Wednesday, 27 October 2010

Final inks...


This is one of my final pages. I think a cel-style digital colour will compliment the bold linework, but I'm not sure. If anyone has any good finishing ideas, please suggest some. Still got to word it, but I'm looking for a suitable typeface. This was a last minute change of idea, and with it comes a different brief, which I'll post also.

I found the humour in this really hillarious

I found this random image on the net, its very funny and the thing that makes it work is the text even though the imagery isnt very imaginative.

Tuesday, 26 October 2010

return to Eurotica and why





(from bottom to top)
these 3 examples are published by eurotica
first the story of o
similar style to where with development my work may be

second perverts of the unknown
similar niave figure style and shading

third chica
similar cross hatching style to the current pages im working on

this is the work of Michael Mannings who im going to compete with i know you will say he's better but he's got 20 years of illustration experience over me so in time i hope it to be of this quality

Inking attempts

After roughs, and drawings i decided to attept inking. So these are re-drawn panels off the main pages to attempt inking some characters and settings.

http://leehallamillustration.blogspot.com

Monday, 25 October 2010

Digital Coloured Strip

step by step start to finish process

this is a from start to finish look at how each page of the artemis fowl graphic novel was created not everyones thing nor mine necessarely but one of the best examples i have found so far



new brief top shelf publications

this is the new brief i found last week
Submissions

Regarding submissions, we're easy. Just send us a xerox copy of what you'd like us to look at (or a URL link), and enough postage if you want the materials returned to you. Just please do not attach and send image files to our email addresses. Also, we cannot accept scripts or plot synopses, unless they are accompanied by a minimum of 10-20 completed pages (i.e., fully inked and lettered comic book pages).

Please note that while we do read through everything, it's not always possible for us to respond to each and every person (as the quantity of submissions has been rather surprising of late). But don't let that discourage you. We want to know what you're up to. And we prefer to respond via email, so be sure to include your email address with your submission.

You can send submissions to either Chris or Brett at:

Chris Staros
Top Shelf Productions, Inc.
PO Box 1282
Marietta GA 30061-1282
USA
chris@topshelfcomix.com

Brett Warnock
Top Shelf Productions, Inc.
PO Box 15125
Portland OR 97293-5125
USA
brett@topshelfcomix.com

For digital submissions to our online comics program, Top Shelf 2.0, contact Leigh Walton at leigh@topshelfcomix.com with a link or small attachment. For 2.0, short stories work best, although we can also do collections of individual pages or serialize a longer story in chapters.

Saturday, 23 October 2010

New York Times - The Funny Pages

several interesting stories in PDF format here:

http://www.nytimes.com/ref/magazine/funnypagesModan.html

Low Moon
Mister Wonderful
Watergate Sue
George Sprott (1894-1975)

colour ideas. non too ott however i am now changing the layout of the page


Bus Interior





rough tablet drawings  getting a tone of the atmosphere of my story-setting (bottom of a double decker west midlands bus during rainy coldly weather which near the end clears up).

Thursday, 21 October 2010

Process and finishing

http://www.sorcery101.net/process/step4/

unedited first 2 pages



8 pages more to draw... what u think?

krystiangarstkowiak.blogspot.com

colour dropping practice


Just a little practice in the colour dropping we were shown in the workshop on friday,
to be honest this is very similar to the way i colour on photoshop anyway, but i found the workshop really useful, as i found out the proper way to do this, rather than the "i kinda figured it out myself" way (which takes 5 times as long).
lucy

Wednesday, 20 October 2010

Lovely internship making comics!

This is a link that Karoline Rerrie shared on facebook. It's for an internship making comics and running workshops, at London Print Studio. If you're at all interested then you should apply asap, the closing date is not far away!
http://www.londonprintstudio.org.uk/F13-intern.html

Chloe x

Tuesday, 19 October 2010

My first effort at digital colouring.

I simply threw on a very light tone to overlay the figures, then simply darkened the shaded areas.

Before:

After:

Monday, 18 October 2010

A question about sizing

Hey, I'm just wondering about a few things to do with size choices. I know we should be working bigger, and then reducing, but what if drawing stuff at a larger size reduces the ability to draw to your normal standard? I've never worked at A3, or only very rarely, and it seems that I'm incapable of drawing as well as I would be if I were to draw the same thing on A4. I'd like to know if I should continue on with the A3, or work on A4, which is what looks better.

