As explored in my previous post, Comic Art 101, http://readinginsidetheboxes.blogspot.com/2011/10/comic-art-101-j-scott-campbell-skottie.html, comic book scripting is a unique and interesting component to developing and maintaining a strong comic narrative, where words accompany art to tell a story in a variety of ways. A great comic scriptor can communicate all elements of a scene that the artist will interpret and illustrate to move the story forward. Just as every artist is unique in their own style, each scriptor conveys their narrative in a unique manner. For this post, I'll be focusing on Mark Millar's script for Civil War, and Ed Brubaker's script for Captain America Volume 5. As each writer is distinct in their own notation, each artist conveys these cues into a finished artistic page, moving the story forward panel by panel. The unique element in each of these scripts is that the each artist has a similar style: Steve Epting for Brubaker's Captain America and Steve McNiven for Millar's Civil War both have a realistic style where characters have normal proportions and dimensions. As each artist is unique in their approach in how to communicate their story via story pages and artwork, each script writer will be just as unique. Comic Book scripting is a crucial component in developing a brilliant comic book for the masses to enjoy.
Again, as mentioned above, the artist in Brubaker's Captain America is Steve Epting. Epting utilizes a very realistic and proportioned style that accentuates the physical aspects of each character in a 'real world' perspective. Epting actually lists the full process for developing Captain America (volume 5) #40, where he interprets the script that Ed Brubaker provides. http://steveepting.blogspot.com/2008/07/page-process.html He explains how: "I'll usually go through and do thumbnails directly on the script pages as I'm reading it. These are generally quick impressions, and are subject to change (to put it mildly). Here's the thumbnail for page 11:" https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqDmey_8MHYdQNThYaVFb8JoOUBz1vbyqf6yp4Gc-uWM2RI-mWiYklOT-V1Vt-QWkLql9wFLYqnEyK4aUeYEJGnTi5uzpRdKBd4AbCaXCX6AgnJbBuKElpiqHMIwa3b7XR9zLH0vl3iftd/s1600-h/40111.jpg (Epting, Page Process). From this point forward, Epting then transforms his basic pencils into a more coherent whole, and then proceeds to ink those pencils: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjbzbS-JUZ_EKGPz8paGRgoq6tA63WevIzermNz9AVfMK7RzwaKiOrgK_csnkm5LQzw5Vjfeljv8if_-sbbnZDU1fy-YxuxYfGpznE67afonpmGjQbSw1j1JtvVbDO0_GQZZm3-4u75hAS/s1600-h/40112.jpg and https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicqYwef_IVu8oRXuePfI6meejcVNUL-JlwiE-ITvkN5CKrg8OUkdRVatw5gxwRgDdVawgLbme2nGCrykrTs9dNcqEpRLOo6lmDTAczrjThzLm1eETiSrXh6BhIx4tsWga7ZwYrWTtn1TED/s1600-h/40114.jpg. These pages communicate the script notes, the angle of viewing, and all the elements of the story to be conveyed from only a small amount of notes. In this case, the writer is leaving the artist the resources to communicate this story to the best of their ability. Epting is brilliant for being able to take a small idea with even smaller notes, and then take those notes and make incredible art out from them. When the inked pencils are complete, the page goes to the colorer to complete the process: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0YKKnd6elrv6-jpUyko-VeEseq-wdmXsSB26j4oQ3a5Cyl3DRA3pXVJTpoRT7i2252Jw0tmwXMMu2SIbhMURiEqpPxln72EGUcpdbBzBPObK1NKzBztY7ymdaH1WP6i_bogowqkheDXpk/s1600-h/40115.jpg. Epting explains how:
"Finally, it's uploaded to the folks at Marvel, who then pass it on to the one and only Frank D'Armata for coloring-- and that's that. I don't follow these steps exactly for every page, but for the most part this is how it's done. I'm constantly trying to tweak this process and eliminate steps in an attempt to increase speed and production, so this is all subject to change" (Epting, Page Process).
This collaborative process ensures that great comic material is developed each week, month, etc. for the reader to enjoy. Epting's art is very kinetic and based in realism so each character has accurate proportions and moves in the real world around them. Though these are fantastic characters, the artistic flair of Steve Epting allows for the reader to enjoy the story that much more. Captain America has no natural superpowers, but is an enhanced super soldier, capable of incredible feats that an average man wouldn't dream of being able to complete. With the series grounded in realism, this style fits the story like a glove. Another noteworthy story that was grounded firmly in realism when considering public disdainwas Marvel's Civil War where a similarly styled artist, Steve McNiven, brought the flair for the realistic to this landmark story to enhance and solidify this (fictionalized) real-world narrative.
Though Ed Brubaker has his own methods of developing comic pages (as viewed above) Mark Millar has his own voice in how his vision is conveyed. This is most evident in the opening pages of Civil War. This story is firmly grounded in realism, and an artist with a flair for realistic proportions and style was needed to legitimize the seriousness of this dramatic story where superheroics are handled in the real world. Though the story is of dangerous superhumans battling to the death at the cost of human life, Millar communicates these pages in fine detail, with a clear tone to Steve McNiven to develop and draw to move this story forward. Millar begins the story breakdown panel by panel by mentioning how McNiven should:
"PAGE EIGHT AND NINE: Cut to just a few hours later and a double-page spread where, most prominently, we see Captain America and Iron Man standing in full-figure shots in the ruins of this place. It looks like a Hiroshima picture with burned bones everywhere. The place is in darkness and we see lots of Avengers and X-men helping out here with the rescue effort, everyone wearing oxygen masks and working with the official rescue workers. Cap and Iron Man are just surveying the quite awesome damage here. I see this as a full-figure shot of Iron man and Cap (one on each page) but you're the boy, Steve McNiven. Your call" (Millar, Script Book, 9).
Following Millar's brilliant script, McNiven translates these disparate notes into this incredible 2-page spread illustrating Millar's vision for the horrific damage following Stamford's destruction: http://images4.wikia.nocookie.net/__cb20060406214421/marveldatabase/images/7/76/Civil_War_Opening_Shot_Sketchbook_Vol_1_1.jpg http://www.dailyhaggis.com/wp-content/uploads/2006/07/civilwar01.jpg
Again, much like Steve Epting above, Steve McNiven has taken Mark Millar's notes and created a breathtaking artistic representation that communicates the death of innocents, the future struggle between Iron Man and Captain America as both are on opposite sides of the future law, and convey's Millar's vision of the damage. McNiven's pencils are completed, inked and colored and finally enhanced with Millar's notes and captions to fully communicate the horrific scene depicted. An artist is only as strong as his best scriptor, and both Millar and Brubaker show this skill masterfully through their artists Steve Epting and Steve McNiven.
A comic book scriptor is the architect who designs and envisions where a story will ultimately end up, with a prominent artist to convey those designs in an artistic fashion. As comic book crafting is a collaborative process, the ability for both parties to write and illustrate is an impressive thing to consider, as each party is key to taking a brilliant (or abstact) idea, while communicating it in a way that convey's the writer's initial vision, moving the story forward. Not many forms of written media can duplicate what comics can, and the key to this unique medium's continued success is the collaborative process between descriptive scriptors, and the brilliant and talented artists that communicate those notes. These are only two noteworthy examples, but there are a myriad of talented writers and artists that push the boundaries of this medium every day.
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