Showing posts with label Batman. Show all posts
Showing posts with label Batman. Show all posts

Saturday, January 21, 2017

Page Turn - Alley - P. A. Nolte


1/ Overhead, a shadowy figure moves from rooftop to rooftop. In the alley below, a terrified hoodlum watches in, uh, terror.

2/ The hoodlum has ducked around the corner and flattened himself against the wall.  There's a bronze plaque above his head that reads "Park Row.  1823.  Historic Preservation Society of Gotham" and has seen better days, much like the alley it marks.

3/ In the background, the hoodlum peers around the corner.  In the foreground, Batman is placing two roses on the cold, grimy cement.

4/ The hoodlum has flattened himself against the wall again. This time with a more confused look on his face.

Hood: What's with the...?

5/ Then it dawns on him.  Maybe a little glint of light off the plaque for everyone reading who's only just now catching on.

Hood: Oh.

Hood: Oh!

6/ A devious grin spreads across the hoodlum's face.

Hood: Bruce Wayne is--

Sunday, March 27, 2016

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.


Sunday, November 22, 2015

The Dark Knight Returns – THE BOY AND THE BOOK – Derek Adnams


Page 1 – (11 Panels)

Layout:  Like the sixteen panel grid format Frank Miller used in DKR – four panels across the top, four panels underneath, one panel in the third row and a larger Panel 10 with an insert in spot sixteen taking up the remainder of the page.

1.1:  The cover to the first edition trade paperback of Batman: The Dark Knight Returns.  It’s brand new, right off the shelf.

Caption:  Once upon a time there was a book.

1.2:  Interior, a small apartment, Christmas Morning.  A Boy of ten or eleven holding the book from Panel 1.1, smiling broadly.  There is wrapping paper littering the carpet and a decorated Christmas Tree just behind the Boy.

Caption:  And on a magical Christmas morning a boy was gifted this book.

1.3:  Interior, evening, a private hospital room in a sterile pediatrics ward.  The Boy from Panel 1.2 is lying in a hospital bed, hooked up to an IV.

Caption:  Shortly thereafter, the boy was imprisoned for what, to a young boy, seemed like an eternity.

1.4:  The Boy sitting up in the hospital bed, reading Batman: The Dark Knight Returns.  It’s night and the only light source is a lamp on his bedside table. 

Caption:  And the boy was left with only the book.

1.5:  Interior, night, the Boy’s room in the apartment from Panel 1.2.  He’s out of the hospital and sitting at a desk, drawing.  The desk is lit by a single desk lamp and the boy is wearing pajamas. 

Caption:  The boy lived inside the book, and knew that he wanted to make a book too. 

1.6:  What the Boy’s drawing: an extremely crude replica of a Frank Miller style Batman.

Caption:  But alas, the book was a force of nature and could never me replicated.

1.7:  The Boy, a teenager now, sitting at an old 1990-style word processor.  He’s behind the same desk from Panel 1.5, wearing a flannel shirt and blue jeans.

Caption:  He learned about words and for what they were meant. 

1.8:  The Boy, in his late twenties or early thirties, in a business suit, standing before a group of other people in business suits.  They are sitting around a conference table, watching the grown-up Boy giving a Power Point presentation.

Caption:  But he forgot then what he knows now and was an imitation of a happy man.

1.9:  Repeat of Panel 1.1, only a very well-worn and beaten copy.

Caption:  Then he remembered his old friend, the book -

1.10:  Large panel taking up half of the page of the Boy, now in his late-thirties or early forties, sitting at a desk, typing away on a laptop.  He’s wearing a grey t-shirt and black pants.  On the desk next to the laptop is the battered book from Panel 1.9.

Caption:  Becoming the boy again.

Caption:  This will be a good life . . .

1.11:  Inset to Panel 1.10, where a sixteenth panel would be if the 4 x 4 grid structure had been maintained for the entire page, and the smirking face of the grown-up Boy.

Caption:  . . . good enough.


Why The Dark Knight Returns?


