Showing posts with label Derek Adnams. Show all posts
Showing posts with label Derek Adnams. Show all posts

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.


Friday, October 30, 2015

Clea – EXPULSION – Derek Adnams


Page 1 – (6 Panels)

1.1:  Exterior, Hogwarts School of Witchcraft and Wizardry, night.  The entire student body stands lining the torchlight path leading from the entrance to a waiting Kestrel drawn carriage.  Walking down the middle of the path is Clea, age eleven, followed by Albus Dumbledore and Severus Snape, both considerably younger than in the Harry Potter book and movie series.

Dumbledore:  I hope you understand why you must leave the school, young lady.  It’s not that you aren’t welcome here, it’s just . . .

1.2:  Clea walking along the path, Dumbledore and Snape trailing a good distance behind, a young white-haired boy, a Malfoy, stepping forward.

Malfoy:  Good riddance, you Dark Dimension rubbish!

Snape:  Malfoy!

1.3:  Clea using some Ditko-inspired magic to lift the boy off the ground, vaguely demonic energies emanating from her hands and surrounding the boy in vapor tentacles.  Dumbledore and Snape are flinching back slightly.

Dumbledore:  Oh my!

1.4:  The boy being slammed to the ground behind the departing Clea, Dumbledore and Snape, the gathered students looking at their fallen classmate, most snickering, the rest recoiling in fear.

Snape:  Just like his uncle.

Dumbledore:  Well, some bloodlines that will never change . . .

1.5:  Clea, a smirk on her face, getting into the carriage.  Dumbledore and Snape watching in the background.

Dumbledore:  . . . and others appear to just get better and brighter with age.

1.6:  The carriage departing into the night, Dumbledore and Snape looking after it, whispering in tones only they can hear.

Snape:  Do you think Clea will be alright, Professor?

Dumbledore:  Most certainly, Severus, and I do believe that returning her to her home is exactly where she will do the most good.

Dumbledore:  After all, she is the greatest witch of her generation.


Friday, October 23, 2015

Doctor Crowe – LEATHER APRON – Derek Adnams


Page 1 – (6 Panels)

1.1:  Interior, night, a pitch-black Victorian era house.  Doctor Crowe is walking through an open door, the misty night behind him lit by a lone gas light.  He is holding what appears to be a “Genie’s Lamp”, a mystical device he is using to light his way.  The hand not holding the lamp is closing the door behind him.

Caption:  The Whitechapel District of London, 1888.

Doctor Crowe (caption):  I took on this case secretly, with no companion, protégé or accomplice.

Doctor Crowe (caption):  There was a compulsion to complete this mission alone, though Nora has been with me for so much and seen more than anyone before her.

1.2:  Doctor Crowe walking through a hall, the lamp he is holding casting shadows and vaguely illuminating what appear to be slabs of meat hanging from hooks chained to the ceiling, like he’s in a huge meat locker.  Nothing is explicit, but there is a feeling of subdued dread.

Doctor Crowe (caption):  Still, I feel the need to shield her from some horrors.

Ripper (from off panel):  Croooowe . . .

1.3:  Doctor Crowe turning around quickly, the light from his lantern glinting off of a knife in the darkness.

Ripper (from the darkness):  I feel honored and disappointed simultaneously.

Ripper (from darkness):  Honored that I am monster enough to garner your attention . . .

1.4:  The Ripper turning up a lantern on a desk, revealing that the “slabs of meat” from Panel 1.2 are really dismembered torsos, legs and arms!  The Ripper, however, is clad in Victorian finery, top hat and tails, white gloves and pocket-watch.  Immaculate.

Ripper:  . . . yet disgusted with myself for not better concealing my identity. 

Ripper:  Had I anticipated your involvement, well, I would have taken better precautions.

1.5:  The Ripper, knife drawn, approaching Doctor Crowe, who has his crossbow out and is about to fire.  Doctor Crowe is dropping the “Genie’s Lamp”, the falling light source casting a huge shadow of the scene on the wall behind the two principal figures.  In the foreground is the desk with the lantern on it from Panel 1.4, and there is a piece of paper with some writing sitting near the lantern.

Ripper:  But no bother, I have my Disciples who will carry on my good work for all of time!

Doctor Crowe (caption):  I think of Nora.

