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Post by jayvee on Jul 7, 2006 21:03:50 GMT -5
See, I quite reading comics between 1998 and 2003 so I'm completely oblivious to (most of) that stuff.
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Post by davidaccampo on Jul 8, 2006 0:16:57 GMT -5
52 may be the new standard in that regard. By having the four writers on ONE book, they have had to have writer's meetings and they are able to play off of each other a lot more. And the editor is even more important in bringing it all together in a cohesive whole.
Side note: has anyone hear ever read that DC Challenge maxi-series from...uh, musta been the mid-eighties?
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Post by nolan on Jul 8, 2006 3:02:34 GMT -5
52 may be the new standard in that regard. By having the four writers on ONE book, they have had to have writer's meetings and they are able to play off of each other a lot more. And the editor is even more important in bringing it all together in a cohesive whole. Side note: has anyone hear ever read that DC Challenge maxi-series from...uh, musta been the mid-eighties? I've found issues before but never the whole thing. 52 as the new standard, hmmmm...well i find that interesting. It would really help with collaboration. At the same time, there's a rela risk that this could be a return to the early 90s style of doing things where the authorial presence that comic writers fought so hard to acquire would vanish.
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Post by davidaccampo on Jul 8, 2006 11:05:44 GMT -5
Yeah, I don't mean it would be an ideal for creators -- just that it it's perhaps the ultimate distillation of what you guys were talking about -- a "universe" with multiple creators housed in one comic telling multiple stories that intertwine and become one larger story.
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Post by nolan on Jul 8, 2006 12:57:38 GMT -5
No, its a great model for a universe.
At the same time, there are a few things.
1. DC appointed Waid, morrison and Johns to run the universe so there's a clear chain of command.
2. There's one single book to fill the continuity.
What I find interesting about 52 is that when I'm reading it, its hard for me to figure out who wrote some of the scenes. I'm probably only sure on about a quarter of them, for a book done by 4 completely differnet writers, it has an incredibly unified voice.
But at the same time, all of those guys have side projects too.
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Post by davidaccampo on Jul 9, 2006 17:59:36 GMT -5
I'll add to that that the format is finite, which means the book probably won't be given to publisher shake-ups. That always seems to have been a problem with both major publishers over the past few years. Wwith Marvel it started with the Jemas era, where Marvel seemed to jump around, throwing everything at the wall to see what sticks. At it's worst, you get a sudden change in tone and style which throws the rest of the "family" off...
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Post by silberspy on Aug 31, 2006 5:19:08 GMT -5
I find that what I like to do is a deliver a pretty full script to an artist as far as the words that I plan to appear on the page, but really leave it to the artist what the images should be. One of the things I like is the collaborative process ofworking with an artist & if I can't trust them to have a similar amount of control as me, why am i working with that person in the first place?
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Post by nolan on Aug 31, 2006 10:37:42 GMT -5
I find that what I like to do is a deliver a pretty full script to an artist as far as the words that I plan to appear on the page, but really leave it to the artist what the images should be. One of the things I like is the collaborative process ofworking with an artist & if I can't trust them to have a similar amount of control as me, why am i working with that person in the first place? Im a big fan of staying in active communication with any artists I work with. Though, honestly, I don't think that plot first can really work unless you're sharing the writing with the artist (at least not anymore since pacing has become important in non-action scenes). I know a lot of writers like to put camera angles in their scripts but I think its a bit anal retentive (I really only do it if there is only one angle that can work or if I have something very specific in mind). But, ironically, my scripts tend to be a bit longer then a lot of people's (they usually start out longer and then get pretty short in terms of description).
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Post by rachelevil on Oct 20, 2006 10:12:06 GMT -5
Depends on the project. If it's a longer, more complex story, I'll do outlines and outlines of outlines and generally get a bit scary with that before I start writing something. Usually then once I start writing, it'll just be a plain script.
On shorter works, I just start writing, and write in a semi-script form, not getting too detailed in panel descriptions and such, so as not to impede my wahoo, and try to add that stuff later.
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