Komodo - Monsters - Arby Moay

Panel 1
We are in the West Philadelphia High School field, where a basketball game is happening between Black Jersey's and White Jersey's. A player on Black Jersey's has just scored an in-your-face dunk against a player in White Jersey's.

MELATI (OP): So... this is what you do, huh?


Panel 2
We see Melati Kusuma, a.k.a. Komodo, in her human form approaching Flash Thompson, a.k.a. Agent Venom, also in his human form. Both of them are in a wheelchair, Melati has a cloth covering her thighs to hide her missing legs while Flash does not. Flash is carrying a clipboard.

FLASH: Sometimes, yeah.
FLASH: Didn't think you'd actually come.
MELATI: Eh. I didn't really have anything better to do.


Panel 3
Back up a bit. We see Melati and Flash watch the game, with some awkward tension between them. Coach Yates, middle-aged balding guy with a mustache and Coach of Flash's school, is yelling. Some players are running across the panel.


Panel 4
Similar framing as Panel 3.

MELATI: Isn't this a little frustrating for you, "Coach"? I mean, you could easily outpace any of these guys in your... other form.
FLASH: Assistant coach. And sure, sometimes. But it's nice to feel like a normal human being from time to time.


Panel 5
Close-up on Melati. We see her full human body overlapped by her transparent Komodo form.

MELATI: Well, maybe, I dunno. I've wanted to be able to run for so long... I think I'd rather look like a monster than sit in a chair.


Panel 6
Close-up on Flash.

FLASH: You're lucky, then. Difference between you and me? You only need to look like a monster to run...
FLASH: Me...


Panel 7
Close-up on Flash's left face. It is overlapped with the transparent left face of classic Venom.

FLASH: I am a monster.

Red Hulk - Jump On Point - R.A.Wonsowski

(...ok, here's another weird one...)

Layout: double-page splash with 6 circular insets, linked by red lines to their character in the splash.

Splash -  A morning raid, chaos on the docks amid the cranes and containers at the North Korean port city of Rajin/Najin...North Korean soldiers are knocked back concussively, flying everywhere; a few struggle to find their feet.  There are two impact points - One is a crane housing in its base, the supports crumpling and exploding in a blaze of fire, bodies flying, a rocket's exhaust trail leads backward to the silhouette of a tugboat afloat on the Sea of Japan, where it originated.  The other is a crater caused by RED HULK, crouched from his sticking the landing, fists clenched, face darkened in inked blanks, his expression unreadable.  AGENT VENOM is in the foreground, firing two Desert Eagle pistols into soldiers off panel, but the muzzle flash is visible.  DEADPOOL is off to the side in the background, leaping around like a crazed Batroc, Uzi in one hand spitting bullets and mowing down soldiers, the other waving a katana.  ELEKTRA is back to back with RED HULK, her sais are in her belt loops, and she is wielding a heavy machine gun, and handling it expertly, cutting more soldiers in half.  From somewhere above, from an unseen airship, DEATH'S HEAD II rappels down midfield, firing flechettes into soldiers, as well.  Captions are from Ross's point of view.

DEATH'S HEAD II:  Seven kilometers straight below us, yes?  Access port is somewhere...


Inset 1 - Close-up, DEATH'S HEAD II.

CAPTION:  Stumbling across this alien "freelance peacekeeper" was ridiculously good luck.  Turns out the NK military eggheads stumbled across A.I.M.'s old research on the Minion Project.


Inset 2 - Close-up, DEADPOOL, who is grinning gleefully behind his mask.

CAPTION:  It was that chucklehead Wilson who volunteered us for this op.  Normally, he's a taco short of a combo plate, but the idea of human experimentation snapped to attention right quick.


Inset 3 - Mid-shot, FRANK CASTLE, a shoulder-mounted RPG-launcher visible.  He is on the tugboat, and his inset link points to its deck.

CAPTION:  Castle seconded in the next breath, when he found out slavers were producing the teenaged experimental stock.


Inset 4 - Close-up, AGENT VENOM.

CAPTION:  Corporal Thompson was the dissenter.  Pragmatic, doesn't trust anything that smacks of the off-earth, but his focus on the mission is laser-like; he and his "partner" both, cold and professional.


Inset 5 - Close-up, ELEKTRA.

CAPTION:  Ms. Natchios is here for personal reasons.  Someone named John Garrett is mixed in this somehow, and there's a storm raging beneath her calm, pale exterior.  And that's alright...