Thanks, and sorry if the question was badly phrased, I wasn't quite sure how to word it.

British International Comics Show


http://www.thecomicsshow.co.uk/

Over the weekend of the 16th-17th of October the British international comic show was in Brimingham. It was Located within the Millenium Point complex. Which had a series of Writers, Artists and a fair few comic enthusiasts, (suprisingly) out in force.
Unfortunately i was only able to attend the Sunday's talks and exhibits. However it was still a worthwhile and enjoyable visit.
When i arrived i joined a que with a a number of fellow comic fans and geeks, all suited with their favourite characters t-shirts costumes etc. These were enthusiastic people!
As the line slowly dissapated and we filed into the lecture theatre, a small table was visable with a collection of microphones and the always necessary bottles of water. We took our seats and waited expectantly for the talks to begin. A beared man sat down along with UK writer for Doctor who and comics Captain Britain and Knight and Squire, Paul Cornell. He and the beared man who i then realised was the host or interviewer for the talks, began discussing his favourite comics and characters, what he dose in his field etc. They were then joined by Yanick Paquette, Marvel cover artist and serial illustator. He talked about his methods of work and how he treats the scripts he is given for illustration, his methods of work, how he takes whats written and see if he can adjust to what is needed and what he can push ideas further.
Finally we were introduce with Jimmy Broxton DC comic artist. this was one of the most interesting parts of the talks featured as he and Paul Cornell had and are currently working together on the Knight and Squire comics for dc in britain. They went on to describe how we in britain differ to the american audiences, the way we are able to get away with more risky elements in comics opposed to the more formal american comics. They went onto discussing the relationship of writer and illustrator how they have to work very closely and edit or change elements of each through discussion and trials to see how each could better the other, how it is more of a symbiotic relationship.
This gave food for thought in how to approach my own works present and future. As the talks came to a close people poured out of the theatre only to see Johnaton Ross signing autographs and promoting his new comic series called Turf.
After the stargazing i wandered aimlessly trying to find the poorly labeled and almost hidden exhibit hall, In which had the professional and would be artists were displaying and promoting their works. It was interesting to see what was on show. I saw two artists in particular that i recognised and owned some of their work, Kev Crossley and Sean Philips unfortunatley the ques for both were very busy. Other than this room there was very little else to see.

Overall i enjoyed the afternoon spent there, i learned some intersting facts about the life of illustrators and writers in the industry, along with seeing some fine works.
My only complaint was i wish there was more on offer maybe a few more recognisable artists and writers available for individual talks.

Yanick Paquette



Kev Crossley

Saturday, 16 October 2010

Friday, 15 October 2010

BRITISH INTERNATIONAL Comics Show 16th & 17th October

This WEEKEND in BIRMINGHAM the 2010 BRITISH INTERNATIONAL Comics Show 16th & 17th October
 http://www.thecomicsshow.co.uk/

Thursday, 14 October 2010

My (as always) last minute idea change.

Chiu, taking onboard of what you said I have spent the last few days REALLY thinking about my style and how I would fit into sequential art/comic art. I done a lot of research and realized that there are more than one way of writing a: comic strip/ graphic novel/ sequential art visual. Looking at The Observer brief entrants of the last couple of years has helped me realize that it is not ALL about the images and it helped me refine my research into what I actually need/want to be doing.

I chose to scrap the Chinese traffic jam and come up with a new idea for the Observer!

Below I have spent time writing out a creative piece that i will turn into a visual, panel to panel, sequence of illustrations. I want to convey feeling and to keep the gutter/transitions easy for the viewer to fill with their own imagination.

Creative Written Short Story by Sidders.

"The Coat Of Courage"


Page 1


I stand in line, waiting.

It used to be that I'd stand and wait to be served, to draw my money out without passing a glance and be on my way.

Now it feels like so much more than that.

I'm waiting for an opportunity, for my moment, my time.

Days come and go but my moment never comes, never stands shoulder to shoulder with me, to whisper in my ear, 'Just ask her.'

But maybe there won't be a sign, something physical, something real.