1.6:  The shadow behind the desk and we can clearly see Doctor Crowe pointing the now empty crossbow at The Ripper, the arrow from the crossbow jutting from The Ripper’s throat, blood spurting from the wound.  In the foreground still are the desk and the piece of paper, now splattered with blood.  The only words written that we can see are, in lavish handwritten font - “From Hell”!

Doctor Crowe (caption):  The rest is easy.



Friday, October 16, 2015

Meeting Points – I BELIEVE IN MIRACLES – Derek Adnams


Page 1 – (5 Panels)

1.1:  Exterior, twilight on an alien world, a Father dressed in tattered vestments holding the tiny hand of his eight year old Daughter.  She wears a ragged dress and holds a brown blanket over one shoulder.

Daughter:  Where are we, father?

Father:  The Nexus of All Things.

1.2:  The Father and Daughter walking along the edges of a tent city shanty town, a refugee camp turned bazaar.  Vendors are selling all manner of other-worldly goods.  The Daughter is looking slightly behind her, staring at the wares being hawked by some less than savory characters.  The Father’s gaze remains set straight ahead.

Daughter:  Are we here to purchase something?

Father:  I guess you could say that.

1.3:  The Father and Daughter walking in front of a golden monument, bizarre cupola topping the obelisk base.  There are two helmeted sentries wearing green flowing robes stationed on each corner of the monument.

Father:  The world has moved away from what I knew.  There are too many out there, beyond, who would do us harm.

Father:  You deserve so much more than this, and there’s only one way I can ensure that your potential isn’t squashed.

Daughter:  How?

1.4:  Father kneeling before his Daughter, hands on her shoulders.

Father:  By leaving you here so that you may learn.

Daughter:  But I don’t want to leave you!  I don’t want to be alone! 

Daughter:  I love you, Daddy . . . why are you doing this?

1.5:  Large panel of the alien cityscape of the Nexus of All Things.  The Tent City is at ground level, expanding in all directions.  Towering above are the golden buildings, sky-scrapers and government capitals, all connected by a network of almost art deco bridges.  In the foreground, the sobbing Father gives his little girl one last hug.

Father:  Because I believe in miracles.



Friday, October 9, 2015

The Orient Express – FORMAL WEAR – Derek Adnams


Page 1 – (6 Panels)

1.1:  Interior, day, the opulent dining car of the Orient Express.  Two young male Backpackers, early 20’s, sit facing each other, about to clink tea cups.  They are dirty, weather beaten, their hair tangled and their clothes grimy and dusty.  Both have large beards and sun burned faces.  They have been on the road for quite some time, backpacking through Europe, and are now enjoying this respite.

Backpacker 1:  I can’t believe we’re actually on the Orient Express!

Backpacker 2:  Yeah.  We may have spent half our backpacking money on the tickets, but it’s so worth it.

1.2:  The entire dining car, all chandeliers and linen tablecloths.  It is full of passengers in 1890’s finery, having stepped out of pictures of the past back onto the same train car they travelled in 125 years ago.  The Backpackers are clearly out of place, and are looking around, tea cups still raised, not a sip taken.  Approaching down the center aisle is the Tuxedo Man in black coat and tails, white gloved and immaculate.

Backpacker 2:  Did it say anything about this being a “costume trip” of something?

Backpacker 1:  No.  I guess most people just get really into the vibe.

Backpacker 2:  I feel a little out of place.

1.3:  Exterior, the rushing Orient Express approaching a tunnel carved through a European mountain range, steam billowing from the smokestack that caps the engine.

Backpacker 1 (from inside the dining car):  Who cares!  Let’s just enjoy the experience.

1.4:  The Tuxedo Man from Panel 1.2 standing before the Backpackers, who are staring at him in stunned silence.  Backpacker 1’s jaw is dropping while Backpacker 2 looks incredulous.

Tuxedo Man:  You don’t belong here.

1.5:  All black panel representing the Orient Express going through the tunnel from Panel 1.3.

Silent Panel

1.6:  Interior of the train, the Tuxedo Man standing before the now vacated seats where the Backpackers had been sitting.  The tea cups are suspended in mid-air, gravity not yet taking them from the spot the now vanished hands of the Backpackers had been holding them.

Silent Panel

 
 

Friday, October 2, 2015

Ashkan Honarvar’s Heroes - OUROBOROS – Derek Adnams


Page 1 – (Splash Page)

Caption:  INTERVIEW WITH DOOM, CONDUCTED BY V. RICHARDS.

