theamazingrando
04-30-2009, 12:30 AM
Here's the first 10 pages, comments, questions, edits, etc welcome
PAGE 1 (4 panels)
Panel 1: We open on a straight on shot of a church with big wide doors that are closed right now as its Sunday morning service. Stained glass windows flank the doors. One of the windows is a big stained-glass picture of God.
CAP (Narrator): We couldn’t feel his presence anymore…
PANEL 2: A pew comes crashing out through that stained-glass window.
CAP (Narrator): We lost our faith
SFX: CRASH!
PANEL 3: Classic spinning newspaper, one reads “GOD IS DEAD” with a photo of the church from the first 2 panels in flames. The second reads “WAR IS IMMINENT” with a picture of one politician punching another one at what looks like a press conference.
CAP: Then we lost our minds
PANEL 4: Is a classic mushroom cloud explosion in the middle of a populated city.
CAP: Then we destroyed ourselves
PAGE 2-3 (2 Panels)
Note: Our first money shot, a big 2 page spread of 2 panels. Split the two panels so they get equalish space over the 2 pages. I’m thinking the Heaven conflict on top and the Hell conflict on the bottom. As far as layouts go either Panel 1 across the tops of pages 2 and 3 or treat pages 2 and 3 as one page and split it diagonally.
PANEL 1:
A half page splash panel of the alien army’s assault on the gates of Heaven. Go crazy here. I’m thinking a big elaborate battle. The alien army attacks from the left. The armies of Heaven stand against them. Behind them lay the pearly gates.
CAP: We had no idea what was going on above…
PANEL 2:
A half splash panel of the alien army’s assault on the entrance of Hell. Again, go crazy. The alien army attacks from the right. The armies of Hell have come pouring out to meet the attackers.
CAP: …or below us.
PAGE 4 (4 Panels)
PANEL 1: Aerial shot looking down at Alpha Safe, where our story takes place. There’s twisted wasteland all around it. The middle of the shot is the Safe itself. It looks like someone flipped a gigantic gear on its side and embedded itself halfway into the ground. In the middle of the gear is a round door that could be opened if needed in an emergency. What is unique about the door is that it’s almost completely transparent. This lets light into the Safe during the day.
CAP (Narrator): We struggled, but we survived.
CAP (Narrator): Without any help from above.
CAP (Narrator): The Safes were built with the technology that survived the war that ended the world.
PANEL 2: A Safe is a cylindrical hole dug hundreds of feet in the ground, then lined with metal. ľ’s of the way down this hole narrows. Then, comes back out like a warped hourglass. There are many layers to the Safe with businesses, housing and manufacturing on different levels. The shot I’m looking for on this panel is as if someone dropped a camera down one side of the Safe, then aimed it at the opposite wall and tilted it up slightly so we see the bottom side of the top of the Safe which is obviously also transparent.
CAP: Life started to return to normal, we adapted.
PANEL 3: Chest up shot of the main villain in human form, Zane LeMarceau. Our villain in human form, he looks like a retired football player. A big man, but solid, his hair is gray in spots. He’s smiling pleasantly.
CAP: The old religions were gone, forgotten with the horrors of the war that was. Zane LeMarceau the world’s first international celebrity after The Cleansing, and people worshipped at the altar of that celebrity.
PANEL 4: A shot of Zane’s corporate headquarters, a large building that spans several layers of Alpha Safe. The symbol of Zane is a stylistic ‘Z’ that figures prominently on the front of the building.
CAP: Zane quickly became the most popular man on the planet.
PAGE 5 (3 Panels)
PANEL 1: Pulled back aerial shot of the top of the Alpha Safe. We can barely make out a futuristic car streaking away, leaving a trail of dust behind him.
CAP: People need things transported between Safes discretely. This is where Messengers come in.
PANEL 2: Pull in close trailing shot of the car heading towards a large cave.
PANEL 3: We’re looking behind and above the car. The car’s in the cave, machine guns have sprouted out of the hood of the car and are currently blasting mutants that live in this cave.
CAP: Messengers run into their own unique set of problems out in the Waste.