Maybe it's a feeling.

Maybe I won't know until it has gone.

Maybe - my number is called.

Cashier 6.

My lucky number.

It's her.

Maybe this is the sign.

I approach the desk.

She smiles.

Asks how I am.

Ask her back, stupid.

She counts out my money.

Hands it to me.

She looks at me with those piercing blue eyes.

She does not recognise me, "Have a nice day."

My moment has passed.

Page 2


I walk out into the cold November morning, the frosty air siezing my face.

I take a deep breath.

All it takes is a little self-belief.

A little bit of courage.

Courage.

Mom.

What was it she used to say?

No.

It was so much more than that.

'The Coat Of Courage'.

The on thing more than anything that released me from my shell, gave me the strength to face the challenges that lay ahead of me, to overcome any boundaries.

Primary school christmas play.

I was chosen to play the lead, King Herod, in an effort to bring me out of my shell.

I couldn't do it.

Those first rehearsala, the bright spotlights that cast gloomy shadows over the audience's faces, highlighting their eyes.

Just staring at me watching, waiting.

I ran home crying to Mom, told her I couldn't do it, I couldn't stand the pressure.

She knelt downin front of me, gently brushed her hand down my forehead telling me to close my eyes...


Page 3


"Close your eyes. Now picture yourself on that stage. You have your costume on, your crown is on your head. You're looking from the audience. You can see yourself, nervous, scared. Now you're on the stage, looking out. You put a coat on. Not just any coat - this is a special coat. It's invisible, and no one else can see it but you, no one else can feel it but you. It's 'The Coat Of Courage'. When you wear it my son, it makes you strong, brave and fearless. It makes you whatever you want to be."

Mom would motion over my shoulders putting on the 'The Coat Of Courage".

The smell of her perfume surrounded me.

The coat was on, and I felt it change me.

I opened my eyes, a new boy.

For the rest of the day I wore 'The Coat Of Courage', only taking it off after I came off stage.

I kept it.

I knew it was my secret weapon, what I'd need again one day.

It was time to dust it off.

I stood outside the bank wearing 'The Coat Of Courage'.

It was now or never.

As I walked in 'I can do this'.

All my life I had been afraid to take a risk.

It's time.


Page 4


I stood in the queue.

There she sat, smiling brightly, her eyes the colour of summer sky.

I approached the cash desk.

I felt different.

My posture, my eyeline, everything about me felt different.

I was a presence.

She spoke to me, her usual 'by the numbers' customer service.

Then she looked at me...

I looked her square in the eyes.

This time she noticed me.

She spoke, 'It's Joe right?'

She didn't read it from the screen.

Realising this, I squeezed the inside of my coat pockets for support.

I spoke back, our conversation flowed, I made her laugh.

My courage shone through me and made me stronger.

I loosened my grip on the coat.

As I turned to leave I siezed my opportuninty, not knowing when the next moment would occur.

Using everything the coat had to give me, I asked her to meet me sometime.

She agreed, giving me an honest wave and smile.

I stepped out into the street, a reinvigorated man, I thankfully wrapped my arms around the coat.

I knew I had it inside.


Wednesday, 13 October 2010

pikistrips fun!!

Heres my Pikistrip!!

picci strip evil kitty dont like jesus

a comic strip!">my picci strip staring my moms cat snowy the original evil kitty

Todd Shcorr



I found some really intriguing videos in to how this incredible painter works I plan to utilize his style of color and layout in to my weird place story.
 His influences are sort of similar to mine so there is a connection but its Todd’s total surrealism and narrative behind his work that’s very compelling and thought provoking to me although his amount of nostalgic references in his pieces is enormous.   



Tuesday, 12 October 2010

This is my pikstrip!! ENJOY!!!

http://www.pikistrips.com/ps/gallery/view_image/34972463

sidders pikistrips!!!!

http://www.pikistrips.com/ps/gallery/view_image/34969863

week 03


Critique, observations, formative assessment, tutorial forms

Task 06 Make notes of your own and other related comments throughout the critique on given tutorial forms – include very specific action points alongside comments

i)                Third year students will critique the work without knowing who has drawn what.