Caption:  “Please state your name.”

Caption:  “You know my name.”

Caption:  “Yes, I do, but for the record: what is your name?”

Caption:  “Doom.”

Caption:  “And how did you come to possess the Cosmic Control Rod?”

Caption:  “I followed the Devil through the mirror.  Doom rules All, and All begs to be ruled.

Doom:  Oh - - I have such wonderful friends.
 

 
 
Caption:  “Once inside the mirror, the Devil became pieces, multiplying, insects emerging from a seventeen year sleep, breathing fire and breaking the armor of Doom. 
 
Caption:  “Sprouting new limbs, I vanquished the Devil and gazed upon the Hell that was now mine.” 
 
Caption:  “Why did you leave?”
 
Caption:  “I was exiled, pulled away from yet another kingdom.
 
Caption:  “We’re linked, you know - - your father and I. 
 
Caption:  “Ouroboros into infinite eternities.”
 


Friday, September 25, 2015

Just Imagine – IN A FLASH – Derek Adnams


Page 1 – (6 Panels)

1.1:  Interior, an interstellar science lab floating through space.  Mercury Man, our Stan Lee re-Imagined version of the Flash, is running on his Cosmic Treadmill.  His costume is still red, but now his entire face is covered and there are thin lightning bolts radiating out from the larger one in the center of his chest, calling to mind a slightly Spider-Manish look and feel.  There are the beginnings of Kirby Krackle forming around the treads of the Cosmic Treadmill, Mercury Man’s legs a blur.

Caption:  Hold on tight, True Believers!  The Mercury Man is on his Cosmic Treadmill - - who knows where his super-speed will send him sailing!

1.2:  Mercury Man running even faster on the Cosmic Treadmill, reality opening before him.  We can see the New York Skyline of the 1960’s through the Kirby Krackle-lined hole.

Caption:  Behold!  His tertiary tramplings have torn a tear through time!

1.3:  Mercury Man running through the hole in reality as seen from the ground in 1960’s New York City.  He’s approaching through the sky, heading toward a crowded street lined with pedestrians in stereotypical 1960’s garb.  There are a lot of hats.

Caption:  The fabric of space ripped open, the Scarlet Speedster hurls himself through, into the chilly autumn night of New York City!

1.4:  Mercury Man standing on the street, hunched as he’s in the process of standing, while people gather around and a police officer approaches.  Steam rises from the Mercury Man, the remnants of his journey through dimensions.

Caption:  Little do the denizens of this downtown den of democracy know that the Mercury Man moves not of his own accord, but at the behest of his master. 

1.5:  Mercury Man standing, easily a head taller than everyone around him.  The hole that he travelled through is larger now, and, having just passed through it, is our “Just Imagine” universe version of the world eater Galactus.

Caption:  For he is a herald of the New God . . .

1.6:  Galaktus standing above the New York skyline, his helmet removed, revealing the face of Darkseid!!!!
 
Caption:  GALAKTUS!!!!

 

Friday, September 18, 2015

LITTLE NEMO IN SLUMBERLAND – Derek Adnams


Page 1 – (9 Panels)

Layout is a traditional 9-Panel grid, which the reader will read like a backwards “S”, as follows: Top Row – Panel 1.1, 1.2 and 1.3; Middle Row – Panel 1.6, 1.5 and 1.4; Bottom Row – Panel 1.7, 1.8 and 1.9.  Each panel will also have its corresponding reading order (1, 2, 3 etc.) written in one of the corners, old-school style.

1.1:  Interior, Nemo’s bedroom, night.  Nemo is asleep, dreaming away.  A night sky filled with stars is visible out his window.

Silent Panel

1.2:  Same as Panel 1.1, only now Nemo’s “dream-self” is floating out of his corporeal frame and gliding across the gutter into Panel 1.3.

Silent Panel

1.3:  Exterior, night, the Castle of the Dream King, Morpheus from the classic Neil Gaiman series The Sandman.  The remainder of the story takes place in the Dreaming.  This panel contains the top half of the castle, the bottom half in Panel 1.4.  The top half of Nemo is in this panel, floating over from Panel 1.2.  He’s also falling through the gutter that separates Panel 1.3 and Panel 1.4, drawing the reader’s eye down.