Inset 6 - Close-up, RED HULK, face silhouetted as he looks out from beneath his brow, the battle-rage upon him, but grinning toothily with anticipation for the coming fight.

CAPTION:  I've got enough anger for all of us.  And sometimes...

CAPTION:  ...sometimes I like to share it with bastards like these...

Venom - The War at Home, Part 1 - Matt Duarte

Venom in “The War at Home, Part 1” by Matt Duarte

The first two panels sit on the same row, taking up the almost half of the page. The third panel is the biggest one, and the fourth one is an inset inside it.

Panel 1

Description: Flash Thompson, wearing the Venom suit, is inside a military issue airplane, standing right next to the door, as if he were about to air drop. He is talking on his communicator and he doesn’t look particularly happy.

VENOM: General Dodge, this is not what I signed up for, sir. Attacking an American citizen in their own home? That goes against the law, sir.

GENERAL DODGE (through comm): Complaint duly noted and ignored, Corporal Thompson. Just do what you are told. Control will take over from now on.

Panel 2

Description: Venom is jumping out of the airplane, falling through the night sky. An uneasy full moon shines in the background.

VENOM: What’s the deal, control? I normally know who I’m going after way before I’m free-falling off a plane.

CONTROL (through comm): We know, Venom. The general has been...unusually quiet about this whole enterprise. Anyway, target location should be in sight by now.

Panel 3

Description: Seen from above, Venom continues falling, and below him is a large and stately white mansion. In front of it, there are large shrubs that form a crescent shaped moon, and in the back what appears to be a helicopter pad.

CONTROL (through comm): You are to infiltrate Spector Manor and bring back Marc Spector and any known associates back to base.

VENOM:  What’s so special about this guy?

CONTROL (through comm): According to the info that General Dodge gave us, he is the vigilante known as Moon Knight.

Panel 4

Description: A close up on Venom’s face. Even through the mask, he looks slightly worried.

VENOM: Wait, I’m fighting Moon Knight?

CAPTION (white font, black background): YESSSSSSS. PAYBACK.

To be continued!

Note from the author: During Venom week, I didn’t get to do my entry, so this is my catch-up script. It will continue into this week’s script.

Venom - Savior? - Danial Carroll

PAGE ONE (seven panels)

PANEL 1. An extreme close up of Deadpool, heavily blurred.

DEADPOOL:

Wakey wakey.

PANEL 2. Close on Deadpool and Venom's (Flash) heads. Deadpool has slapped Venom across the face.

VENOM:

Hey! We're awake already!

DEADPOOL:

I know. I just like slapping people.

PANEL 3. Wider view, revealing that Venom is bound with very thick chains to a furnace. Deadpool is standing before him. Both are in a non-descript maintenance cellar.

VENOM:

What are you--? How--

DEADPOOL:

Sorry, this page is far too small for a flashback. You'll just have to roll with it.

DEADPOOL:

All you need to know...

PANEL 4. Close on Deadpool, pointing. Despite the mask, you can tell he's smiling proudly.

DEADPOOL:

Is that I'm here to save you.

DEADPOOL:

From the suit.

PANEL 5. Wide view again, with Deadpool pointing up at Panel 2. Venom looks to be struggling against the chains.

VENOM:

I don't need saving. I'm fully in control of the suit.

DEADPOOL:

Are you? Really? I can see a wordballoon that says otherwise.

VENOM:

Wordballoon?

DEADPOOL:

Bah, amateurs.

DEADPOOL:

You said, we're awake, meaning the suit is bonding with you.

PANEL 6. Close on Venom, with one eyebrow raised.

VENOM:

Hmmm...

VENOM:

And how exactly do you plan to save me?

DEADPOOL (OP):

Like this--

PANEL 7. From Venom's POV, we see Deadpool pointing two pistols at us.

DEADPOOL:

Gimme gimme gimme!

Venom – The Notorious Casebook of the Mexican Flapjack – Ryan K Lindsay

1. Eric O’Grady sits at a bar, beer in hand. He’s wearing a black suit similar to the stealth suit Tony Moore has created for the new Venom relaunch, except his head is not obscured and a black collar of Iron Fist proportions is sticking up. The pattern on the front of the suit looks like the new Spider theme except in the middle is no spider, it’s a very small ant. There are a few different barflies sitting around him enraptured.

Caption: Okay, I took the suit. My S.H.I.E.L.D. clearance went so high I had to do something. It was either that or crack the lock on Stark’s ‘Liquor and Ladies Cabinet’ and I'm certainly not that brave.

Barfly 1: You gotta be kidding us?

