I had a dream, where Spider-Man took on Osborne and the Dark Avengers all on his lonesome...and kicked ass. So I decided to script it. Good practice, or therapy, summat like that. Anyway, it's my first attempt at actually writing a comic script.
Setup: Six-panel pages, artist has considerable leadway in how they frame the shots. If they think of a better way to show the action, go for it.
[Cover Page]
Group shot of the Dark Avengers at a U-shaped table, in the center. Think of The Last Supper but if the ends of the painting were brought together. The shadow of spiderman is visible on the space in the middle.
Credits, title, etc.
[Page 1]
1st Panel: Front of the Avenger's Tower, repairs to the upper floors still in progress. Dark Wolverine (Daken) is in civilian clothes and about halfway down the stairs. Dark Hawkeye (Bullseye) is in the his costume, at the top of the stairs. Slight breeze shown by a newspaper blowing to the left.
Caption: Avenger's Tower.
2nd Panel: Close up on upper half of Daken as he stops at the bottom of the stairs and raises his head, nose crinkled. A leaf blowing past his from is going to the right.
Noises: Sniff
3rd Panel: Close up on lower half of Daken, two claws extending from his right arm.
Noises: Snikt (loud) vrrrrrrrm (soft but getting louder, indicated by slowly increasing size of the letters, continuing into the next panel)
4th Panel: A red-and-blue four-wheeled blur smashes into Daken from the left-side.
Noise: VRRM continued from last panel
5th Panel: Wide shot of the stairway again, civilians dodging out of the way, H.A.M.M.E.R. troops visible behind the glass doors, Dark Hawkeye drawing an arrow, red-and-blue vehicle accelerating up the stairs towards him.
Noise: Vrrowrm
6th Panel: In the wake of getting run over, Daken is pressed against the stairs, both arms broken, and blood dripping from his mouth, nose, ears; right eye red with blood, but he still looks pissed as hell.
[Page 2]
1st Panel: Close-up on Dark Hawkeye, arrow notched and bow held in front of him, grimacing musically.
2nd Panel: Close-up on the front of the vehicle. Crash bars have been welded onto the front, with the spider-pattern on the hood just visible. The reflection of Dark Hawkeye (slightly surprised) can be seen in the hood.
3rd Panel: Wide shot from above and behind of what is clearly the Spider-Mobile, paused at the top of the stairs. Tread marks lead up the stairs, over the sprawled figure of Dark Wolverine (whose blood pattern is like a broken waterballoon on the sidewalk). The glass doors are gone, just a cavernous entrance and broken shards, H.A.M.M.E.R. guards taking cover.
Noises: Soft rrrrm continuing into next panel.
4th Panel: Closeup of Spider-Man as seen through the window. Two arrows are sticking out of the windshield, the tips pointing at his oversized eyes. The window itself is a web of cracks.
Noises: Soft rrrrm continued from last panel.
5th Panel: Spider-Man's gloved hand grasping the stick-shift, which is suitably Spider-Mobile themed, clearly putting the vehicle into reverse.
Noises: Kunk-krnk, vRRRM
6th Panel: Wide shot of the Spider-Mobile backing up down the stairs. Under the left rear wheel, Daken can be seen. The license plate reads SPIDEY, there are bumper stickers in the shape of the Avengers and Fantastic Four symbols. Under the bood-slick left rear wheel stick Daken's legs.
Noises: VRRRRM.
[Page 3]
1st Panel: View from the top looking down the tower as the Spider-Mobile drives up it. In the left corner can be seen the side of Dark Ms. Marvel (Moonstone)'s head; in the right, Dark Venom (Scorpion). Dark Venom's head is strangely textured.
Noise: Small vrrrm getting larger, continuing into the next panel.
2nd Panel: Same shot, Dark Venom has jumped down on a web-line held over his head; the symbiote is a mix between the traditional Black Spidey costume and the old Scorpion costume; at least a giant scorpion-stinger tail is visible, while the head is smooth black-Spidey - no fangs or drool. Dark Ms. Marvel is flying down (yes, feel free to put an ass-shot in here), high heels locked together. The Spider-Mobile is marginally larger, as it's getting closer.
Noise: Vrrrrm continued from last panel.
3rd Panel: View from the Spider-Mobile's back seat. Spider-Sense lines radiating thick from his head, we see Dark Ms. Marvel and Dark Venom flying toward him. From this angle, we can see Dark Ms. Marvel's hands glowing. Spider-Man is driving with his left hand on the wheel and the right hand on the stick; his right thumb is hovering over a button on the stick.
