FORMAT
PANEL
1
What
happens?
Describe
in
your
own
words.
1.
CAPTION:
NARRATION
/
DESCRIPTION
2.
[[CHARACTER
NAME]]
-
DIALOGUE
3.
[[CHARACTER
NAME]]
-
DIALOGUE
4.
[[SOUND
FX]]
PANEL
2
What
happens?
Describe
in
your
own
words.
5.
CAPTION
NARRATION
/
DESCRIPTION
6.
[[CHARACTER
NAME]]
DIALOGUE
7.
[[CHARACTER
NAME]]
DIALOGUE
8.
[[SOUND
FX]]
THE SENTINEL SUNDAY STRIP (NOTE: THIS STRIP IS MEANT TO HAVE BEEN PUBLISHED IN 1940 PLEASE USE VEHICLES, CLOTHING STYLES, ETC. APPROPRIATE TO THAT ERA)
PAGE 1 (10 Panels) PANEL 1 - SPLASH PANEL* The Sentinel flies through the air, carrying an unidentified woman. 1. WOMAN: WE MADE IT OUT JUST IN THE NICK OF TIME! 2. THE SENTINEL: JUST DOING MY JOB!
PANEL 2 A city block is in flames. Wrecked cars all over the place. Pandemonium in the streets. 3. CAPTION: IN THE SENTINELS ABSENCE, THE BIG CITY HAS BEEN ATTACKED! WHAT COULD HAVE CAUSED THIS?
PANEL 3 The Sentinel puts the woman down on top of a building. 4. THE SENTINEL: YOULL BE SAFE HERE! 5. WOMAN: NOT UNTIL YOU GET BACK!
PANEL 4 The Sentinel flies into the heart of the city. 6. CAPTION: HIS CITY IN JEOPARDY, THE SENTINEL HURLS HIMSELF INTO ACTION! 7. THE SENTINEL (thought balloon)*: WHAT NEFARIOUS CREATURE COULD HAVE DONE THIS?
PANEL 5 A car SMASHES into the Sentinel from behind. 8. CAPTION: OUT OF NOWHERE, MECHANICAL DOOM STRIKES THE SENTINEL! 9. THE SENTINEL: OOOF!
PANEL 6 The Sentinel CRASHES TO THE GROUND. 10. CAPTION: THE STREETS CRUMBLE UNDER THE FORCE OF THE SENTINELS IMPACT!
PANEL 7 A GIANT FUCKING ROBOT holds the woman from panel 1 in its hand, towering over the Sentinel. 11. WOMAN: SENTINEL! SAVE ME!
PANEL 8 The Sentinel HURLS the car from on top of him. 12. CAPTION: THE SENTINEL BREAKS FREE FROM HIS TOMB OF CERTAIN DEATH!
PANEL 9 The GIANT FUCKING ROBOTs EYES LIGHT UP with a Death Ray! 13. CAPTION: THE INCENDIARY METALLIC BEASTS EYES GLOW RED, READY TO RAIN DEATH ON THE DENIZENS OF THE CITY - AND THE SENTINEL!
PANEL 10 The Sentinel flies into the air, battling against the death rays, bombarding him! 14. SENTINEL: NOT TODAY YOU DONT! 15. END CAPTION: * WITH THE FATE OF HIS CITY IN HIS HANDS, CAN THE SENTINEL POSSIBLY PREVAIL? FIND OUT NEXT WEEK!!!
NOTES
* SPLASH PANEL = a panel intended to be big, bold and powerful. The title page, sometimes. Also called a splash page (when it takes up the entire page). I use Splash Panel here as it was era-appropriate (1940). *THOUGHT BALLOON = use a cloud-shaped icon to demarcate the appearance of thought; a pop-culture version of the Shakespearean aside. Theyre not used much today, as Captions have taken on a more first-person, voice-over role. However, in the era this comic was crafted, its absolutely appropriate. * END CAPTION = this is used rarely, and was again, era-specific. Its the comics equivalent of a quick fade to black and the ominous words, TO BE CONTINUED. In the 1940s, cliffhangers were a bit more hyperbolic than todays cliffhangers, hence the over-the-top nature of the writing. In the case of Whiz!Bam!Pow!, this creates the illusion of Perceived serialization, a topic I talk about at great length in the book. Yes, I swear a lot in my scripts, especially when Im excited about something. Unless it says caption before it, it doesnt go into the final product, and is there as a note to the artist. Why do I use numbers for each element? Change 27 to Hes all yours guys is a far simpler ways of communicating a change than Change the dialogue in panel 7 page 19 to But, I dont include panel numbers until the final script is locked. Otherwise, the pages would be a haphazard mess of unreadable tripe. Think of adding numbers to the script like adding scene numbers in the script breakdown stage. Note that I dont use sound effects in the excerpt. Had I used them, I would have given them a number. I usually give each page in the comic its own page in the script. If I go over a single page, I still start a new page of comic on a new page of script. It gives the artist room to scribble and make notes on a print-out.
If
you
remember
anything,
remember
this:
A
script
is
a
blueprint.
It
must
clearly
communicate
the
story
from
one
collaborator
to
another
to
produce
an
entertaining
work
of
art.
Now,
go
make
something!