. . . because if you were to pierce the fabric of spacetime and ask eleven year old me what I wanted to be when I grew up, I would answer “Frank Miller.”  Go back a little further to Coles Books at the Seaview Square Mall just before Christmas in 1986 and you’ll know why – there, in the science fiction section, stands a wide-eyed boy reading a book unlike anything, ever.  That boy was me. This is the book:


Batman: The Dark Knight Returns made me want to create.  This was a classic superhero presented in a manner that was bold and new.  I was too young to truly appreciate everything Miller was doing, and there are plenty of resources available that deconstruct the work, but upon reading it again, for the first time in about 20 years, I can see how it made its way into the pages I write.  My penchant for “talking heads” scenes is a direct correlation to the repeated television screens used throughout Dark Knight Returns, only without the subtext that the newscasters, experts and pundits bring to Miller’s work.  Early in my writing I tried to jam as many panels onto a page as possible, subliminally borrowing from the 16 panel grid layout Miller used to heighten the sense of a claustrophobic Gotham City.  I just didn’t know how to tell a story.

As a kid, the grand vision of Batman: The Dark Knight Returns was lost on me.  What wasn’t lost on me were the images – iconic and beautiful.

Like this, the Dark Knight ready for battle:


Or the Dynamic Duo leaping through the night:


And of course the simple cover from Issue #1:


But the image that stuck with me the most was this page, and what Bruce says before dying:


Followed by Superman cradling the body of his fallen friend, telling the soldiers “Don’t touch him.”

This is the type of book I wanted, and still want, to create, and every time I sit in front of another blank page, eleven year old me appears as a reminder that I will never be able to “touch” this masterwork from Frank Miller.

But that doesn't mean I can't try.

One page at a time.


Wednesday, August 13, 2014

The Creeper – Interview With a Batman – MK Stangeland Jr.

(6 Panels)

Panel 1: JACK RYDER sits in a chair with a smug look on his face. In the foreground, hidden behind a chair and looking across his desk at RYDER, is his TV PRODUCER.

PRODUCER (1): This can’t be real! You managed to interview BATMAN, of all people?!

JACK RYDER: Believe it.

PRODUCER (2): How did you even pull that off?!

Panel 2: The streets of GOTHAM - CREEPER is sitting on top of the BATMOBILE as BATMAN is getting into the vehicle.

CREEPER: How to acquire all your expensive technology?

BATMAN: None of your business.

Panel 3: BATMAN is chasing after JOKER. CREEPER is trying to follow behind BATMAN. JOKER is trying to flee from them both, but mostly trying to get away from CREEPER.

CREEPER: How do you sleep when all the criminals you put away get back on the streets so easily?

BATMAN: I don’t have time for this!

Panel 4: BATMAN and CREEPER are both chained to a rocket. BATMAN doesn’t have his utility belt, but looks like he’s getting out some other hidden gadget that will help the both of them escape.

In the background, RIDDLER and THE PENGUIN are watching alongside a number of PENGUIN HENCHMEN as they anticipate the end of both the heroes.

CREEPER: How do you manage to prepare for every eventuality?

BATMAN: I’m trying to concentrate here.

Panel 5: BATMAN and CREEPER are on top of a warehouse. BATMAN has turned to CREEPER and is pointing at him, looking even more grim and moody than usual.

CREEPER: With Gotham’s crime rate, why do we never see heroes from other cities helping you clean up the streets?

BATMAN: I am warning you, I am formulating your defeat as I speak.

Panel 6: Return to the situation of PANEL 1, where JACK RYDER is once again seated across from his unseen producer. He still has his smug look on his face, and is presently pointing to his head.

JACK RYDER: The trick was to look past what was coming out of his mouth to decipher what he was actually saying.


(END PAGE)

Saturday, January 11, 2014

The Batmobile - Born This Way - R.A.Wonsowski

Setting: interior, the Batcave.

Panel 1 - BATMAN slips into the driver's seat of the Batmobile, settling into the seat, ready for action.

NO COPY


Panel 2 - Interior Batmobile, BATMAN turns the ignition on the Batmobile.

NO COPY


Panel 3 - Same as Panel 2, except the radio blasts full volume, BATMAN cringes in pain at the blaring noise as he tries to cover his ears

BATMOBILE RADIO:  RAH-RAH-AH-AH-AH-AH!!  ROMA-ROMA-MAMAA!!  GA-GA-OOHLALA!!