Silent Panel

1.4:  The bottom half the Castle of the Dream King from Panel 1.3, Nemo’s bottom half about to land, coming over from Panel 1.3.

Morpheus (caption):  I have called you many times, Little One. 

1.5:  Morpheus, Dream of the Endless, standing at the beginning of a path, a swirling geometry of bricks like the start of the “Yellow Brick Road” in The Wizard of Oz.  He is regal, wearing a dark tattered cloak, his hands resting at his sides.  Nemo is approaching him from the right, the path trailing off to the left.

Morpheus:  And I know you heard my summons.  Your gifts are too powerful for you to not have been alerted.

Nemo:  But why do you need me, Sir?

1.6:  The continuation of the path from Panel 1.6, Nemo and Morpheus walking across the gutter to the remainder and end of the path Panel 1.7.

Morpheus:  You live in a world of miracles, and thus dreams have become too commonplace.  Every moment of your life has become a waking dream. 

Morpheus:  When you walk into my world, into my kingdom, you are no longer impressed.

Nemo:  What does that mean?  “Impressed”?

1.7:  The end of the path from Panel 1.6.  Unlike the start in Panel 1.5, the path ends abruptly, the bricks overgrown and taken over by the grass.  The bottom halves of Nemo and Morpheus are walking the path, approaching the end, coming over from Panel 1.6.

Morpheus:  You no longer believe in magic, Nemo.  Would you like to remember?

Nemo:  I sure would!

1.8:  What waits at the end of the path - the Corinthian!  The Corinthian stands, dapper in a beige linen suit, hair slicked back.  He is holding his sunglasses in his hand, revealing his tooth lined eye sockets.  All three mouths are smiling.  Morpheus stands in the foreground, beckoning Nemo to go toward the Corinthian.

Morpheus:  Then you must become a nightmare.

1.9:  Nemo, tiny, floating into the open mouth-eye of the Corinthian.  He will be consumed and become the new Corinthian, a being made out of nightmare-stuff.

Morpheus (caption):  I believe you know the Corinthian.

 

 

Friday, September 11, 2015

CONCERT POSTER – Derek Adnams


Page 1 – (6 Panels)

1.1:  Exterior, sunset, a row of boxcars crawling through a field of tall grass.  Our protagonist, Hobo Blues Guy, is jumping out of a moving boxcar, a slightly obscured package right in front of where he is about to land.  One of his hands is on the derby-style hat perched on his head.

Hobo Blues Guy (caption):  It doesn’t take a lot to write a good song.  The best are the simplest.

Hobo Blues Guy (caption):  Some E, a little A, add some D and slide down to B for the chorus.  Maybe throw a seventh in before verse two.

1.2:  Hobo Blues Guy bending over to pick-up the package, which is a beat-to-hell guitar case.  This is the only thing he carries and that he owns.

Hobo Blues Guy (caption):  I like to stay low, really pound out some open chords as loud as I can.

1.3:  Hobo Blues Guy crossing an old-timey “Bridges of Madison County” looking wooden bridge.  In the foreground is a sign “Greensboro 11 Miles”.

Hobo Blues Guy (caption):  Until I get to the bridge.

Hobo Blues Guy (caption):  And realize how minor I can become.

1.4:  Hobo Blues Guy, now on a busy Main Street, placing his hat on the ground, ready to collect spare change and small bills.

Hobo Blues Guy (caption):  But then the song comes back - - keeps coming back, always and forever - - to the verse.

1.5:  Hobo Blues Guy sitting on a step, playing his guitar as a small crowd of smiling onlookers stands around.

Hobo Blues Guy (caption):  Whether it’s a sad blues jam or a happy pop tune, all I want as the guy behind the guitar is for the audience to feel.

1.6:  Hobo Blues Guy, alone in the panel, eyes closed, head pointed to Heaven, strumming his guitar and singing his lungs out, smiling.

Hobo Blues Guy (caption):  And know that I feel too.

 

Sunday, August 30, 2015

Grendel – THE DEVIL’S PLAYGROUND – Derek Adnams


Page 1 – (5 Panels)

1.1:  Exterior, day, eight year old Christine Spar sitting on a park bench under a maple tree, drawing in an old-school marble notebook.  She holds one pencil and there is another sitting next to her.  Shadows from the tree fall across her.  She is at peace.

