Admittedly, this whole thing was much harder than I anticipated, but this being Wrestlemania weekend, I got inspired by the 1998 King of the Ring match and asked myself: what if wrestling was an RPG? I hope this works.
(highlights can be seen )
Panel 1- (GM) Alright Mick, you are full health and are first on the initiative scale. Your nemesis is standing far away from you, on the other side of the cage surrounding the ring. The cage is five feet in front of you. What do you do?
Mick: I take a chair and my adventurer’s pack and throw it on top of the cage. Mankind then takes a double move and tries to climb the cage. I rolled a 15.
Mankind starts climbing the chain-linked cage.
Mark: What…?
Panel 2- (GM) Mark, Mankind is climbing the cage.
Mark: Darn. I shouldn’t have used all my spells in my entrance. The Undertaker climbs the cage as well. I’m taking 10 though.
The Undertaker slowly climbs the cage as well.
Panel 3- (GM) Both of you are standing on the cage. The terrain is difficult, so movement will be impeded. Mick, you are standing on the left side of the cage. There is a chair at your feet. Mark is groggy and standing on the other side, 15 feet away.
Mick- I pick up the chair and attack him. I have a proficiency bonus.
Marc- This is nuts…how?...sigh…fine…. but I fight back.
Panel 4- (GM) The two of you are fighting on the cage. You feel the weight of your bodies on the metal slowly giving way as the Undertaker is being hit repeatedly with the +1 Chairsword. Your characters, with an INT check, realize you should probably get off the…
Mick-…I grapple onto the Undertaker, when I realize he is about to throw me off.
Marc- No I’m not…
Mick- Yeah I’m pretty sure you are.
Panel 5- (GM) The Undertaker grapples Mankind and attempts to throw him off the roof. What is your Strength check?
Marc- I rolled a 5…
Mick- I rolled a 20 Dexterity check! I go first and am thrown off the cage!
(GM) That’s not how that works.
Jim (a third voice at the table)- I’ve delayed my turn, can I go now?
Panel 6- (GM) Hold on, Jim. Mick’s character has been thrown off the cage onto the announce table. He takes critical damage. Jim’s Charisma roll, with his bonus, allows him to act first.
Jim: “MA GAWD! THEY BROKE HIM IN HALF!”
(GM) Mick will need some healing after that brutal attack. Marc, what do you do?
Marc: but…but I barely…
Showing posts with label Jonathan Morel. Show all posts
Showing posts with label Jonathan Morel. Show all posts
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.
(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.
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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…
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.
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.
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Why X-Files? - Jonathan Morel
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.
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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 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…
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…
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…
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Sunday, March 13, 2016
Jonathan Morel - Writer-in-Residence
As we round out his stint, many thanks must go to Luke Babad for gracing us with his lovely words and ideas. Was a pleasure to have you round these parts.
And I must say that it is an equally great pleasure to have Jonathan Morel, our next guest, swooping in to spend some time amongst our roost. I've known Jon a good long while, and he is one of the most intelligent people I know when it comes to dissecting narrative. Whether it's film, television, comics, or anything else, Jon often hones right in on what's working, but more importantly why it's working.
I've had many a conversation with him on favourite series, episodes, issues, and the like, and he's always bringing in thoughts and ideas that I hadn't considered before. It's for these reasons (and many more) that he's one of my trusted extra sets of eyes when I'm working on an important script and want to make sure it lands just right.
For all that, Jon hasn't necessarily spent much time scripting his own pieces, whether in comics or any other medium (although he is one hell of a Dungeon Master), so I decided to force him to do so by asking him to join up as our latest Writer-in-Residence. To my delight, he has agreed, and I must say that I am excited to see what he comes up with.
Thanks for coming by, Jon. We're pleased to have you with us for the coming fortnight.
And I must say that it is an equally great pleasure to have Jonathan Morel, our next guest, swooping in to spend some time amongst our roost. I've known Jon a good long while, and he is one of the most intelligent people I know when it comes to dissecting narrative. Whether it's film, television, comics, or anything else, Jon often hones right in on what's working, but more importantly why it's working.
I've had many a conversation with him on favourite series, episodes, issues, and the like, and he's always bringing in thoughts and ideas that I hadn't considered before. It's for these reasons (and many more) that he's one of my trusted extra sets of eyes when I'm working on an important script and want to make sure it lands just right.
For all that, Jon hasn't necessarily spent much time scripting his own pieces, whether in comics or any other medium (although he is one hell of a Dungeon Master), so I decided to force him to do so by asking him to join up as our latest Writer-in-Residence. To my delight, he has agreed, and I must say that I am excited to see what he comes up with.
Thanks for coming by, Jon. We're pleased to have you with us for the coming fortnight.
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