Vancouver” fashion. The text box should be in the upper right or left corner.

1 - CAPTION (MULDER): I don’t know what I am doing here…

Panel 2 - A man (Mulder, circa season 5) in a 90s style suit and trench coat comes out, his flashlight already on. He is standing behind the car door as he is exiting the vehicle. He is looking in the direction of the reader (camera). The gate is once again between the reader and the car. Text box.

2 - CAPTION (MULDER): I find myself on the trail of another urban legend, one that must lead to the unknown truths spoken only by the shady underbelly of society. Or so my anonymous source tells me…

Panel 3 - The classic X-files office. Pencils are stuck on the ceiling, the “I want to believe” poster prominent in the shot. Mulder dressed exactly the same, is standing near the door (at the right of the shit), about to leave. A woman (Scully) is sitting at her (very 90s) computer, wearing her glasses, and a very shoulder-paddy dark red suit.

Textbox: “Then…”

3 - SCULLY: Mulder, where are you going?

4 - MULDER: There is an X-File here, Scully. Too many unexplained phenomena.

Panel 4 - Close up of Mulder’s face, still in the office.

5 - MULDER: Men…violent men, organized crime bosses, street thugs, all hospitalized across this city, refusing to tell the authorities what’s happened to them. The legends of…

Panel 5 - Scully, still at her computer, is removing her glasses, looking annoyed.

6 - SCULLY: You’ve read too many comic books, Mulder. There is a perfectly good explanation for it, police brutality being the first one. If you simply asked Skinner for the FBI’s reports on…

Panel 6 - Mulder is no longer in the office, the door is ajar. Scully remains seated, her hand on her forehead, like a mother who can no longer deal with her child. Annoyed despair, really.

7 - MULDER: Do not fight me on this Scully. There isn’t anything to debunk here, only the truth. There is something there!

Panel 7 - Mulder is back outside the car, his head bowed, his flashlight aiming at the ground, dejected.

8 - CAPTION (MULDER): There is nothing here. Perhaps she’s right. Some things are just stories. Myths. Legends.

Panel 8 - Bottom right corner. Mulder is back in the driver’s seat, speeding away from the gate. The camera is flipped so we can see what’s behind the gate: what appears to be a gothic style mansion, or institution. The entrance to the gate can be seen, with a sign (or as part of the gate) that is partially seen to the reader reads: “ARKH”, before being cut off by the panel.

Behind the building, in the cloudy sky, is the Bat-Signal.

9 - CAPTION (MULDER): Besides, this place is spooky.

Why X-Files? - Jonathan Morel

Before comic books, before Netflix and streaming, 8 year-old Jonathan stayed up one Friday night with his older brother and watched a terrifying show (to him) about aliens on FOX. The next 9 years of his life became very much consumed, just like our television screens, with aliens, their autopsies and interviews. Along with boy bands, grunge, saxophone playing Presidents and plaid shirts (that seemed REALLY comfortable unlike today's), aliens are an identifiable part of the 90s on television.

I've loved the X-Files my whole life because it has everything: special effects, monsters, humour, love, loss, guys called William and Emmy nominations/wins for a Science Fiction show! This was before the huge comic boom post 2007 on television and, more importantly, before there was thousands of television channels. It was my first foray into continuity nerdom, and its recent revival, both in comic form and on television, made me choose it.

http://ecx.images-amazon.com/images/I/41nvkwg1GCL._AC_UL200_SR134,200_.jpg

Saturday, March 19, 2016

On the Edge - Erik - P. A. Nolte


1/ A red-bearded man is in line at an airport ticket counter.  Archaic, to be sure, but Erik is not a man of pomp and technology.  The airline is Nordic.

Erik (Cap): People are superstitious.

Erik (Cap): They try to delay the inevitable.

2/ On the bow of a ferry from Tau, Erik reads a large map.  What can be seen is of Preikestolen, Stavanger, and the surrounding areas.

Erik (Cap): I know.

Erik (Cap): I tried too.

3/ Erik stands at the edge of Preikestolen.  His pack and his gear are shed on the rocks around him.

Erik (Cap): But now.

Erik (Cap): Here.

4/ Erik's face.  His beard is grey with scant strands of red.  His eyes are as fierce and green as they have ever been.  It's everything else that has sagged and pocked with time.

Erik: Why don't I feel anything?

Friday, March 18, 2016

On the Edge--David Press

PAGE ONE.

1.1:  I was thinking about opening on a horizontal panel featuring two HIKERS making their way through a densely packed forest. In the distance we can see a clearing and blue sky. The Hikers’ backs are turned to us and they’re dressed as you would expect: rain jackets, break away pants, serious boots, and backpacks that double as water containers. Give one of them a walking staff if you like.

CAPTION:             Preikestolen, Norway.

1.2: A small panel next to the previous featuring the HIKERS: they’re smiling in relief after the long hike. They’re looking up and off panel right, blue all around them. Both are in a state of relief and natural glee. One’s bearded and wearing horn-rimmed glasses with a balding head. How about we call him ANDERS. The second Hiker is a woman, shorter, with curly brown hair and a dimpled smile--EMELIA.

ANDERS:              Fifty-nine.
EMELIA:              Hard to believe.

1.3: Emelia hands Anders her cell-phone.

EMELIA:              Take a picture of me on the edge.

1.4: From Emelia’s perspective, we can see Anders along the cliff face, a sharp drop off below.

NO DIALOGUE.