2. Eric takes a big drink and holds a hand up in exclamation. There are now two ants in the middle of his chest on the costume.

Eric: I tell no lies. This suit not only helps my alcohol absorption but it is alive.

Caption: You ever see the start of The Twilight Zone movie? I wanted that moment, that’s all.

3. Eric places his beer down and we see a few more empties next to him, time has passed. The ant has become a wasp.

Eric: This…thing…starts off with a dozen other candidates in the womb. They spend a few months busting each others' heads against the alien uterine wall for the right to be born. Gentlemen, this is a razzle dazzle fighting machine!

4. Eric is slumped on the bar, he’s drunk. Beer mugs litter the bar – because a barkeep never tidies around the drunks… - and he’s using all his effort to lift his head up to say one last thing to someone off panel.

Eric: Once you go black you never go back, baybee…

Caption: I may have taken it one or two snifters over the line, I’ll admit that, fine.

5. A woman’s hand caresses Eric’s passed out head.

Woman: Oh, I won’t be coming back, “baybee”, and neither will you.

6. A small and completely black panel. Eric’s voice doesn’t point to anywhere.

Eric: Guh…

Eric: …

Eric: …Heyyo

7. Eric is rubbing his head and looking very worried. In the mirror behind the bar and everywhere else we can see there is plenty of blood and mayhem behind him.

Eric: Aw, crud…

Caption: But I swear, on the possibility that I will ever again see a woman’s chest, I had nothing to do with what happened after that.

Venom - Bullies - Rol Hirst

Panel One.

The new Venom gets punched in the face by a huge spiky fist. Tendrils of symbiote fly from his face like blood from a broken nose, revealing Flash Thompson’s injured face beneath.

Flash: Ughh!

Panel Two.

Flashback. In a briefing room, Flash’s superiors General Aaron Dodge and Captain Kat Glover give him the details of his latest mission. Flash is in his wheelchair and army uniform. On the screen behind the General we can see various photos of our villain, The Bully (new character). He’s a Hulk-sized powerhouse with a pudding bowl / Mo / Guy Gardner haircut. Bare-chested in most of the shots, he wears tattered jeans and big, “stamp on your fingers” boots. His fists are implemented with inbuilt spiky knuckle-dusters. In the shots on screen we see him taking pleasure in torturing his victims – pressing his boot into one soldier’s face as the injured man lies on the ground, delivering a huge gut-punch to another, twisting a third man’s arm right up his back.

Dodge: They call him The Bully. We know very little else about him.

Glover: Ex-Forces, certainly. Some kind of MGH addict with cybernetic enhancements suggestive of Jonas Harrow or Alistair Smythe. Works for the highest bidder and takes perverse pleasure in tormenting his victims before finishing off the job.

Panel Three.

Back to the fight. The Bully is giving Venom what can only be described as a super-powered wedgie. He’s standing behind Flash, literally wrenching the symbiote up his back so that it wedges between his buttocks. As he does this, Venom’s legs wither beneath him. Basically, the force of the “wedgie” is pulling all the strength and form out of Flash’s Venom-created legs. Flash screams in agony. They’re fighting in what appears to be a deserted schoolyard.

Flash: Arrrrghhh!

Bully: Ha-ha!

Panel Four.

Back in the briefing room. Close on the Captain Glover, still briefing Flash, a grave expression on her face.

Glover: Be under no doubts, corporal, this is an extremely dangerous individual. Our psych profile suggests a violent, intensely narcissistic personality prone to bouts of aggressively juvenile behaviour who—

Flash (off-panel): Kat, please… I can handle this.

Panel Five.

Venom is fighting Bully in a wrecked men’s room / school boy’s toilets. There’s a big hole in the graffiti-scrawled wall where they’ve crashed through. The stalls are also wrecked and Bully is pushing Flash’s head down one of the toilet bowls. Flash’s legs are still withered to symbiote slime beneath him. The symbiote rears up from Flash’s face to avoid getting wet and smelly from the toilet.

Bully: Suck it up, soldier! Ha-ha!

Panel Six.

Back in the briefing room. Close on Flash. His face shows a brief flicker of remorse. Behind him we see a Ditko-esque Flashback to a young Flash bullying “puny” Peter Parker.

Flash: I do have some… previous experience… with bullies.

Venom – Hide and Seek - Ben Rosenthal

1. Night. A girl running is through the windy woods, scared. There is a cabin in the distance, which she is desperately trying to get to.

CAPTION: You cannot run.