Identifying support material necessary for graphic short story development

Drawn/Sketchbooks
Photography & film
Three dimensional objects
Comic Artist’s Photo Reference – People & Poses: Book/CD Set with 1000+ Color Images


Task 07 To make a photo/drawn comic using:
PikiStrips or equivalent student’s choice
Nonsense 01

Task 08 (research) Find out how applicable/related sequential artists use support material as part of their practice
LARGO WINCH LE DOC : la bande annonce

Monday, 11 October 2010

rough out script pages

Page rough outs very basic idea

Page1

boy makes a wish at devils creek for a friend, the devils hear his wish and they think it’s the perfect chance for some mischief and start making him a little gift they take the gift to him.

Page2

the boy turns and finds the gift and goes to it

Page3

the boy picks it up and hugs it tightly, the gift gives a evil grin cuts off,

Page4

showing the location of the story, boy sits with gift at dinner table mother cooks in kitchen, gift turns to boy and tells him to throw food at his mother

Page5

splat mother is hit with food turns around, and yells at boy boy tries to tell her about the gift, but thinks his lying because it’s a toy

Page6

boy walks down road, gift tells him to smash a car window, the boy picks up rock and then drops it

Page7

smash the cars windows broken, owner comes out and chases boy

Page8

boy gets home, mother finds out, boy in trouble

Page 9

gift tells boy to get rid of her boy squirms and protests and fights the idea

Page10

gift takes it into his own hand and attempts the assassination boy and mother shocked

Page11

boy fights gift

Page12

boy fights gift mom grabs frying pan hits gift

Page13

bear hits floor and goes to move when bam his hit again

Page14

boy grabs bag mom grabs the gift ties it up puts in bag

Page15

fast diving to devils creek out of car mom holds bag out and sets alight and drops it into the creek

Page16 bag vanish mom turns hugs her boy devils reappear and find the out come amusing

The end


I find it helpful to rough the pages out first this is a very rough idea page one has been scirpted basic breaking down a story i think it needs more excitement its based of ape entertainments ive been studying two comics from this publisher there stories are simple and easy to understand im just affaid this idea is to simple

rough out script pages

Draft Script page 1 and 2



Godman Meets Aphrodites

Introduction - Godman is introduced to the beautiful Aphrodites, daughter of Uranus.

Activating Agent - Godman falls in love with Aphrodites.

Rise in Conflict - Aphrodites has no interest in Godman and goes out with Adonis who has the hots for Godman.

Climax - Adonis tries it on with Godman to no avail. Godman tells Aphrodites he loves her and Adonis cannot.

Resoloution - Godman gets the girl and Adonis falls for Cupids bow!

Scene 1 Godman Meets Aphrodites.

Page 1
The scene begins in the beautiful setting of Ancient Greece. Everybody is wearing togas and ancient greek jewelry. The first scene is set in Cyprus just off a cliff looking over the sea, the weather is almost like paradise. There are two men , Godman (our hero) and Uranus (camp as christmas and father to Aphrodites) and one woman, Aphrodites (a very beautiful woman) standing together...
Panel 1: Establishing shot of setting and characters Width of page height of one panel.
Godman - Hey Uranus!
Panel 2: Uranus looks behind as a gust of wind blows up his toga showing his butt. Godman looks on in shock.
Panel 3 -Uranus looks at sky while pulling his toga down embarrased.
Uranus - Oopsiee! Shouldn't stand so close to this cliff, Hello Godman!
Panel 4 - Uranus reveals his daughter Aphrodites, a beautiful looking woman in her 20's, wearing a drape covering her nakedness with one hand on her breast (she is always in the same classic pose of Aphrodites). Flowers flourish by her appearance alone and birds sing.
U - Have you met my daughter, Aphrodites...?.

Page 2
Panel 1: Godman and Aphrodite have a one to one. Godman in mesmerized by Aphrodites beauty...
G - Is she?
Panel 2: Uranus gives an all knowing look while shrugging:
U - Naked? Yes we all are, It's ancient times you know?
Panel 3: Godman stares while pointing at the hand on Aphrodites left boob:
G - Why do you have one hand on your boob like that?
Panel 4: Godman attempts to remove her hand from her boob, Aphrodite looks down slightly shocked slightly annoyed.
Panel 5 : Close up of Godmans hand peeling away Aphrodites hand to reveal...
Panel 6: Pan out as Godman is violently slapped around the face:
G - owww!
Panel 7: Godman faints and falls into a dream...