Panel 4 - Same as Panel 3, but now BATMAN just looks extremely annoyed.

BATMOBILE RADIO:  CAN'T READ MY - CAN'T READ MY - NO HE CAN'T READ MY POKER FACE!!!

Panel 5 - BATMAN is now standing outside the idling Batmobile in the cave.  He's growling, fists clenched, in annoyed anger at ALFRED, who is standing proudly at attention, holding a feather duster and sporting a black Lady Gaga lightning bolt over his right eye.

ALFRED:  It's true, Master Wayne.  I admit it, I am one of her..."Little Monsters"

BATMAN:  I don't care, just turn it back down when you're done!!

Tuesday, January 7, 2014

Batmobile - The Wheelman - Simon McDonald


1.
Establishing shot of the Gotham City Bank. It's night. The street is all but empty; a single, sleek sports car is parked on the opposite side of the road. From this angle we can't see The Wheelman inside the car. (He is not actually there, but that shouldn't be displayed at this stage). The bank alarm is jangling. A robbery has just occurred.
 
Caption
Gotham. Zero Year.
 
Caption - The Wheelman [1]
There is one certainly in Gotham City.
 
Caption - The Wheelman [2]
Commit a crime, and he will come for you.
 
SFX
Clang-Clang-Clang-Clang-Clang!

2.
Three ski-masked men burst out from the bank, running for the car. They're carrying bulging duffel bags. A few banknotes flutter in the air as they sprint.

Caption - The Wheelman
Only way to survive in Gotham nowadays is to be fast.

3.
As the robbers reach the car, pulling open the doors, the Batmobile screeches to a halt behind them, headlights on, blinding them. Robber #3 is already in the car, is looking to the drivers seat, which is empty.

SFX
Screeeeeech!
 
Robber #1
Arrgh!
 
Robber #2
Oh God!
 
Robber #3
Drive, you idi - No!
 
Caption - The Wheelman
But nothing is as fast as his wheels.

4.
The Batman, ejected from the Batmobile, lands on top of the intended getaway car. Behind him, The Wheelman sneaks into view, making a beeline for the Batmobile.

SFX
Crunch!
 
Caption - The Wheelman
In my line of work, that's a bad thing.
 
5.
The Wheelman sits in the Batmobile's drivers seat. His eyes are wide, taking in the console, and the array of buttons. It is unlike anything he has ever seen.

Caption - The Wheelman
I need to be the fastest.
 
6.
The robbers are tied together with Batrope. They are unconscious. The Batman's head is turned, watching the Batmobile speed past him.

Caption - The Wheelman
Now I am.

Saturday, March 23, 2013

It Was A Dark And Stormy Night - by Snoopy and R.A. Wonsowski


Panel 1 - SNOOPY sitting on his dog house at his typewriter.

CAPTION:  It was a dark and stormy night. 


Panel 2 - Crime Alley.  THOMAS WAYNE steps in front of his wife MARTHA and young son BRUCE, as JOE CHILL shoots him in the stomach.

CAPTION:  Suddenly, a shot rang out! 


Panel 3 - GREEN ARROW kicks open a door, arrow nocked in his bow, as BLACK CANARY lets loose a sonic scream, blowing everything back.

CAPTION - A door slammed. The maid screamed. 


Panel 4 - PSYCHO-PIRATE on a Carnival cruise ship, laughing as everyone panics.  WONDER WOMAN swings in from behind from her golden lasso.  

CAPTION:  Suddenly, a pirate ship appeared on the horizon! 


Panel 5 - On Apokolips, hundreds of HUNGER DOGS worship a giant statue of DARKSEID.

CAPTION:  While millions of people were starving, the king lived in luxury. 


Panel 6 - Looking up, high above the roof of a barn and silo, a young CLARK KENT launches into a clear blue sky like a streak.

CAPTION:  Meanwhile, on a small farm in Kansas, a boy was growing up.


Panel 7 - Back to SNOOPY on his dog house at his typewriter, still typing away.