Christine (caption):  I feel the red thing before he even opens his mouth.

Bully 1 (off panel):  Hey Spar . . .

Christine (caption):  The red thing that tells me how to make the hurt go away.

1.2:  Three bullies, boys between the ages of eight and ten.  Bully 1, their alpha-male leader, is in the middle, larger than the others.  Bully 2 and Bully 3 stand at each side, subservient.  Bully 3 is pointing at Christine while he laughs.

Bully 1:  You gonna’ visit your crazy mother in the nut-house this weekend?

Bully 2:  Yeah!  Psycho mom!

Bully 3:  HA HA!

Christine (caption):  I laugh at them laughing at me.

1.3:  Christine’s face, smiling slightly.  Her head is downturned, like Private Pyle at the end of the first half of Full Metal Jacket.  There is a line of shadow going vertically across each eye, mimicking the classic Grendel mask.

Christine (caption):  They just can’t hear it yet.
 
Christine (caption):  They don’t know.

1.4:  Dynamic panel of Christine leaping at her tormentors, almost vertical to the ground, each hand raised over her head and clutching a pencil.  Bully 1 is recoiling in fear while his two minions run off in opposite directions.

Christine (caption):  So I tell them.

1.5:  The grass of the park, the shadow of Christine plunging the pencils into the eyes of Bully 1, blood spurting from the wounds.  On the ground is Christine’s open notebook, small drops of blood on the pages, and we can see what Christine was drawing: a pencil sketch of the Grendel mask, mirroring her face in Panel 1.3.

Christine (caption):  I tell them who my father is.
 
 

Why Grendel? - Derek Adnams


 . . . because Grendel by Matt Wagner is how I discovered that there were comic books made by folks other than Marvel and DC – and that they were incredible!



For those unfamiliar with the opus that is Grendel, here’s a 30,000 foot view:

To paraphrase the title’s creator, Grendel is a study of the nature of aggression.  It begins with a single man, Hunter Rose, chronicling his rise to reign over a criminal empire in Devil by the Deed, then goes on to tell the tales of others whose lives were impacted by the force that is Grendel, taking readers through an epic journey ultimately concluding in the 26th century and a world where the nature of aggression has become the nature of man. 

But to me, a kid with aspirations of creating comic books in the late 1980’s, Grendel was so much more.  Wagner’s vision of where a comic could take the reader, and the way he built upon a singular premise, impacted me in a very visceral way.  The scope of the story was something I had never seen before, at least not in “Big Two” comic books, stuck in perpetual second act story telling.  I was reading graphic literature, each arc having a beginning, middle and end, feeding into the larger narrative.

 

Originally, in Comico Primer #2, (and what a happy day it was when I finally found a copy at a comic shop in who-knows-where), the initial three issue Grendel series and then when he published the art deco gorgeousness of Devil by the Deed as a back-up in Mage, Wagner handled the art for his creation.  When the Grendel regular series debuted from Comico, he was focusing on writing and the art was handled by the Pander Brothers.  The Pander Brothers would be the first of an all-star line-up of artists, including Bernie Mireault, Tim Sale, John K. Snyder III, Jay Geldhof and Wagner himself.  I remember being initially disappointed that Wagner wasn’t drawing the regular series, but that disappointment turned to wonder as I saw how the different art teams brought a personality unique to the story and how Wagner wrote to the artistic strength of each collaborator.  As opposed to a “Grendel house style”, each arc was, and still is, alive with the vision of the artist intertwining with the goal of Wagner’s story, a marriage of words and pictures that epitomizes what true collaboration can create.



I had the pleasure of meeting Matt Wagner at New York Comic Con a few years ago.  I waited in line, shook his hand, and said “thank you.”

So “Why Grendel?”  Because if Frank Miller’s Batman: The Dark Knight Returns is the reason I love to write comics, Matt Wagner’s Grendel is the reason I love to write independent comics.

 

Friday, August 28, 2015

Sonic the Hedgehog – THE PITFALLS OF SUPER-SPEED – Derek Adnams


Page 1 – (6 Panels)

1.1:  Exterior, day, an overgrown swamp in a jungle of mystery.  Sonic is running over a lily-pad covered pond, three alligators sticking their heads out of the water in what appears to be a straight line.  All the reptiles have open menacing mouths, and one of Sonic’s feet is lightly tapping the head of the last alligator.

