It’s fun to draw for fun!
This is my second entry for the Ozomics.com sequential challenge and stars The Incredible Hulk. It was written by Emmet O’Cuana and featured a couple of challenging panels, namely panels 4 and especially 5. I’ve tried a different approach from that used in the previous Shazam Challenge and it has yielded a higher level of finish. It still took quite some time to complete, however, so I am now thinking of doing only the inks for the next challenge, leaving out the colours in the hopes of furthering my understanding of the medium of comics.
As well as the finished page, I’ve included the pencil sketches I started will, for those interested. Below is the script:-
SEQUENTIAL CHALLENGE SCRIPT #02 – HULK
Written by Emmet O’Cuana
The main action concerns the HULK in free fall, but with three panels at the top and three at the bottom which overlay the main image which extends to full bleed, drawing attention to what is happening in the shifting mind of BRUCE BANNER/HULK.
A single eye expanding beyond the frame, pupil fully dilated and iris strained through with green.
CAPTION: Did you ever have a dream…
A hand forming the shape of a claw as the fingers lengthen and swell, the metastasizing cells transforming the skin colour to a dark green. A glimpse of the blue sky can be seen in the background.
CAPTION: …so real you couldn’t tell it was a lie.
Mouth pulled back in a roar, teeth jutting forward, the visible skin also darkening in the same way.
CAPTION: Who is dreaming my dream?
Splash Panel, BANNER/HULK is halfway through the process of changing, his body a mass of straining muscles and bones jutting through flesh. Seconds away from fully becoming the Hulk, this is the moment when he is poised exactly between the two states. The tattered remains of a prison uniform are still visible. Evidently Banner had been captured and is now being used in a battle situation.
The air itself is full of fighter jets, explosions and debris. Banner has been tossed out from a great height in the middle of the battle, a reference to Millar/Hitch’s Ultimates #13.
CAPTION: This is what I was born for.
Cut to years before, in a coffee shop. YOUNG BANNER as a preppy young college student without glasses, wearing an open-necked red plaid flannel shirt, tousled hair, eyes vacant with a polite smile.
Opposite him is BECCA, wide-eyed and gesturing furiously. She has large hoop ear-rings dangling, her hair bunched up in a winding tower, bright purple eye-liner and a mismatched tie-dye green shirt together with a purple velvet jacket. She is resting one elbow on a stack of books on the table-top. Two large, bowl-like cups of coffee are in front of each of them. Becca’s has long gone cold, whereas Banner has obviously guzzled his down just to stay alert.
YOUNG BANNER (CAPTION): Just smile and nod at the pretty lady, smile and nod.
BECCA: “it just opened my mind. I realized I had this part of me, deep down, for so long.”
YOUNG BANNER: “Uh – huh.”
Close up on Banner’s face. He has moved his left hand to cover his mouth, and stifle a yawn.
YOUNG BANNER (CAPTION): Man I could be at that Digable Planets gig right now.
BECCA: “Because it’s all about asking the deeper questions, y’know, seeking true wisdom.”
Call back to the very first panel, a close up on Banner’s eye.
BECCA: “It’s all about choosing who you want to be. Who you were meant to be”
YOUNG BANNER (CAPTION): ♫nuclear is we different time different space/ uh oh planet earth we brought the mad bass♫
The story is inspired by Rick Baker’s work in American Werewolf In London which showed the process of transformation of a man becoming a werewolf. Typically classic horror movies would have the mad scientist or werewolf victim disappear behind a counter, or have a slow series of transition shots showing the change. Baker went against the grain by trying to show as much of this process on camera. Given that Stan Lee was inspired by Jekyll and Mr Hyde for the Incredible Hulk, it seemed fitting.
Given the shifting timeline of the Marvel Universe, Banner is now a college student in the early 90’s, hence the music and clothing references (not to mention the giant cups of coffee). Digable Planets dropped references to existentialism and physics in their lyrics, so they seemed like a group Banner would like as an upper middle-class white kid wanting to seem cool.