4th Panel: View switches to somewhere parallel to the tower. The Spider-Mobile is swerving and dodging as windows explode around him, but he's still moving up the tower. Dark Ms. Marvel and Dark Venom are both closer as well; Dark Ms. Marvel's hands are glowing, and Dark Venom is holding on to the web-line with his right hand while the left one is in classic spidey-pose pointed down toward the Spider-Mobile.
A slight red line can be seen from the Spider-Mobile's left rear tire.
5th Panel: Back to the parallel-to-the-building view, but closer. The Spider-Mobile executes a bootleg turn, causing Dark Ms. Marvel to blow right past him. Dark Venom is off-panel, but his webline can be seen impacting where the Spider-Mobile should have been. Use movement lines and shadowed to illustrate the movement of both Dark Ms. Marvel and the Spider-Mobile.
Noise: VrrrrRRRMMM*skreee*rrrm (peaks right before turn and continues to decay into next panel)
6th Panel: Shot looking up the tower. Spider-Man has his left hand off the wheel for a moment to wave. Lower left has Dark Ms. Marvel looking up; above her and to the right is Dark Venom, clinging to the side of the building. Skid marks, and snatches of red are apparent in the path of the Spider-Mobile.
Noise: rrrrrm (continued from last panel, noise getting lower)
[Page 4]
1st Panel: Side shot (left) of Dark Ms. Marvel and Dark Venom both moving up the tower, her by flying parallel to it, him by running on all fours up the side; Dark Venom is visibly beginning to bulk out a little in the shoulders and pecs. Small red dots are sprinkled on the side of the building beneath them.
2nd Panel: Close-up to Dark Venom's left foot (which up close is more obviously monstrous than usual) crushing one of the red dots, which is obviously a spider-tracer.
Noise: eeeeee (continues on to next two panel)
3rd Panel: Same side-shot, but now the windows are exploding around them; Dark Ms. Marvel is curling up in herself and covering her ears, Dark Venom's symbiote looks like it's exploding away from the pale, wasted figure within, who is desperately clutching at the side of the building.
Noise: EEEEEEEEE (continued from next panel, continuing into next panel)
4th Panel: Close-up to a glowing, gem-like crystal surrounded by pink flesh and muscle, veins and arteries. The crystal is visibly agitated and vibrating.
Noise: EEEEEEE (continued from next panel)
5th Panel: Small white panel.
Noise: Crack.
6th Panel: Back-seat of the Spider-Mobile again, driving backwards up the tower. Looking down, there is a gaping hole in the side of the tower, the sides of which look melted, cracks extending up and across the building. Surprisingly little smoke shows from the wound, but Dark Ms. Marvel and Dark Venom are nowhere to be seen. Way down below, on the stairs, is a splotch of red and a tiny figure trailing red moving away from it. Stairs and street are swarming with H.A.M.M.E.R. goons, a sea of green.
Noise: Vrrrm.
[Page 5]
1st Panel: Parallel to the side of the tower, but closer. Center of the page is a broken window, the ruins of a boardroom visible inside. The Spider-Mobile is stopped to the left of it, parked on the side of the building.
2nd Panel: Same view. Spider-Man does a super-athletic one-handed flip that takes him from seated in the Spider-Mobile to perched on his toes on the inside lip of the busted window, left arm raised and with the keys to the Spidey-Mobile clutched in it, pointed in the Spider-Mobile's direction. Use shadowed versions to illustrate the movement.
The spider-sense lines are thin, small and wavy, haloing his scalp.
Noise: Bleep-Bloop
3rd Panel: Over and behind Spider-Man's head, showing us the interior of the room. He hasn't moved, but is looking toward the broken door, which is covered by a sheet of plastic and being drawn aside by a callused hand holding an AK-47 assault rifle.
The spider-sense lines are thicker, but still small and wavy and the same number.
4th Panel: Ares, God of War is standing in the room, massive axe held in his right hand, the AK-47 in his left. His costume is a mixture of ancient and modern and something else. A breastplate and helmet straight out of Troy, urban camouflage pants and combat boots. Standing at his full height, the crest of his helmet is far taller than the door.
The spider-sense lines are thicker, longer, but still the same amount of wave and same number.
Ares: Arachnid.
Spider-Man: Ares. How's the family?
5th Panel: Shot from the side of the room. Ares, roaring, has raised his left hand, AK-47 pointed at Spider-Man; Spider-Man has his right arm raised, palm up, and a line of webbing extends in a gentle arc that ends inside the barrel.
The spider-sense lines are more agitated than in the last panel.
6th Panel: Same shot, Ares gritting his teeth instead of roaring, the webline still there but now noticeably slack.