SNOOPY (thought balloon):  Still classic, but next time, I'm working with Stan Lee...

Saturday, November 24, 2012

The Spectre - Hits the Fan - Ray Wonsowski

Layout:
123
444
444

Panel 1 - establishing shot: inside the Ha-Ha-Hacienda.  It is abandoned, and is decorated with the requisite pranks, toys, and giant Joker cards.  BATMAN crouches down close over the naked body of Crispus Allen (we do not know if he is unconcious or dead).  ETRIGAN watches from behind.

BATMAN:  He's its host.  How could he possibly get separated from it?

ETRIGAN:  The spectral agent of the Deity - suffers from a crisis of identity...


Panel 2 - close-up on ETRIGAN as he thoughtfully elucidates...

ETRIGAN:  The Presence has no longer need for a clumsy vengeful tool - and so decreed the Spectre "Spirit of Redemption", the Almighty Fool...

ETRIGAN:  And during this spiritual changing of the guard - the host, at his weakest, went down, and hard...


Panel 3 - ETRIGAN pokes BATMAN in the chest, who has a "don't touch me" look on his face.  ETRIGAN, however, is dead serious.

ETRIGAN:  Thou knowest the clown has magicked before, but lacks the discipline - He nearly beat us last time, and more - we can not let him win.

ETRIGAN:  Be not concerned with reason, it matters not the wherefore's or what's - No time, creation trembles...


Panel 4 - bottom 2/3 of the page.  The JOKER is now the SPECTRE.  The green cape swirls about his white,  almost skeletally skinny, body, and the hood covers the eyes as always, but the blood-red rictus is laughing maniacally as he juggles moons while standing in Jupiter's Great Red Spot.

CAPTION:  (Etrigan) ...The Spectre's gone completely nuts...

...to be continued...

Saturday, July 21, 2012

Batman - Begins Beyond - R.A. Wonsowski

Layout:

1111
2345
6666

Panel 1 - Across the top of the page, the Gotham City skyline, at dusk, the sky a burning blood red.  It should look like a cross between old Prague and "Blade Runner" L.A.  Wayne Tower is center and prominent.

CAPTION:  2019


Panel 2 - Close-up on the face of BRUCE WAYNE.  His face is pale, sunken and tired.  His hair is greying at the temples.  His expression is between sadness and anger.

CAPTION (Bruce):  It's all different now.

CAPTION (Bruce):  Alfred.  Jim.  Lucius.  Memorialized by stone markers in grassy plots.


Panel 3 - Same as Panel 2, but BRUCE is beginning to pull his black cowl over the top of his head.

CAPTION (Bruce):  Dick.  Jason.  Tim.  Won't speak to me anymore.

CAPTION (Bruce):  Barbara's walking her father's road.  Damian's walking his mother's.


Panel 4 - Same as above, except the cowl is now over his eyes, the signature white lenses glare a little.

CAPTION (Bruce):  Doesn't matter.

CAPTION (Bruce):  The past is done.


Panel 5 - The cowl is now fully over his face, revealing that this is the mask from the powered Batsuit from Batman Beyond.

CAPTION (Bruce):  The future is beyond.  Someone will follow my steps.  Someday...But...

CAPTION (Bruce):  Bunny Vreeland is out there.  Abducted.  Scared.


Panel 6 - BATMAN (Bruce in the full Batman Beyond costume) jumps off the Wayne Tower roof, arms spreading the red wings of the exosuit.

CAPTION (Bruce):  My war is now.

Friday, July 20, 2012

Batman: Sufferin' Sandman! - Niel Jacoby

In this page, Batman is fighting off both the aftereffects of Scarecrow's fear toxin and sleep deprivation. He's been pushing himself hard.

Panel 1: Batman, 5 o'clock shadow visible, staggers into the Commissioner's office, which is empty.

Batman: COMMISSIONER, THE SCARECROW... TOXIN...

Inset panel: A piece of paper lies crumpled on the floor.

Batman: EH?

Panel 2: Batman sits in whatever chair is handy and reads the paper.

Batman: "...USED TO HAVE THE TRE-DEUCE AND THE DEUCE-DEUCE IN MY BUBBLEGOOSE..."