Messenger: FAWKIN’ RADS!
PAGE 1 (4 panels)
Panel 1: We open on a straight on shot of a church with big wide doors that are closed right now as its Sunday morning service. Stained glass windows flank the doors. One of the windows is a big stained-glass picture of God.
CAP (Narrator): We couldn’t feel his presence anymore…
PANEL 2: A pew comes crashing out through that stained-glass window.
CAP (Narrator): We lost our faith
SFX: CRASH!
PANEL 3: Classic spinning newspaper, one reads “GOD IS DEAD” with a photo of the church from the first 2 panels in flames. The second reads “WAR IS IMMINENT” with a picture of one politician punching another one at what looks like a press conference.
CAP: Then we lost our minds
PANEL 4: Is a classic mushroom cloud explosion in the middle of a populated city.
CAP: Then we destroyed ourselves
PAGE 2-3 (2 Panels)
Note: Our first money shot, a big 2 page spread of 2 panels. Split the two panels so they get equalish space over the 2 pages. I’m thinking the Heaven conflict on top and the Hell conflict on the bottom. As far as layouts go either Panel 1 across the tops of pages 2 and 3 or treat pages 2 and 3 as one page and split it diagonally.
PANEL 1:
A half page splash panel of the alien army’s assault on the gates of Heaven. Go crazy here. I’m thinking a big elaborate battle. The alien army attacks from the left. The armies of Heaven stand against them. Behind them lay the pearly gates.
CAP: We had no idea what was going on above…
PANEL 2:
A half splash panel of the alien army’s assault on the entrance of Hell. Again, go crazy. The alien army attacks from the right. The armies of Hell have come pouring out to meet the attackers.
CAP: …or below us.
PAGE 4 (4 Panels)
PANEL 1: Aerial shot looking down at Alpha Safe, where our story takes place. There’s twisted wasteland all around it. The middle of the shot is the Safe itself. It looks like someone flipped a gigantic gear on its side and embedded itself halfway into the ground. In the middle of the gear is a round door that could be opened if needed in an emergency. What is unique about the door is that it’s almost completely transparent. This lets light into the Safe during the day.
CAP (Narrator): We struggled, but we survived.
CAP (Narrator): Without any help from above.
CAP (Narrator): The Safes were built with the technology that survived the war that ended the world.
PANEL 2: A Safe is a cylindrical hole dug hundreds of feet in the ground, then lined with metal. ľ’s of the way down this hole narrows. Then, comes back out like a warped hourglass. There are many layers to the Safe with businesses, housing and manufacturing on different levels. The shot I’m looking for on this panel is as if someone dropped a camera down one side of the Safe, then aimed it at the opposite wall and tilted it up slightly so we see the bottom side of the top of the Safe which is obviously also transparent.
CAP: Life started to return to normal, we adapted.
PANEL 3: Chest up shot of the main villain in human form, Zane LeMarceau. Our villain in human form, he looks like a retired football player. A big man, but solid, his hair is gray in spots. He’s smiling pleasantly.
CAP: The old religions were gone, forgotten with the horrors of the war that was. Zane LeMarceau the world’s first international celebrity after The Cleansing, and people worshipped at the altar of that celebrity.
PANEL 4: A shot of Zane’s corporate headquarters, a large building that spans several layers of Alpha Safe. The symbol of Zane is a stylistic ‘Z’ that figures prominently on the front of the building.
CAP: Zane quickly became the most popular man on the planet.
PAGE 5 (3 Panels)
PANEL 1: Pulled back aerial shot of the top of the Alpha Safe. We can barely make out a futuristic car streaking away, leaving a trail of dust behind him.
CAP: People need things transported between Safes discretely. This is where Messengers come in.
PANEL 2: Pull in close trailing shot of the car heading towards a large cave.
PANEL 3: We’re looking behind and above the car. The car’s in the cave, machine guns have sprouted out of the hood of the car and are currently blasting mutants that live in this cave.
CAP: Messengers run into their own unique set of problems out in the Waste.
Messenger: FAWKIN’ RADS!