The spider-sense lines are less agitated, but the same length and thickness.
Ares: Am I supposed to pull the trigger now, and watch my weapon jam on me?
Spider-Man: And explode, Elmer. Don't forget explode.
Ares: It would not explode, and you are neither duck nor rabbit...(connected to next panel)
[Page 6]
1st Panel: Same shot, but Ares has dropped his rifle and is now moving toward Spider-Man, axe raised in a killing arc, his left arm coming up to grasp the lower end of the handle. Spider-Man is moving towards him from his perch, his hands moving up and the limp trail of webbing falling toward the floor.
The spider-sense lines are thicker toward the base, but longer and thinner.
Ares:...though it is your season. (continued from next panel)
Spider-Man: And they say cartoons are too violent.
2nd Panel: Same shot, but Ares and Spider-Man have met in the center of the room, Spider-Man gripping Ares' forearms near the elbows. Both figures are leaning against each other; emphasis the difference between the massive build of Ares and the much more slender build of Spider-Man.
Spider-sense lines are the same as last panel.
Ares: Heh
3rd Panel: Same shot. The two appear to be deadlocked. Ares is grinning. Veins are popping out on Ares' arms. Ares and Spider-Man appear to be looking into each others eyes.
Spider-sense lines are the same length and thickness, but more agitated.
4th Panel: Same shot. Ares' grin has faded a little. A bit of paper blows across the floor, from behind Spider-Man to just past Ares; use shadowed versions to show the movement.
Spider-sense lines are the same length and thickness, but even more agitated.
5th Panel: Same shot. Ares is visibly grimacing, Spider-Man's arms and legs are noticeably trembing. The piece of paper has come to rest by Ares' left foot.
Spider-Man: Huff.
Spider-sense lines are the same length and agitation, but growing thicker at the base.
6th Panel: Same shot. Ares suddenly wrenched upwards, dragging Spider-Man - and part of the floor stuck to his feet into the air.
Spider-sense lines are thinner and less agitated.
[Page 7]
1st Panel: Close-up of Spider-Man's booted feet clamping flat to the ceiling.
2nd Panel: Side-shot of Spider-Man, feet on the ceiling, still holding onto Ares' arms. Ares is still straining to bring the axe into contact with Spider-Man.
Spider-sense lines are the same.
Ares: Well played.
3rd Panel: Same shot, except Spider-Man has contracted his arms, lifting Ares a foot off the ground, supported only by Spider-Man's grip on his arms.
Spider-sense lines are the same.
Spider-Man: Thanks.
4th Panel: Same panel. Ares struggles - wiggles really - as webbing starts to pour from Spider-Man's wrists onto his arms, face, and chest.
Spider-sense lines are the same.
Spider-Man: I don't have to give you the leverage speech, do I?
5th Panel: Same panel. Ares folds almost in two trying to kick Spider-Man (show shadows to indicate movement), but Spider-Man arches his back against the wall to dodges the weak (for Ares) kick. Webbing has continued to pour out, forming a gray glob around Ares' arms, chest and neck. Some of it is already dry and looks like webbing, while the rest is a grey liquid running over the dry webbing.
Spider-sense lines are the same.
Ares: Uff.
Spider-Man: I mean, you were probably there when Archimedes did his whole lever bit.
Ares: Fuff.
6th Panel: Same panel. Ares' head and face are covered in web-fluid, the axe still in his hands, but his feet dangle limply.
Spider-sense lines are shorter.
Spider-Man: Key point to that is: a place to stand.
[Page 8]
1st Panel: Shot looking into the devastated boardroom from the broken window. Ares, the upper half of him covered in web-fluid, is hanging from the ceiling, his legs dangling. Spider-Man's back is toward the audience, brushing aside the plastic curtain as he goes through the doorway.
2nd Panel: A dark hallway, seen from the side. Spider-Man is walking along it confidently. A slight breeze is blowing the plastic sheet from the doorway - the only visible source of light - aside, and a small piece of paper is blowing alongside him.
Spider-sense lines are very short and thin, hardly any waves.
3rd Panel: Same shot, he's farther along, but his arms and legs are shaking; the piece of paper keeps pace.
Spider-sense lines are the same.
4th Panel: Same shot. Spider-Man is crouching almost taking a knee, his shaking hands reaching up to his mask. The piece of paper rolls past him.
Spider-sense lines are the same.
5th Panel: Same shot. Spider-Man has the lower half of his mask up, and is on his left knee, puking.
Spider-sense lines are the same.