Sonic (though balloon):  What the heck are these things?

Sonic (thought Balloon):  They look like dinosaurs or something.

1.2:  Sonic running through a slight clearing in the jungle, toward a chasm with a low vine hanging over it.

Sonic (thought balloon):  I wonder if I went too fast this time.

Sonic (thought balloon):  I wonder . . .

1.3:  Sonic swinging on the vine from Panel 1.2, going superfast and gaining velocity, the background a blur.

Sonic (thought balloon):  This is just like those other times, like when I was in that place with castles and coins and the little guy with the mustache.

1.4:  Sonic letting go of the vine, hurling himself through an “end-of-2001: A Space Odyssey” of color.

Sonic (thought balloon):  And all those mushrooms.

1.5:  Interior, the two-dimensional world of the earliest video game, Pong!  Sonic has landed on the near side of the virtual “net”, a rectangle in the foreground preparing to receive a serve from the rectangle in the background.

Sonic:  This just keeps getting worse!!!

1.6:  Sonic running, pursued by a square, the “ball” from Pong!

Silent Panel

Friday, July 31, 2015

Beast – CRISIS on INFINITE HANKS – Derek Adnams


Page 1 – (5 Panels)

1.1:  Interior, a lab in Avengers Tower, day.  Hank McCoy, in his current incarnation of the Beast, whatever that may be, is crashing through a plate glass window, the kind that’s reinforced with steel wire to protect against breaking.

Hank (caption):  There are a minute number of ways with which one can break space-time.

1.2:  View through the broken window, an army of alternaBeasts, all from different realities, representing different stages in Hank’s mutation.  They are legion.

Hank (caption):  I’ve done them all.

Hank (caption):  This is my penance.

1.3:  The alternaBeasts swarming over Hank McCoy.  He fights valiantly, but is clearly outmatched.

Hank (caption):  Overwhelmed by circumstance, there was no choice but to find a way to make it all right.

Hank (caption):  Reed Richards had his Bridge.  Doom, the Time Platform.

1.4:   Interior, the enormous lab Hank was just thrown from.  The Garter, a large, wide, mechanical, Kirby-esque “donut” hovering above the ground.  This was meant to be an “I-Beam” of sorts, but instead has become a faucet of alternaBeasts that can’t be shut-off.  In this panel, the Garter is pouring alternaBeast after alternaBeast.

Hank (caption):  The Garter should have undone the damage of my meddling, but instead of a support structure for the timestream, I created a singularity.

Hank (caption):  When curiosity got the better of me – again - I crawled through

Hank (caption):  So did all the versions of “me” that still existed.

1.5:  Exterior, Avengers Tower, day.  Hank McCoy is in mid-air, broken and splintered glass cascading through the sky as Hank plummets to the ground.  A funnel of alternaBeasts follows him, the tip of the funnel closest to Hank while the funnel grows backwards, the wide end filling the window through which Hank was thrown.

Hank (caption):  It’s a small comfort to know that the multiverse is full of “me’s” that made the same mistakes and shattered reality.

Hank (caption):  I’m tired of being alone.
 
 

Friday, July 24, 2015


Scott Lang, Ant-Man – Entomology – Derek Adnams

Page 1 – (5 Panels)

1.1:  Exterior, day, a foot rising in mid-stride off of a stomped dragonfly, lying eviscerated on a St. Louis, Missouri sidewalk.

Scott Lang (caption):  There are cultures out there where dragonflies represent transformation. 

1.2:  Scott Lang in his Ant-Man gear climbing through the crushed carcass of the insect.  He is starting a journey from the tail in this panel to the head in Panel 1.5.

Scott Lang (caption):  I don’t put much faith in symbols, being more of a machine guy, but as a system they are nearly perfect. 

Scott Lang (caption):  It’s funny how a bug that hasn’t evolved in 325 million years could come to represent renewal.

1.3:   Now Scott is at the base of the thorax, where is connects to the tail.  It is shattered, all bug guts and goo and decimated exoskeleton.

Scott Lang (caption):  My kid made me listen to this song once.  The only line I remember goes something like -

1.4:  Scott Lang walking past the destroyed wings of the dragonfly.

Scott Lang (caption):  “Then I will remove your wings and you will learn to fly”.