THE HULK and related characters are © Marvel Comics.
Week #54 of the OzComics Drawing Challenge saw the introduction of a new challenge running in parallel, that of the Sequential Challenge. Entrants were given a script written by Lucas Testro and had to create one page of panels to depict it. The story revolves around a DC Comics characters Captain Marvel, aka Shazam, and the villain Parasite. For the uninitiated, Captain Marvel is the alter ego of Billy Batson who can morph between the two with the uttering of the word ‘Shazam’, while Parasite sucks the powers of his foes upon touching them.
Having entered a few of the Drawing Challenges, I was ready for a more ambitious challenge and can say that I really enjoyed it. There are a couple of areas on this page that I’d probably like to improve, but I’m fairly satisfied with the way all the work and exploration I did in my Drawing Challenge entries has come to bear. Definitely the furthest I have gone with a comic. Having a deadline definitely helps and I must thank Darren Close at OzComics.com for supporting the local comics scene and giving us this opportunity to grow and learn.
Comics is a medium that offers a something that other mediums cannot. It’s not just the words and images jelling correctly in the panels, but also the way in which those panels are laid out and relate to each other. Being relatively new to the medium, I find these dynamics fascinating. Below is the script, for those interested in comparing. Click on the image for the hi-res version.
Wide shot of Captain Marvel and Parasite smashing through a billboard advertising Fawcett City, which is on top of a city building. Parasite is clutching on to Cap, kind of riding him. He’s hulked up to a monstrous size, clearly having already sucked a lot of Cap’s Energy.
1. CAPTION: Can’t shake him.
2. CAPTION: Powers fading.
3. PARASITE: A few more seconds and all your powers will be mine, Captain Marvel. And there’s nothing you can do to stop it.
Tightish two-shot of Parasite and Cap. Parasite has one arm wrapped around Cap’s neck, choking him – and he’s clearly enjoying seeing Cap suffer. Cap’s trying to wrench Parasite’s arm free but he’s too exhausted to manage it. He looks on the point of unconsciousness. All seems lost.
1. PARASITE: Any last words?
2. CAPTAIN MARVEL: Just… one….
Close-up of Parasite, looking dismayed at what he’s hearing. He’s just realised he’s screwed.
1. CAPTAIN MARVEL: Shazam.
(nb make Cap’s dialogue here small and understated – he’s weakly sputtering it out, not shouting it.)
Big wide shot looking up at the sky from a city street, skyscrapers towering either side. A HUGE LIGHTING BOLT strikes two tiny figures far above.
1. SFX: KABOOOM!
High angle mid shot of 12 year old Billy Batson falling towards the city, his body slack, unconscious. In the background Parasite tumbles beneath him.
1. CAPTION: His conduit to Cap’s powers severed, Parasite plummets towards Earth.
2. CAPTION: But so does unconscious Billy Batson!
A quick Superman image for the OzComics.com challenge this week. He’s never been one of my favourite Super Heroes, but I felt like having a crack at him. As ever, it’s telling a snippet of a story, albeit a daft one.
This one began life as a sketch in my pad before being transferred to my ASUS Slate tablet PC. Having purchased the kit over half a year ago, I had been neglecting it. I picked it up again when I went for a Drink’n’Draw session last week and I really felt we bonded, finally.
I started sketching in the old drawing pad, searching for a look that I liked. Having come up with this angular design I then set upon the task of designing my version of the Batmobile and could think of no better car to base it on than the classic over the top ’80s supercar, the Lamborghini Countach. Being a rather angular shape already, it leant itself well to the ride of choice for this particular Dark Knight.
Drive was not the movie that I though of aping at first. I did toy with the idea of doing a version of the Beverly Hills Cop cover with Batman sat casually on the bonnet of his motor. I was halfway through this one and on the brink of redesigning when the whole Drive thing sprang to mind, which was a relief. Having spent a lot of time on the Star Wars cover I was quite keen to keep this one to a more manageable timeframe. And because Drive is a cracking movie.