6th Panel: Same shot. Spider-Man is standing up again, mask still rolled up to expose the lower half of his face. His left hand is fidgeting at his right wrist, and spent web cartridges are falling from it. A fallen web cartridge is already on the piece of paper, which is lying flat on the floor. The hallway is darker now, and there's a black door right before him.
Spider-sense lines are slightly wavier.
[Page 9]
1st Panel: Center shot of Osborne, in the Iron Patriot armor with his mask up, sitting on a metal throne that looks like a dentist's chair from hell as designed by the set people from Star Trek. The only light in the room is from his chest plate and the Sentry, who is glowing slightly and floating right next to him.
2nd Panel: Split panel, Osborne's eyes and hair visible on top, Spider-Man's lower face - still un-masked - below.
Norman Osborne: Spider.
Spider-Man: Goblin.
Norman Osborne: Bob?
3rd Panel: A shot of the Sentry floating forward towards Spider-Man, golden streamers of energy floating meeting together on his chest. Spider-Man has crouched down on all fours, arachnid-like and wary, but not backing away.
Spider-Sense lines are stabbing veins of blackness dividing the panel beneath the Sentry's energy-streamers, providing a stark contrast between the bright, upright Sentry and the crouching, dark Spider-Man.
Thought Bubble: On the scale of "Stupidest things I've ever done" - which is pretty much the same as my list of "Interesting ways to commit suicide" - this counts slightly below trying to web Galactus' eyes.
4th Panel: The golden tendrils of energy around the Sentry intensive, grounding in electric-white arcs on various pieces of scenery and Spider-Man. The Sentry's eyes are completely lost in the energy glow, and whatever the tendrils touch is scorched.
Spider-sense lines, almost panes of black, are still barely visible radiating from Spider-Man's head.
From off panel: Bob?
Spider-Man: She would still be alive if not for you.
Thought Bubble: Okay Parker, this is it. Let's see if the power of a million exploding suns still has his safeword.
5th Panel: Same panel, sans energy tendrils of any kind. The Sentry is no longer glowing, his costume seems faded, his eyes are empty black pits. He's still floating an inch above the floor. The scenery (and Spider-Man's costume) are still scorched.
Spider-man hasn't moved. His spider-sense lines are still wavy, long and thick - but normal.
6th Panel: The Sentry is on the floor, on his knees. Spider-Man is walking past him, his head cut off by the top of the panel. A piece of paper is blowing towards the Sentry from the dark door on the left.
From off panel: Bob?
Thought Bubble: I owe XKCD.com ten bucks, and Bob's wife a thank-you note.
[Page 10]
1st Panel: On the right hand side, Osborne is standing now, faceplace still up, his left shoulder turned toward Spider-Man and his back to the audience. Spider-Man is standing with his left shoulder Osborne, his front - with the Spider-logo prominently displayed - toward the audience.
Spider-sense lines are thick, black, very agitated and irregular.
Osborne: I'm impressed, but you know how this will end.
Spider-Man: The same way it always does.
Osborne: Not this time. Your pathetic little raid has barely been an inconvenience to me. My Avengers are already recovering and on their way here.
2nd Panel: Same shot. Spider-Man assumes a more relaxes, natural pose. Knees slightly bent, arms loose and at his sides. Osborne's posture is stiff, mechanical. Small pieces of his armor move and shift.
Spider-sense lines are like cracks from a window hit by a bullet.
Noises: Skrk-shhhhh.
Spider-Man: No more sons to sacrifice, Goblin?
Osborne: You can't goad me like one of those two-bit crooks in your villain menagerie, Spider.
Spider-Man: Worth a shot.
3rd Panel: Split panel. Norman Osborne has his mask down, Spider-Man has his mask covering his mouth again.
4th Panel: Same shot as Panel 2. Spider-Man and Osborne's left arms both shoot up.
Spider-sense lines are the same, but so thing and long as to be almost invisible.
5th Panel: Same shot. Bright orange explosion, centered on just in front of Osborne's outstretched hand, putting them both in contrast.
6th Panel: Shot from inside Osborne's helmet, staring at the charred ruin of his left hand, strands of smoldering webbing still dangling from the blast emitter. The armor is dull mechanical gray underneath the patriotic paintjob.
Comic Script: Spider-Man vs. Dark Avengers
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Ancient History
- Demon
- Posts: 6550
- Joined: Sat Dec 28, 2002 5:39 pm
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Ancient History
- Demon
- Posts: 6550
- Joined: Sat Dec 28, 2002 5:39 pm
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Ancient History
- Demon
- Posts: 6550
- Joined: Sat Dec 28, 2002 5:39 pm
-
Ancient History
- Demon
- Posts: 6550
- Joined: Sat Dec 28, 2002 5:39 pm