1.5:  Scott Lang walking toward the reader, the dragonfly’s head and enormous compound eyes in the near background.  There is a clear substance coming out of one eye, creating the illusion of crying.

Scott Lang (caption):  Cassie always loved dragonflies.

Sunday, July 5, 2015

New Tenured Writer - Derek Adnams

We've talked a lot these past few months about what Thought Balloons is.  It's a place to experiment, a place to learn, a place to grow.  Just as important, it's a place for friends, both old and new.

Today, I'm happy to announce that one of our newer friends, Derek Adnams, has graciously agreed to join the Thought Balloons family as a Tenured Writer.  You surely remember his excellent (not to mention recent) few weeks as one of our first Writers-in-Residence, which obviously did much to endear him to us, but what we've loved just as much has been his sustained enthusiasm as he's played-at-home for pretty much every single week's pick these past few months.  He's thrown down some quality pieces, and we're excited to see what he brings going forward.

But enough from me, I'll let Derek introduce himself once again:

"Derek Adnams remembered that he liked to write comics in 2012.  Since then, his short stories have appeared in anthologies by Pross Comics, Indie Comics Magazine, Stache Publishing, GrayHaven Comics and Outré Press.  He won the uCreate Comics 2013 Script Competition, which led to the publication of his 24-page one-shot SUITZ: Riot Act and he co-wrote Average Jo #1 for Hound Comics.  2015 promises to be his best year yet as a published writer, with over 70 pages of anthology work set to be released by publishers including Charlton, FutureQuake Press, Fat Cat Funnies and Free Fall Press."

Welcome aboard, Derek.

Don't forget that you too can play along at home by posting in the comments for each week's Why? post.  We're always happy to see new faces, so don't hesitate to consider throwing your hat into the mix.

Friday, June 26, 2015

Snake Plissken - Escape from Snake Plissken - Derek Adnams

Page 1 – (6 Panels)

1.1:  Exterior, sunset, Snake Plissken’s face illuminated by the sun’s rays.  He is high above the Earth, meditating on top of the World Trade Center.  His eye is closed.

Snake (caption):  What is the sound of one eye closing?

1.2:  Exterior, Snake standing inside the vaudeville theater from Escape from New York.  The stage is visible, the curtains drawn, some homeless prisoners acting out a pantomime onstage.

Snake (caption):  Is it the same as the air rushing past your face when the curtain’s pulled back to reveal the mask beneath the mask.

1.3:  Exterior, Snake walking up the steps of the NY Public library, on his way to meet Brain.

Snake (caption):  What is the sound of one eye closing, that inward search for meaning that is always just beyond the grasp of our rational minds?

1.4:  Snake walking through the main concourse of Grand Central Station, surrounded by the Duke’s men.

Snake (caption):  Is it the destination we arrive at easily, with no journey to build character and test our resolve?

1.5:  Snake fighting Slag, the tail-end of the fight when Snake gets the upper hand.

Snake (caption):  Every battle we wage is just an exterior reflection of an interior truth.

Snake (caption):  Never an opponent.

Snake (caption):  Always a teacher.

1.6:  Exterior, sunset, Snake, eye open, floating in lotus posture above the roof of the World Trade Center.  He has achieved Nirvana, bathed in a blue halo of enlightenment.

Snake (caption):  I am the sound of one eye closing.

Sunday, June 14, 2015

Monster Magnet - Power Trip - Derek Adnams

Lyrics by Dave Wyndorf and Monster Magnet, “Power Trip” from the album by the same name.

Page 1 - (6 Panels)

1.1:  Interior, a cubicle maze in an office setting, early evening in winter as the sun sets at a sharp angle through the windows.  Our Protagonist, an unnamed office drone in his late 30’s, thinning hair, clean shaven, wearing the tie he puts on in Panel 1.2, is staring at his computer monitor.  He has just sent his resignation to his boss via e-mail and is smiling broadly, proud of what he has accomplished.  He’s smiling here and will also smile in the last “Dream” panel.  Other than these two panels he looks dead.

Caption:  Who’s gonna teach you how to dance?

Caption:  Who’s gonna teach you how to fly?

1.2:  Interior, a brightly lit sterile corporate bathroom.  We’ve moved backwards through time, viewing Our Protagonist earlier in his workday.  He is putting on his tie, the one we saw him wearing in Panel 1.1.  There are round bright bulbs above the mirror, hot alien suns.  He can see his reflection, and is disgusted at what he’s doing.  If there’s enough room in the panel, have another guy either walking into a stall or exiting through a door.  No faces visible besides the Protagonist and his reflection.