Batman: HUH, SOME CLUE.

Batman: 2 GUNS MENTIONED, BOTH WITH CALIBERS DIVISIBLE BY 2. TWO-FACE IS JUST GETTING TRANSPARENT HERE.

Panel 3: Batman is reading the paper, and is utterly convinced he's on to something.

Batman: BUT WAIT... 3+2+2+2=9! 9 LIVES! CATWOMAN'S CALLING CARD!

Batman: OR MAYBE THE MENTION OF THE GOOSEDOWN COAT WAS MEANT TO DRAW SUSPICION AWAY FROM THE PENGUIN, THAT CRIMINAL CAPER-CHEWER!

Inset Panel: Batman is confused.

Batman: HUH... WHAT CALIBER DOES THE VENTRILOQUIST USE AGAIN?

Transmitter(Oracle): BATMAN, WHERE ARE YOU? THE COMMISSIONER'S BEEN CALLING ME FOR THE PAST 5 MINUTES!

Panel 4: Batman, suspicious, holds 2 fingers to his right ear to activate the communicator.

Batman: BUT... HE WAS KIDNAPPED. HE WASN'T IN HIS OFFICE, AND I FOUND A VERY CONFUSING NOTE THAT COULD BE ATTRIBUTED TO ANY NUMBER OF SUPERVILLAINS.

Transmitter(Oracle): LET ME SEE IT.

Panel 5: Batman, his eyepieces glowing green, holds the mysterious note in front of him.

Caption: EYEPIECE TRANSMISSION ACTIVE.

Panel 6: Oracle is exasperated.

Oracle: BATMAN, WHEN DID YOU LAST SLEEP?

Transmitter(Batman): ... IT HAS BEEN A WHILE SINCE I'VE TAKEN ONE OF MY CRIME-SOLVING MICRO-NAPS. I MAY BE OFF MY GAME.

Oracle: YOU'RE CONFUSING SONG LYRICS FOR RANSOM NOTES. GO TO BED, I'LL SEE IF NIGHTWING CAN SUB IN.

Batman - What's in a Name? - J.D. Coughlan


SET-UP: Batman is fighting Bane (just to keep things topical) in an abondoned factory, and Bane is giving him the usual villain speech: "We're so alike, we're both driven by the same thing, we both impose our will over others," etc. Note that Bane is not on Venom here, so not as large or strong.

Panel 1: Batman, previously on the ropes, gets his second wind. Lying on the floor, he kicks Bane in the shins powerfully.

BATMAN: I am sick of justifying myself to murderers and madmen!

SFX: KRAK

BANE: AH!

Panel 2: Batman flips over backwards, kicking Bane in the face on his way.

BATMAN: I have known tragedy...

SFX: KK

Panel 3: Batman lands on his feet, cape still flowing as part of his arc. Bane rubs his face, enraged.

BATMAN: ...but I am not driven by it.

Panel 4: Bane lunges for Batman, but Batman deflects the punch with one hand while driving the heel of his other hand into Bane's jaw.

BATMAN: I am not pain. I am not vengeance. I am not my parents' deaths.

SFX: THUK

Panel 5: Batman sweeps his foot under Bane's feet, causing Bane to fall.

BATMAN: I am something which had no name until I gave it one...

Panel 6: Bane is on the ground now. Batman kicks him in the face hard.

SFX: KK

BATMAN: I AM BATMAN!

END OF PAGE

Thursday, July 19, 2012

Batman – Death Becomes Him – Shaun Richens.


Set up: This tale takes place in the Nolan Batman universe.

Before this final page Batman has been engaged in a bloody all out brawl with the villain known as Bane. He barely leaves with his life. We pick up with his return to the newly rebuilt Wayne mansion.

PAGE 22.

6 PANELS.

1. ALFRED is standing in the grand and luxurious master bedroom of Wayne manor. A beautiful dark oak four-poster bed rests fresh and un-slept in. A full moon is bright in the sky its eerie light splashing into the room from the main window of the room.

