Tight on Peer: To open big, or to open forward?
Up until now I was planning on starting #1 of Peer’s story (current working title: Path & Peer) with events happening two days into the story’s future.
Meaning, #1 would open up with a one-to-three page sequence which would basically foreshadow the story per se, up until the start of #4 (the conclusion), which would open up exactly alike and pick up from there, where #1’s future sequence would have become the present by then and head straight to the climax.
I have since thought it over and again and again and again and on second (or hundredth) thought I feel #1… and not only #1 but all four issues… should open more graphically.
There’s this one recent trend in most “cool” superhero comics which is the Big Screen movie approach to storytelling: Warren Ellis and Mark Millar immediately come to mind on this one, the way they usually open their stories with a one-panel-only first page, but not a splash page per se, but actually a normal-sized page-wide centered panel, and silent with no captions or speech balloons, framed by two very large all-black borders, up and down, conveying the impression the audience is at the movies instead of merely reading the book.
That’s how I would like to open each of the four issues, you know? With an introspective, silent image, calm and frozen in time, in order to pull the reader right into the story, make him downright absorbed by it.
And pick up from there right in the first panel of page two.
Yes the foreshadowing bit is one hell of a cool plot gimmick and I’m extremely sorry to see it go. But its effectiveness is somewhat limited (as it is) to a couple of issues, one and four, and providing the reader is smart enough to catch that… Whereas the open-cinematic approach would not merely affect the whole four issues, but if properly used could impart a visual standard-ization of some sort to the series. I mean, if I would have it continued past #4… with a new story arc and establish it as a continuing series & etc.
But of course this is me already thinking of the second story arc while I haven’t even finished writing the first issue…
But in case you’re curious, and most times I do have a rather over-active imagination to go on rambling forever & execute nothing, the second arc would be called Faust & the Urfaust and would expand upon the many different origins given to the Centurion through the years & etc. The third arc, Refugees from the 20th century (because I love the sound of that), would lead us up to #12 and close the first year with a story set twenty years into a dystopic future where the Earth is ruled under an iron fist and etc etc etc.
I mean, it’s a f*cking classic isn’t it?
But I digress.
But I digress a lot.
Meaning, #1 would open up with a one-to-three page sequence which would basically foreshadow the story per se, up until the start of #4 (the conclusion), which would open up exactly alike and pick up from there, where #1’s future sequence would have become the present by then and head straight to the climax.
I have since thought it over and again and again and again and on second (or hundredth) thought I feel #1… and not only #1 but all four issues… should open more graphically.
There’s this one recent trend in most “cool” superhero comics which is the Big Screen movie approach to storytelling: Warren Ellis and Mark Millar immediately come to mind on this one, the way they usually open their stories with a one-panel-only first page, but not a splash page per se, but actually a normal-sized page-wide centered panel, and silent with no captions or speech balloons, framed by two very large all-black borders, up and down, conveying the impression the audience is at the movies instead of merely reading the book.
That’s how I would like to open each of the four issues, you know? With an introspective, silent image, calm and frozen in time, in order to pull the reader right into the story, make him downright absorbed by it.
And pick up from there right in the first panel of page two.
Yes the foreshadowing bit is one hell of a cool plot gimmick and I’m extremely sorry to see it go. But its effectiveness is somewhat limited (as it is) to a couple of issues, one and four, and providing the reader is smart enough to catch that… Whereas the open-cinematic approach would not merely affect the whole four issues, but if properly used could impart a visual standard-ization of some sort to the series. I mean, if I would have it continued past #4… with a new story arc and establish it as a continuing series & etc.
But of course this is me already thinking of the second story arc while I haven’t even finished writing the first issue…
But in case you’re curious, and most times I do have a rather over-active imagination to go on rambling forever & execute nothing, the second arc would be called Faust & the Urfaust and would expand upon the many different origins given to the Centurion through the years & etc. The third arc, Refugees from the 20th century (because I love the sound of that), would lead us up to #12 and close the first year with a story set twenty years into a dystopic future where the Earth is ruled under an iron fist and etc etc etc.
I mean, it’s a f*cking classic isn’t it?
But I digress.
But I digress a lot.
posted by 186282mps at 11:53 AM
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