2. The girl has reached the cabin, and has slammed the door shut behind her. A shadow of a head has begun to appear on the lower third of the door, as someone is approaching it.

CAPTION: You cannot hide.

3. We see the girl has sat in a corner of the old cabin. Her knees are pulled up to her chin. She is extremely scared.

CAPTION: We will always find you.

4. From the girl’s point of view, we see the door kicked in by large, muscular figure which stands before her. We cannot make out any features of this man, as he is just a dark silhouette as lightening flashes outside.

CAPTION: Don’t fight.

5. Back to the same angle as Panel 3. The man’s shadow covers the cowering girl, with his arm reaching for her. The girl is looking up through her fingers. The only emotion that we can see on her face through her fingertips is that of fear. Tears stream down from her eyes.

CAPTION: Accept us. Let us out.

GIRL

NO!

6. This panel is just of the word CHOMP. It should look bloody and sickening.

7. The man is on the ground, staring in horror at the bloody stump of where his arm used to be. Venom stands above the man, having just transformed from the girl. Blood drips from its grinning jaws.

VENOM

Yessssssssssssss.

Venom - The Killing Ground - Sime McDonald

PANEL ONE

Flash Thompson's Special Forces partner Kate (not a new character for once! See Amazing Spider-Man 654.1) has her handgun drawn and is aiming it squarely at Cletus Kasady, without his Symbiote, curled up on the floor of a disheveled apartment, eyes wide, like a junkie waiting for his next fix.

CAPTION

Trail's gone cold.

CLETUS KASADY

(small)

Nuh...nuh...nooo...

PANEL TWO

Kate holsters her handgun, looks down at Kasady pitifully.

CAPTION (1)

No sign of Corporal Thompson. 

No sign of the Symbiote.

CAPTION (2)

Symbiotes.

Kasady's is gone too.

Connection? Got to be.

PANEL THREE

Kate's driving down a New York street in a battered jeep, jaw set, her mouth a hard line; focused on her mission. The passenger seat is littered with manila folders and photocopied documents; sheets of paper are spilled out on the dashboard. The jeep has become her mobile office.

CAPTION (1)

Seven days since Corporal Thompson vanished with the Symbiote.

CAPTION (2)

In that time, Mac Gargan and Eddie Brock have also gone missing.

The tombstones of Anne Weying and Angela Fortunato have been desecrated.

CAPTION (3)

And Spider-Man, contracted by Rogers to aid my investigation,

hasn't reported for duty in forty-eight hours. 

CAPTION (4)

Like the General says, you wanna get something done,

you gotta do it yourself.

PANEL FOUR (largest panel on page)

Cut to the interior of an abandoned church bell tower. Spider-Man, Eddie Brock, Mac Gargan and Flash Thompson are all looking up at the Venom symbiote looming over them, tendrils looking sharp and lethal as always, its mouth wide open, teeth gleaming. Behind it lurks the Carnage symbiote. 

CAPTION

One other possible location I can think of. Long shot, but

sentimental memory might bring the creature back there.

EDDIE BROCK

You can't do this to me!!

Everything I've done for you - - !!

MAC GARGAN

We were one!!

We're inseparable!

VENOM

Once upon a time.

PANEL FIVE

Tight on Venom, snarling.

VENOM

No longer.

PANEL SIX

Cut back to Kate's jeep. In the distance we can see the Church and its bell tower. She's headed that way.

CAPTION

The place where it suffered one of its first defeats.

The perfect killing ground.

Why Venom?

Much like he's done with the Punisher, Venom is set to rise from the ashes of its once derisory hole with Rick Remender's upcoming series. False bravado? Not at all. Trust me; it's going to be awesome. Venom's popularity has oscillated over time. He entered the world of Spider-Man as a mega-popular antagonist, maintained that popularity for a period of time, but eventually lost his luster. Take note, Deadpool, the effect of over -exposure.

Venom's recent published history has helped the character reacquire at least a fraction of his prior esteem. Warren Ellis added Venom to his Thunderbolts roster and Brian Michael Bendis made him a member of the Dark Avengers. But Remender's take - turning Venom into a 007-esque secret agent hosted by Flash Thompson - looks set to redefine the Symbiote and breathe life into a character who is, let's be honest, in desperate need of an overhaul. 

But y'know what - whatever Rick Remender can do, we can do just as well. I believe that. Read over the hundreds of tenured scripts and play-at-home scripts since Thought-Balloons' inception and you'll believe it too. So let's see what you've got, ladies and gentlemen; once again, it's time to step up and show the world how good we are.