         NO COPY

2. Making his way down the secret and secure back stair well to the batcave ALFRED wears a look he has worn a thousand times, a look of worry, a worry that his master and friend Bruce Wayne will not be returning home.

         NO COPY

3. A huge set of computer screens illuminate the dim batcave. A large seat sits in front of them its back to us. ALFRED stands patiently to one side, his back to us as well.

         ALFRED:
         You are home later than usually this evening Master Wayne.

4. A similar layout to panel 3. However now the seat has swiveled around. BRUCE WAYNE sits slumped in the chair. He is only wearing the bottom half of his Batman costume. His cape hangs over one side of the huge seat. His face is bruised and bloody as are his ribs, which he is slowly trying to wrap in bandages. Over one of his knees rests his bat cowl half ripped up and soaked in dried blood.

         BRUCE 1:
         I ran into a little bother.

         ALFRED 1:
         Well better later than never sir.

         ALFRED 2:
         You missed supper. Shall I warm you something up?

         BRUCE 2:
         I’m going back out Alfred. Gotham needs me.

         ALFRED 3:
         But sir? You are in no state to go back out gallivanting.
        

5. Same layout as 3. BRUCE has turned his chair so it’s back is to us again. ALFRED has turned to face us. His face hangs low, and for once he really shows his age, his fear for his friend hangs heavy on him.

        ALFRED (Quietly to himself):
You’re going to be the death of one of us Bruce. I just hope its not you.
        
6. A close up on ALFREDs face. A single tear rolls down his cheek.

         NO COPY.

Tuesday, July 17, 2012

Batman- Start -Dan Hill

Came up with a blank for this one (as is usually the case for the bigger characters) and as such this is very last minute.

The page takes a panel from Miller's Year One as a jumping off point. This is the panel where Batman makes his presence first known to the criminal element by diving down on three young hoodlum's on a fire escape who are in the midst of stealing some TV's in the middle of the night.

This panel (or a facsimile thereof) takes up the majority of the page.


123
425
666


I tried to also caption the page in a kind of free verse. Not sure if it works, but hey, experimentation!


Page One


Panel One


OPEN on a TIGHT SHOT on YOUTH 1. He wears a red sweater with jeans and white trainers. He's perched up on the railings of the fire escape, eyes wide with fear. 


CAPTION:  His father vanished and left a hole


CAPTION:  that drugs and crime could not fill.


Panel Two


The centrepiece of the page-- BATMAN swooping down towards the fire escape, head tucked in, cape hunched around him slightly as it trails behind him like a pair of wings. 


YOUTH 1 has his back to us and has leapt up onto the railings to escape the monster from above. 


Behind Batman YOUTH 2, dressed in grey sweatshirt and jeans, screams in horror. He's sank to his knees. 


To the left of Batman, falling backwards over the railings of the fire escape is YOUTH 3. He's dressed in white trainers, a black sweatshirt and a pair of jeans. 


The stolen TV's have all been dropped. 


NO COPY


Panel Three


CUT TO a TIGHT SHOT of Youth 2, still screaming. 


CAPTION:  Everything went his way until his knee went


CAPTION:  purpose lying broken on a football field.


Panel Four


CUT TO a TIGHT SHOT on Youth 3, his mouth open in shock as he falls over the railings to certain doom.


CAPTION:  Bad from day one,


CAPTION:  no fall from grace.


Panel Five


CUT TO a CLOSE UP on Batman, his face is a picture of concentration. 


CAPTION:  Guilt, rage and vengeance given form


CAPTION:  A shape in black,


CAPTION:  the void and the night. 


Panel Six


WIDE PANEL. A shot of the Gotham skyline-- night. 


CAPTION:  They all remember the first time.


CAPTION:  Of all the stories in the city that night, 


CAPTION:  this one took hold.


CAPTION:  A mark made. Things changed forever. 





Batman - Some Nights - Grant McLaughlin

The first three panels are all the same size, a third of the page in width and a little under two thirds in height.  The rest of the page is a single panel with a panel inset on the lefthand side.

The scene is Gotham City.  Night time.

1 - Almost a bird's eye shot (think GTA 1 or 2).  The Batmobile is driving through some tight alleys, coming to a dead-end.  The Batmobile would be near the bottom of the panel.