Junji Ito Interview

This isn't the best interview in terms of how in depth they talk about his creation of manga, but there is so little out there on Junji Ito, and he's the single biggest influence on my own work so I wanted to post at least something about him.

Not a great interview, but it's kinda fun and interesting.

new impoverd Script


I am in a Weird place

This new script was inspired by the chorus of a song in the Animated short Dry fish done by Andy Martian.






Quote by Andy on the narrative: “Sometime you find yourself in a place that you just cant explain and quite often it can be a little bit worrying. This animated short tells of one such occasion as our hero tries to express his feelings in the only way he can...via the medium of song”.

I plan to something similar but on a personal level but this is what I have got as of now. 

Introduction

Scene 1

(Birds eye view) Our setting is inside a crowed squashed Bus interior around 4 or 5 pm. (rush hour time)

  • ·       Weather wet and rainy

  • ·       Many ethics and groups can be observed from the disabled seating area

  • ·       Atmosphere and emotion is loud with social discussions and talks. While at the same time people are restrictive to make eye contact or speech with any other members of the public.

Scene 2

Compositioned in between two imposing silhouetted figures slouching on their chair our main protagonist of the story a University (collage) student.

  • ·       He/she
  • ·       Silently looking down away from the clutter and mess of sounds
  • ·       Maybe stressed
  • ·       Physically looks a bit of a scruff
  • ·       Bored

Scene 3

(Close up) The student comes out of his comfortable position to look vaguely at the person sitting next to him on the right. 

Scene 4

(Medium shot) The figure is that of a young women (25 or 33) yapping on her phone.

  • ·       Middle class
  • ·       Stereotypical female Chav

Activating Agent

Scene 5

(Close up) without any logical expiation Her very words start becoming visible clouds weird forms start to twirl and evolve as if she were breathing out heavy smoke.

  • ·       Scene 4 and 5 is a action to action transition

  • ·       She is Oblivious to the smoke 

Scene 6

(Close up) of a surprised Student

Scene 7

Things take a surreal turn here

(Close up quarter splash page) The clouds have magical formed a small Hallucinated mass of land populated by moving living symbols and images based on the women’s phone conversion.

  • ·       Illustrates her desires and dislikes about herself

page 1



Scene 8

(Medium shot) The student suddenly watches another passenger on the other side of the vehicle interior the persons an apposed young businessman consorting his friend over the phone.


Scene 9

 The same pheromone accusers as his sentences transform and warp in to a virtual moving reality of a Movie his planning to see with his mates.

  • ·       No one seems to be ware or even care about the trippy shenanigans
  • ·       The movie could be a lose parody of a recent movie or a popular genre

Progression

Next few panels are more like Splash pages and their subject to subject transition of other passengers (in the same area) conversations breaking the froth wall of reality and becoming visual miniature worlds, martial, and symbolism.

Scene 10

(Birds eye view) A couple of old dears discussing about their recent holiday trip to the coast.

·       The old women’s Imaginary world begins to attach and wrap it self around the rails and poles of the interior space.

Scene 11

(Quarter Splash page) A young pre schooner and his sister (friend) play with their action figures and toys with all the noise and groups of people. They’re made up sound effects create a clashing miniature galaxy of both si fi and nature.

·       A small panel in the corner showing the children as they were before the continued event 


Page 2


Conflict begins

Scene 12

This transition continues until panel 14 and no acknowledgement from anyone apart from the student.
  • ·       Many different ideas and concepts appear from every mouth but the visuals start crossing paths and connecting to each other within the entire interior.
Scene 13

A hug (splash page) of non secqutor objects and symbols produce a void of utter mess and mental confusion that the student starts to panic as it becomes more and more Closterfobic to the point where the surrounding interior has become non extinct (completely vanished) with only a couple of human figures still speaking loudly.



page 3



  • ·       Student needs to be centred to show the amount of pressure they are under.
  • ·       There’s no weight or visible walls so the figures are now arranged around the space to demosate the sheer imagination all theses people have.