1.5 [WIDE]: Anders is now on the other side of the cliff face and Emelia is up to the very edge of Pulpit Rock looking to the great beyond. We can see Emelia’s iPhone is up and Instagram is loaded on the screen—the  screen shows the photo from the prompt.


NO DIALOGUE.

Thursday, March 17, 2016

On The Edge - The Last Challenge - Perry Kent


Panel 1
Hansen and Olson walk up to the edge of a cliff. It's very clear that the edge of the cliff leads to steep and far fall. Hansen is leading the pair.

1. Hansen: This is the seventh and last challenge.

2. Hansen: “The step taken by those who do not fear death.”

Panel 2
Olsen peers over the side of the cliff very cautiously as Hansen stands away from the edge steeling himself. Olsen looks very doubtful as he speaks.

3. Olsen: Yeah, right. You'll end up in the afterlife whether you pass the challenge or not.

4. Olsen: You sure you'll be able to make it back? You know, once you found her.

Panel 3
Inset to Panel 4. Hansen grits his teeth in determination.

5. Hansen: Don't know. But...

Panel 4
Hansen dives off the cliff edge. Olsen stands back, shocked by what his friend has done.

6. Hansen: ...I'll bring her back from the dead or die trying!

Panel 5
Olsen covers his eyes from a brilliant green flash that comes from the edge of the cliff.

Panel 6
Olsen looks over the edge of the cliff. There is no sign of Hansen anywhere.

7. Olsen: Look's like you made it, buddy. I hope you can bring her back.

-END-

Tuesday, March 15, 2016

On The Edge – Cliff Notes Philosophy – MK Stangeland Jr.

(4 Panels)

Panel 1: Parallel panel to ON THE EDGE photograph, but narrower to better fit along the top of the page.

TEXT: Cliffs.

Panel 2: The man from PANEL 1 has leapt off the cliff and has just started his plummet down.

TEXT: There are two kinds of people who deliberately jump off cliffs.

Panel 3: The man from PANEL 1 is in an uncontrolled freefall – it’s fairly clear that he’s falling to his death.

TEXT: Those who seek to end their lives…

Panel 4: An alternate version of PANEL 3, showing the same man and the same fall, but with a different outcome – here, instead of leaping to his death, the man has deployed a wingsuit and is now soaring across the sky.

TEXT: And those who seek to inject their lives with excitement and adventure.


(END PAGE)

Monday, March 14, 2016

On the Edge - Wish You Were Here - Jonathan Morel

(Eight panels, total. The first 4 panels are in very bright colours)

Panel 1
The first panel is the largest, takes about a quarter or a fifth of the page, at the top. Wide, colorful shot of a man standing at the edge of a mountain, arms on his side, (see Grant’s picture). In the bottom right corner is the text box. It should be yellowish.


1 - CAPTION: I can feel the air inside my lungs…breathing that fresh air...

Panel 2
Closer view of the same picture, slightly angled to the right, the man is a little bit more detailed. His arms at his side are raised about halfway up, as if he is about to jump. The sun should be facing opposite from him on the panel, on the left.


2 - CAPTION: The breeze cooling me down after that grueling hike, my body aching…

Panel 3
The man’s entire face, eyes closed, in a close-up, facing the sky. He looks young (35 and under), flowing long hair. The shadow of his arms, now fully up in the air, should be visible. He is smiling, taking in the heat of the sun and breathing in the fresh air.


3 - CAPTION: That warm sun, toasting me, enveloping me like a warm blanket…

Panel 4
The shot is even closer to his face, taking the whole frame. Same look and smile. There is a tear running down his right cheek, with some buildup under his right eye. The tear should be in the middle of the frame.


4 - CAPTION: This is my favorite place. I always come here when feeling weak. I can hear the birds chirping…

Panel 5
Exact same shot as the previous panel, except in either black and white or drab colours. Both should be side by side. The man’s face, in this case, should be thinner. No hair should be visible in this frame, compared to the last one. The tear should still be in the center of the frame. If in colour, he should be much paler than the previous panels. The textbox should be grey or white.


5 - CAPTION: I can hear the birds…tweeting…beeping…

Panel 6
The view point moves back, the man is lying in what appears to be a bed. His upper torso is nude, a blanket covering him past his chest. His arms are not under the blankets, but can only be partially seen. The man’s face is visible. He looks thin, gaunt, the smile gone. He is bald, his eyes are still closed, the same tear visible. His age should be difficult to pinpoint, but no more than mid-50s. Either in black in white or very drab coloring.


6 - CAPTION: Beeping…

Panel 7
This panel should be next to the previous panel, and use most the bottom right corner. The view point has panned back even more. He is lying in a hospital bed, looking directly at the reader, his arms hooked up to IVs and machines. The information on the monitors should be the only things in brighter colours. He is alone, his eyes wide open, the long tear now running down his cheek. He looks scared, pained and saddened. In the top right, the door to the hospital room should be slight opened. A woman, in her 40s-50s is seen, a hand to her face as the arms of an unseen person, hidden by the door, are holding her shoulders.


7 - CAPTION: I’m cold. The sheets…like nails on my skin. My body aches…hard to breathe…

Panel 8
Bottom right, superimposed on the previous panel. A small square panel, close up to the face. Still the sickened face, this time with brighter colours, like the first 4 panels. His eyes are closed, and he is smiling again, the tear only slightly visible. The textbox should be under his smile, in yellow.


8 - CAPTION: I can feel the air inside my lungs…breathing that fresh air…