CAPTION (BATMAN): You never know what you'll find on the streets of Gotham at night.

2 - Switch to an angle closer to street level.  The Batmobile is just visible at the bottom of the panel.  The focus is on Batman (who is towards the middle of the panel), who stands next to the alley's wall.  He holds his grappling hook gun, firing it upwards.  He is facing away from the reader.

SFX: ka-BOW!

CAPTION (BATMAN): At any time you can find yourself face to face with cutthroats.  Murderers.  Psychopaths.  Or worse.

3 - On top of the rooftop.  Batman is walking towards the corner of the building (which is at the top of the panel).  He continues to face away from the reader.

CAPTION (BATMAN): It's never easy.  Every night is a challenge.

4 - Inset panel.  All it is is the lower half of Batman's face.  He is smiling.

CAPTION (BATMAN): But some nights...

5 - The docks.  An over the shoulder shot of Batman looking down on the docks from his perch on a nearby roof.  The focus is on a group of bad guys unloading some bad guy stuff from a docked ship.  The gang's leader is Killer Moth, who is standing around shouting orders as the other men unload.

KILLER MOTH: Let's get a move on!  We need to get outta here before the Batman shows up!

CAPTION (BATMAN): Well, some nights are less challenging than others.

Monday, July 16, 2012

Batman - Enough - Ben Rosnthal




1. A tight shot of your typical henchman, wide eyed in horror as he watches something before him. Shadows on his face tell us he is witnessing a devastating fight. He bleeds from the nose – it’s broken.


2. A shot of The Joker’s face, being punched by a black gloved fist. Batman is punching him, and we know that it is him; however we cannot see all of him.  Joker’s smile has been replaced with blood, as teeth fly out of his mouth as the punch connects.


3. A series of tight panels, each showing a part of the Joker being hit with brute force – this one shows a brutal blow to Joker’s abdomen.


4. This shows a knife edged strike to Joker’s throat.


5.  A shot of the henchman again.  He looks more scared than ever.

HENCHMAN (quietly, to himself)
He’s going to kill him.


6. A longer panel showing a side shot of Joker’s torso and head. He is unconscious. Batman’s fist is ploughing into Joker’s spine, breaking it.

Sfx: CRAAAAACK


7. A shot of Batman from the front.  He is releasing his grip on Joker’s hair, who is falling to the ground.  This is the first time we see Batman – he is cold un emotionless.

BATMAN
He’ll live. His victims won’t.

Sunday, July 15, 2012

Batman – Batman: Of the Asylum – MK Stangeland Jr.


Page 1

(6 Panels)

Panel 1: Exterior shot of ARKHAM ASYLUM. The weather is dark and cloudy, giving the place the atmosphere that might normally be expected. However, the actual building itself, if one looks past the dark and gloomy atmosphere, should look much less depressing than one would normally expect of ARKHAM – rather, the building itself should almost come across the opposite of what one would expect of the ARKHAM that we are used to.

TEXT BOX 1: (JAMES GORDON) Dr. Gordon’s Personal Medical Journal – May 1st

Panel 2: Interior shot of DR. GORDON’s office – it’s the office of the head of ARKHAM ASYLUM, with focus on the rooms main desk. Sitting at the desk is JAMES GORDON, and he is writing in a journal.

TEXT BOX 1: (JAMES GORDON) I believe that I have fully adjusted to my position as head of Arkham Asylum since filling the position left vacant by Dr. Arkham himself.

TEXT BOX 2: (JAMES GORDON) In that time, there has come into our care one individual who particularly fascinates me.

Panel 3: Interior panel of a cell inside of ARKHAM ASYLUM. It’s a dark room, and looks like an approximation of that giant computer area from the BATCAVE, or at least as close as someone could get if they were a resident of an asylum. Sitting in the chair, wearing a crude mask and cape over his inmates outfit, is BRUCE WAYNE.

TEXT BOX 1: (JAMES GORDON) The patients name is Bruce Wayne. His backstory is an deeply sad one. He has multiple conditions; I could spend several pages listing and explaining them.

