December 8, 2010

WITCH HUNTERS, OR WHY DIALOGUE IS KIND OF IMPORTANT

I'll have to say something about this at a later date, especially when it comes to pacing, how to write dialogue and how to intercut scenes. But mostly about the fact (which is what pretty much all manga artists always forget) that each page is a unit of information, and it has to be treated as such.

Now, before artist Jen Rosero went away (and this is something I will not discuss, not because I am afraid of it, but simply because I find it boring and mundane to re-hash my grievances with stupid publisher asshole Number One again), he did a couple of pages from my script, in a very erratic manner, I might add, so that I could never actually show them to anybody and say, hey, this is what the story is, wouldn't you like to publish it? Images were not fully drawn, some pages were pitch-perfect, others in a rough state, all of which amounted to a hill of beans for me as the writer and creator.

Until I got sufficiently annoyed sometime last week and decided, just for shit and giggles, to script on top of the pages I had, and then try to combine it all in such a fashion that it may be readable. Also, I wanted to try out several lettering techniques. Now, the prologue here...

.. you'll have to read right to left, like a manga. I apologise for that, but the pages I had included Jen's lettering, and it would have been too much work to mirror and re-letter, since they were not on separate levels.

The pages from Chapter One, however, I took apart and re-arranged, so that they run left to right.

Like I said, at some point I will have to say something about the importance of listening to the writer's script (which Jen Rosero did beautifully), and about the fact that once art comes in, a writer should always do a re-write on the actual page to see what the art gives you back, and how you may make it flow better.