Please note that the tricks or techniques listed in this pdf are either fictional or claimed to work by its creator. We do not guarantee that these techniques will work for you. Usually, only the last image in the series appears in full color; the others are rendered in lighter colors, indicating that those images show how the character appeared a second or two ago. Multiple images of the Scarlet Speedster from e Flash Once, it was standard practice for editors to make several words in each balloon bold, sometimes without regard to the content of the dialogue.
From JLA Before we move on to actual scripting, allow me a few lines of digression which may be useful if you want to convince your more learned friends that comics are pretty darn intellectual, by golly. To wit: Comics are a narrative form using a system of signs and images combined with conventional written language. Sometimes— quite often, in fact—the writer is also the penciller. He or she can be the inker, the letterer, or the colorist, but these crossdisciplines are relatively rare.
Pencillers share with writers the primary storytelling chores. Inker: e artist who adds India ink to the penciled pictures to make. Inkers add texture, shading, shadows.
Letterer: e person who letters the copy and draws the balloons,. Pencils by Paul Ryan. Script by Stern. Inks by Brett Breeding. I know of no two good writers whose scripts look the same. So there is no right way? And what job is that? Just this: telling your story as clearly as possible.
Where on or o the Earth are they? What year is this? What century? If the writer and artists have done their jobs, the reader will be fed the answers to these questions without ever realizing it. Fail at these and nothing, including the niftiest exposition in the history of narrative, will have any meaning for the audience. He was also editing all of the above, writing ad copy, supervising a sta , doing radio interviews, assembling letters pages, conferring with artists, and attending publishing meetings.
Maybe not. So, instead, he gave his pencillers a plot—a few paragraphs outlining the basics of the story. Working like this, Stan could do several di erent issues of di erent titles virtually simultaneously and thus maintain his Herculean schedule.
Stan was working with brilliant artists like Jack Kirby and Steve Ditko, superb visual storytellers with decades of experience who neither required nor wanted a lot of detail.
Kirby and Ditko; a brief conversation was all that either of them needed. Today, many writers present their artists with plots that are many pages long, with every important detail literally spelled out. Pencils by Paul Gulacy and inks by Joe Rubenstein.
From Azrael 1. Full-Script Writers who choose the full-script method produce manuscripts that resemble movie and television scripts.
Manuscript pages are the pieces of paper on which this information appears. Remember the rule mentioned earlier: there is seldom one absolute, inarguable, unimpeachably right way to do anything. But each method does have its strengths and weaknesses.
He determines the pacing, which is something that might concern the writer more than the artist. Sometimes, in the middle of writing a script, a writer thinks of a way to enhance the plot he began with. Writing full scripts, the writer is not relying on anyone else to get his job done. If the penciller is, for some reason, late, the writer is not forced to wait for the pages to arrive. Art by Rick Burchett and Terry Austin. Advantages to Plot-First Again, by the numbers: e writer can cover omissions in copy.
Even working full-script, pencillers sometimes forget to put things in. If that happens when the art exists before the script, the writer can do the necessary exposition in dialogue or those talky captions I mentioned earlier. If it happens working full-script, the storyis usually compromised— dumbed down a bit.
Lazy writers can let pencillers do their work for them. Or, at least, quit work early. Remember: e way that works is the best way. I was exposed to yet another variation when I worked in the late sixties with Sergio Aragones and Nick Cardy on a western titled Bat Lash. He would render the plot in his inimitable cartoon style on typing paper.
Nor do I remember ever hearing it mentioned in my college creative writing courses. First, though, a couple of caveats that apply to all structures and every kind of story construction. Consider these not commandments, but suggestions: very strongly worded suggestions. Know the end of the story before you write the beginning. When possible, start with the status quo. A classic cli hanger from JLA It may have been inspired by those Saturday-afternoon movie serials that a lot of future comics writers attended when they were kids.
But it can be entertaining, at least theoretically, provided each encounter is in itself clever and the whole project moves along very briskly.
I call it please imagine a drum roll here :. I accept no applause for this: e three-act structure is the most widely used because it is the most logical. Most stories fall into three parts whether we want them to or not. I just did what came naturally.
Act I e hook. Inciting incident. Major visual action. Script by Mark Waid. Art by Howard Porter and Drew Geraci. Hook number three: danger. A simpler, cruder version might be someone shooting at a hero, or about to shoot, or an innocent person falling out a window or from a plane, or an. Hook number four: An image so striking that the reader has to continue. Will Eisner made it his signature opening and managed it brilliantly dozens of times.
What you never, never want to do is open on an inanimate object —a building, for example—unless it is so unusual that, in itself, it excites curiosity. People are interested in people, not things. You want to grab their attention and, not incidentally, get your story going. Still-lifes, while splendid on the walls of museums, are not the way to do that. In super hero stories, it is usually, but not always, a threat to the common good— like a geeky mad scientist planning to death-ray Metropolis into cinders.
If the writer can incorporate the inciting incident into the hook, excellent. If not, it has to appear early in the story, or, if it occurred before the story opened, it must be referred to and explained as soon as possible. No wasted space here. Art by Howard Porter and John Dell. Answer some questions for the reader: Where are we? What, or who, is he combatting? Until these elements are established, your story is at the starting line. Said Mr. We know where we are geographically and historically.
Act II We should now take the story in a new direction. Something unexpected happens, maybe something that involves hero in combat with villain. Get him in trouble. You want to convince the reader that he cannot possibly win.
Call this act three. In your remaining space, your hero solves his biggest problems, if not all his problems, vanquishes threats and evils, and restores peace and tranquility. Keep it brief; it should occupy no more than a page in a page story. Your story has done something all dramatic forms have in common: given the audience a sense of completion.
For example, you need not introduce complications and action scenes only at the end of acts one and two.
If so, do it. Barks told Mr. With this method, the writer is sure that, at least, his story is going somewhere. It does not absolve the writer from constructing a narrative that keeps moving, has rising action, concerns interesting characters who behave logically, and features some entertaining incidents before and in addition to the grand climax.
Art by Dave Taylor. Unless any of that other stu will be important later, omit it. So start the scene as late as possible and once the dramatic point is made, end it.
Rising action is one insurance against this happening. Author: Steven Kotler. Publisher: Houghton Mifflin Harcourt. If you continue browsing the site, you agree to the use of cookies on this website. See our User Agreement and Privacy Policy. See our Privacy Policy and User Agreement for details.
Published on May 2, It s an extraordinary party as we revisit stories from across the decades, featuring the debuts of not just the Man of Tomorrow, but also Supergirl, Brainiac, the Fortress of Solitude and more! File Name: superman action comics 1 pdf. Action Comics 1 - Navigation menu Its original incarnation ran from to and stands as one of the longest-running comic books with consecutively numbered issues. Video Audio icon An illustration of an audio speaker.
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