Scene 14

(Close up) of a terrified expression on students face exposes the panel.

Scene 15

(Medium shot) Spontaneously out of nowhere the whole scene is back to the premise it originally was (scene 1) even though time has moved forward.

  • ·       Not one single reaction from the surrounding public after all that
  • ·       Student sweating and clinging to their chair in sheer worry

Scene 16

Student casually slightly puzzled moves to the buses entrance with ignorance from the passengers.

Rise and Conclusion

Scene 17

 (Birds eye view) The Student exits the buses doors on to the street pavement while tossing a discarded object of some sort on to the concrete.

Scene 18

(Worms eye view) reveals the object to be a cigarette or a dug of some kind with random non sequitur visuals emerging from the exterior of the cigarette packaging with the faint silhouette of the student exiting the scene.

  • Weather is damp but clear


The End




page 4


·     

interview with Jhonen

http://nycccast.com/?p=55


Horror comedy style comic with detailed gore artwork.
an interview with Jhonen Vasquez.

Sunday, 10 October 2010

rough layouts and script

Doing the observer brief.

The main character stereotypical high up banker late for a meeting. He will be talking on his Bluetooth earpiece to someone who is at the meeting already. The man who is late will cause the lift to break down, and keep attempting to fix the lift from the inside but clearly just break it more.

The concept is that it is a metaphor for the idea that bankers are largely responsible for the state of the economy at the moment. Also going to include a young barefoot boy in the lift also symbolizing the recent ideas of lowering child benefits.

1. Banker stood talking to someone on Bluetooth earpiece, “Tell them to hold the meeting, im literally 10 minutes away I’m coming now”.

2. Number 14 on the lift lights up ‘ding!’.

3. Banker stood in front of lift as doors open still speaking on blue tooth, “DON’T START THE MEETING WITHOUT ME!”.

4. Banker stepping into lift, “mmhmm, mmhmm”.

5. Banker stood pressing button in lift, “come onnn”.

6. Young boy runs into lift as doors are shutting.

7. Banker says to persone on Bluetooth “some little brat, im in the lift at the moment”. Kid in background playing on hand rail in the lift.

8. Banker franticly pressing groung button as he is in such a hurry, “come on bloody thing”.

9. Breaks the ground floor button.

10. Silhouetted all round view of them in the lift showing its started moving. Banker says “Paul im 10 minutes away just hold it”.

11. Banker saying “well tell them there’s nothing wrong with the bonuses”, boy in background looking at the man.

12. Banker “we deserve..”

13. Lights go out as lift breaks down, “shit”.

14. Lights still out banker says “whats going on”

15. Lights come on banker says whilst panicking “Paul get help, call 999” - ”Its gona be ok kid”.

16. Banker trying to open the door, “this IS a fucking emergency”.

17. Banker franticly trying to fix lift taking off the panel n playing with the wires, “shit shit shit come on”.

18.Still panicking trying to work out a way out, banker pulls off roof panel.

19. Banker accidently drops roof panel onto boys shoulder “sorry sorry”, boy “ah”.

20. Banker palming all the buttons trying to get it to work again, “no no no, come on!”.

21. Caretaker unscrews lift button on the ground floor to let them out.

22. Door opens to see fat banker stressed out and sweating.

23. Caretaker having a look at the lift, “what the hell has he done here”.

24. Banker running off muttering reasons why the life bloke, placing the blame on other people, “you really need a new electrician – such dodgy wiring – cheap roof pannels too mate”

Saturday, 9 October 2010

Draft script.

Basically a lot of marvel or dc briefs ask the artist to come up with their own unique characters and stories sometimes.

My comic will be named "Rise of a hero"

The 4 pages willl lead to how unfortunate events and error help a strong emoptional human being rise up to claim for those who cannot fend for themselves.

Page 1


Panel 1: Young man crying and looking sad.

Panel 2: A flash shot of a grave saying dear mum rest in peace.

Panel 3: Back to the young boys face with the palm of his hands covering his face, but you can see through it the boys face, you can see the emotions of anger, hatred, pain and sadness.

{Why did she die!!!!! Why me!?!?! If I only I.......}


Panel 4: 2rd page down: Grandad holding his arms up to the young boys shoulders, comforting him.