Caption:  When you get tired of all the crap baby move over here and maybe buy some of mine.

1.3:  Exterior, morning earlier still, the front entrance into the suburban office building Our Protagonist calls his “work”.  He’s entering the building along with a host of other worker bees.  He is not wearing his tie, but otherwise has on a suit and is carrying a brief case.

Caption:  I’m never gonna work another day in my life.

1.4:  Interior, Our Protagonist’s bathroom, dawn.  He is standing before his sink, a paunchy guy in his late 30’s in his underwear, looking into a mirror, his stubble faced sad reflection looking back at him.  There is a razor sitting on the sink.

Caption:  The gods told me to relax.

Caption:  They said I’m gonna be fixed up right.

1.5:  Interior, the apartment bedroom of our Protagonist, morning but so early it’s still dark.  He is in bed, waking up.  The alarm clock is going off and he’s reaching out to hit it.  The time on the alarm clock is 5:06 AM.

Caption:  I’m never gonna work another day in my life.

Caption:  I’m way too busy powertripping.

1.6:  Dream – the dream he was having before the alarm clock awoke him from this brief slice of Nirvana.  Our Protagonist is flying, a 1960’s Marvel superhero traversing a universe of Kirby Crackle and gravity wells, twin Earth’s and Mars Gods, a temple of your dreams.  Our Protagonist is smiling – finally home before his day can even begin.

Caption:  But I’m gonna shed you some light.

Why Monster Magnet? - Derek Adnams

...because it’s 10:42 PM and I’m listening to “Brainstorm” off of Superjudge and remembering being ten years old and going to Fantasy Zone in Red Bank, New Jersey, the first comic book shop I ever frequented.

It was managed by a long haired man who asked me what books I was into.  At the time I was a fan of John Byrne, especially his Fantastic Four run.

“Well – if you like ‘writer-artists’, you should check this out.”

And he led me to the long-box for a book called Daredevil by a man called Frank Miller.

Then I knew I wanted to make comics.

Years later, after I was already a fan of their music, I would discover that the man who worked at Fantasy Zone in Red Bank, New Jersey, was Dave Wyndorf, leader of the band Monster Magnet.

With lyrics such as “I was thinking how the world should have cried, on the day Jack Kirby died” (“Melt”, God Says No), and "So what would MODOK do, if his memory got too full?” (“Baby Götterdämerung”, Powertrip), the hours Dave spent absorbing the cosmic sagas of 1960’s and 1970’s Marvel “Pop-Art” space gods found a rebirth through ten albums of lo-fi acid fueled 70’s inspired metal.

Then there’s the art...

Displaying monstermagnetmilkingcd.jpg

A singularity of influence occurred when Grant Morrison gave “Special Thanks” to Dave Wyndorf and Monster Magnet in the final issue of Multiversity, titled “Superjudge”.

This is also Monster Magnet’s best album.

Listen to Monster Magnet and be the Bull God.

Writer-in-Residence - Derek Adnams

Today we say farewell to Hansel Moreno's stay with us and welcome with open arms Derek Adnams to take his place.

I first encountered Derek Adnams' writings through Nic Shaw's and was intrigued by his work.  He threw interesting ideas and concepts down on his pages, which drew me in, and he was always on deadline, which kept me wanting more.

When I was looking for people to come join us here at Thought Balloons for our new residency stays, I knew that Derek was someone I wanted to have on board.  Thankfully, he was keen on the idea and took me up on it right away, even going so far as to play-at-home in the weeks leading up to his stay.

But who is Derek Adnams?  Why don't we let him tell us in his own words:

WHO ARE YOU?
My name is Derek Adnams.  I write pictures.

WHY COMICS?
The first thing I remember seeing is Aamazing Spider-Man number one hundred and eight-eight.  That was in nineteen seventy-nine.  Since then, I've kept stories locked inside my head for a long time.  They're escaping.

WHERE CAN ONE FIND YOU?
If you want to talk William Faulkner, lasagna recipes or collaborating on a project, I can be reached at [email protected] or on .

Keep making art! 

Thanks, Derek.  We look forward to your stay.