TEXT BOX 2: (JAMES GORDON) His uncle, a kind old man named Alfred Pennyworth, is paying for the best care money can buy. He visits as often as he can.

TEXT BOX 3: (JAMES GORDON) What I find most curious, however, is that when anyone other than Mr. Pennyworth addresses Mr. Wayne by his real name, he replies with only three words.

Panel 4: Panel 4 should take up the left portion of the bottom of the page, setting up and leaving room for panels 5 and 6 to follow right next to it. Focus should be on BRUCE WAYNE, upper body, as he sits in his chair.

BRUCE WAYNE: I.

Panel 5: Panel 5 takes up the bottom middle of the page, right between panels 4 and 6. Panel is closer to BRUCE WAYNE, focusing more on his face.

BRUCE WAYNE: Am.

Panel 6: Panel 6 takes up the bottom right third of the page, finishing the three panel sequence started by panel 4. Panel has closed in on BRUCE WAYNE’s head.

BRUCE WAYNE: Batman.

(End Page)


Why Batman?




Because the final movie of the Dark Knight trilogy comes out this week.

Because he’s crazy prepared.

Because he’s the world’s greatest detective.

Because he’s the poster boy for stealth entrances and exits.

Because HIS PARENTS ARE DEAD!

Because there’s no problem he can’t solve with enough prep-time.

Because he is the Night.

Because he fits all nine pieces of the alignment chart – by himself.

Because he can breath in space.

Because some days he just can’t get rid of a bomb.

Because HE DOES NOT EAT NACHOS!

Because he can make anything funny.

Because criminals are superstitious and cowardly lot.

Because he’s the Caped Crusader.

Because he’s the hero Gotham deserves, but not the one it needs right now.

Because he can take it.

Because he’s a silent guardian.

Because he’s a watchful protector.

Because he’s the Dark Knight.

Because he!

IS!

BATMAN!



(And as a friendly reminder – Remember, Thought Balloons readers! YOU TOO can play along at home if you’d like to write a script for the Dark Knight this week! Just post your one-page script in the comments section of this post below! Have fun!)

Saturday, August 27, 2011

The Riddler – The Worlds Maddest Detective - MK Stangeland Jr.

(5 Panels)

Panel 1: RIDDLER and BATMAN (BRUCE WAYNE) are on a rooftop in Gotham City. RIDDLER is wearing a BATMAN costume, though his cowl and cape have a greenish tint to them and the body suit is darker. RIDDLER is turned towards BATMAN from previously being perched on a rooftop ledge, and has a very un-BATMAN like grin on his face.

BATMAN: Riddle me this, Edward. When is Batman not?

RIDDLER: A riddle? I LOVE riddles! Oh, oh! I’ve got this one, don’t tell me…

Panel 2: BATMAN stands directly in front of RIDDLER doing his best intimidation death-glare. RIDDLER, however, knows BATMAN well enough to not be affected by it very well and instead continues to have a grin on his face that would look outright creepy if the regular BATMAN were wearing it.

BATMAN: (Not giving RIDDLER a chance to answer.) When I haven’t approved it.

RIDDLER: Oh, you mean this old thing?

BATMAN: You want to explain to me why you’re running around Gotham dressed like me?

Panel 3: RIDDLER crouches as he sticks one foot up on the ledge of the building and stretches the opposite arm out in front of his face while holding his cape, using it to cover his face below the eyes.

RIDDLER (1): I’m trying to get inside your head and answer one of the second greatest riddles of the Batman!

RIDDLER (2): Riddle me this – how does he run around in tights all the time without going as bats as the very madmen he puts away?

Panel 4: RIDDLER stands on the ledge of the building with his back to the open air. His arms are stretched wide, each hand holding an edge of his cape.

RIDDLER: The answer?

Panel 5: RIDDLER leaps off the rooftop backwards. BATMAN rushes to try to catch him, worried that RIDDLER may have snapped even beyond his normal self and is leaping to his death.

RIDDLER: HE DOESN’T!

(END PAGE)

The following page would show that no, RIDDLER isn’t committing suicide, but instead has his own grappling cable which he uses to try to swing away while he laughs maniacally.