As I’m finishing up a short comic script, I figured that since I show off my art/drawing-stuff skills, I’d show off sorta what my “scripts” for comics look like. I tend to get a little uber-descriptive, and will break the “fourth wall” with lots of pop culture and visual reference descriptions thrown in. At the same time though, I like to be able to give the artist flexibility in terms of page layout and looks.
For “The Doom On The Moors” Stephen Garza made a few layout changes on some pages just based on making the flow of a setting, making upcoming action in that story work better and be set up better from the get-go. My own descriptions of the setting were, ultimately, too complicated to facilitate a practical panel layout, ultimately working against the story and the action. And that’s OK. After all, every comic, every page and strip is a learning experience.
This is a sketchbook page as I sat at the kitchen table yesterday, hammering out the end of a short script I started a few months ago that I never got around to finishing. I keep my sketchbook next to me as I write so that if I come across a problem, I can try to work it out in a physical sense (a look for a character, a flow of action) before trying to adequately describing it in writing. In this case, it was about breaking down an action scene from start to finish, panel by panel.
All my early influences on comic script-writing were from old Greg Rucka QUEEN AND COUNTRY scripts (still essential learning material for me), some Warren Ellis THUNDERBOLTS scripts, and a script/set of notes that Andy Diggle did for THE LOSERS, and I remember them all being really in-depth in terms of what the writer did. Anyway, here’s a look.
At the top of the staircase, we see___walking down the upstairs floor, with more shadows behind him writhing with monsters and shit, still sort of unseen, but at this point a little more visible and formed.
We get another POV shot here of a door at the end of the hall. It’s dark, but we can see light streaming out, faintly, from the crack under the door at the end of the hall.
___ – “AHH, THERE YOU ARE.”
Interior room shot of the room at the end of the hall, we see the door opening.
Switch view suddenly, and we get a shot of ___ looking into a small, destroyed room with no furniture, only a small window, scratched walls covered in arcane-looking sigils and symbols.
Cowering in a far corner of the room is a glowing figure in medieval armor, hands over head. It’s __________.
_____- sees ___, and is crying out.
______ – “LOOK OUT!”