Grand pa. {Its ok son, your mother loved you very mutch and always wanted the best for you.}

Young boy. {Its my fault grandpa... YOU KNOW THIS!!!!}

Grandpa. {It takes a special person to rise through tough circumstance and the unexpected.}

{And you my son are special!!}


Page 2

1 week later


Panel 1: A far shot of jaino in the gym:

Panel 2: A group of guys take notice of jaino, and start whsipering to each other.

Tough guy 1 {Hey yo mack theres the chump the left his mother to die}

tough guy 2 {Man he dont even deserve to be steping foot in this place}

tough guy 1 {dont worry home boy, ill let the punk ass bitch start doing weights then ima throw his ass out}


panel 3: Jaino picks up heavy dumbells strugeling to lift them up while (having Flashbacks of his mum shouting at him to run...)


Panel 4: Tears start to emerge as he throws the weights on the floor. The tough goons start laughing in the background.


Panel 5: The tough guys1 interigate Jaino {Yo Jaino you punk ass leting yo mama die.}

Tough guy 2 joins in {Man you a lowlife get the hll outa here you punk.}


panel 6: jaino looks down, in dispointment.

Panel 7: The tough guys laugh harder and harder.

Panel 8: Close up of jainos face, his eyes start to emit a strangle enlectric sort of sparkle.


Pnael 9: Grandpa bursts in the scene

Grandpa. {Jaino! JAINO! WAIT!!!}


Page 3


Panel 10: Jainos angry face turns into an inoscent look.

Jaino. {Gran.. Grandpa??}


panel 10: The confused tough goons look confused and scared.

Tough guy 1 {Man whts up with this freak what the hell are you}

Tough guy 2 { Lets leave him...}


Panel 11: Grandpa looking furious and starts pointing at the goons.

Grandpa {Yeah thats right leave him...!! Pick on someone your own size you BULLIES!}

{Pick on me!!!}


Panel 12: Grandpa takes the self hurt Jaino away and comforts him.


Pnel 13: Grandpa puts his arm around jano.

Grandpa. {Jaino theres something you must know}


Panel 14: Grandpa goes into a descriptine figurative face.

Grandpa {theres a reason why your mum told you to run that day..}


Panel 15: Jaino stands up in anger

Jaino. {What reason!!! iM A COWARD ITS THAT SIMPLE!!!}


Panel 16: grandpa looks back in a self asserted look

Grandpa. {Your mother told you to run because if you stayed something terrible would have heppened}


Panel 17: Grandpa keeps speaking

Grandpa. {It was too early for you to be tested, the consequences would have been devenstating.}


panel 18: Grandpa looks adjust and self asserted:

Grandpa. (Jaino you are SPECIAL!!)


Panel 19: Jaino looks confused and angry

Jaino. { GRANDPA WHAT HAVE YOU AND MUM BEEN KEEPING FROM ME}


Panel 20: grandpa looks across the confused and angry jaino

Grandpa. {Jaino your mothers death was not in vain!}

{Through your mothers sacrafice, loads more innoscent lives will be saved!)


panel 21: Jaino shots out at grandpa in a frustrated shout

Jaino. {Grandpa! WHAT HAVE YOU BEEN KEEPING!!}


Panel 22: Grandpa looks back at jaino in self asserment.

Grandpa. {Jaino you are a mutant alien suparman!}


Panel 22: Jaino looks in schock

Jaino. {WHAT?!?!?!)


Panel 24: Grandpa cracks ouy laughing.

Grandpa. {Im joking!}


Panel 25: Jaino gives a retarded look towards grandpas joke...

Jaino. {Grandpa your such an asshole! Tel mw the truth...}


Panel 26: Grandpa walks up the stairs with jaino following behind


Panel 27: Grandpa kneeling down onto a chest that's in the attic.

Grandpa. {It all happened 20 years ago...}



I haven't really worked out the size of the panels which will be bigger or not, but i have a fair indication which scenes deserves flash sort of page treatment, i want to combine the old cliche of slowly drawing the reader in, the cliche that Jaino is an important super hero after all, it follows a bit in the footsteps of Spiderman.


This will be drawn and aimed at dc marvel type consumers




The end.