I see a lot of the same names out on the community forum as regular contributors to almost every discussion board and it got me to wondering about what everyone might be working on currently; writer, drawer, inker, etc-wise… Not necessarily for critique but more for an appreciation of each other’s efforts as we continue to try to make the draft into the BIG show…
I’ll start… Here’s a few illustrated pages from my current, work-in-progress GN titled “Denizen”. It’s an urban-myth book centered in N.Y.C. Along with the first few finished pages of art, I’ve included several written pages from Chapter one. I also threw in the six, completed chapter, cover illustrations for folks to check out and a painted pinup of the titular character with the book’s logo as well. I encourage folks to participate and I look forward to seeing anyone’s and everyone’s work.
Michael Ernest Nichols
Millarworld username: menichols
Denizen: Chapter 1 Synopsis
A brutal employee at a senior residential center is torturing ninety-nine-year-old Artie Haskins. The old man makes a desperate bid for his life by trying to convince the attendant that he has intimate knowledge of and affiliation to, a shadowy, crime-fighting, urban legend called the “Denizen” who will intercede if he does not stop. Amused by the old man’s ploy, the employee insists he back up his claim by offering any proof of such a figure. Under duress Artie agrees and with that he begins to tell his story.
Denizen: Chapter 1
Page 1 (2 Panels)
Panel 1: Opening shot is present day on a windy, leaf-blown October eve. An ambulance is making its way through the streets of N.Y.C.
Panel 2: The ambulance passes in front of grounds surrounded by a high stonewall topped with iron bars. Someone unidentified watches the ambulance’s passage while hiding behind the curtain of an upper story window located inside the fence line.
Page 2 (7 Panels)
Panel 1: The ambulance turns into the stone entryway of a dilapidated, senior care facility
known as Gracey Hall, nestled somewhere in New York City’s Bronx borough. There’s
a bronze banner over the front gate depicting the facilities name. It has graffiti sprayed
over it. The words “Greasy Stall” replaces Gracey Hall.
Panels 2-6: These four panels should be of interior and exterior action about the
ambulance (e.g.- close up of the darkened vehicle interior as it comes through the gate,
close-up of clenched, white-knuckled patient hand on gurney bed rail, various pics of the
patient being wheeled into the building (that sort of thing)). The panels are small,
scattered around a larger center panel, (panel 7) which depicts the ambulance driver
emerging with his passenger.
Panel 7: The ambulance is parked in front of the residence. Its headlamps are off. The rear doors to the ambulance are open. Light from its bay spills out. The ambulance driver is carting an injured, elderly man seated in a wheelchair (Arthur (Artie) Haskins, age ninety-nine, resident of Gracey Hall) down the ramp. The grounds show a degree of age and disrepair.
Page 3 (4 Panels)
Panel 1: The old man is being wheeled down a corridor shrouded in darkness. No light escapes from the bottom of the doors that dot the hallway walls. All the residents are tucked in for the night. At the corridor’s end is a luminous rectangle of light. In that rectangle stands a huge figure wearing an I-pod with earphones. His hands are in his pockets and he’s quietly whistling to himself. He should be backlit so that his face and front are darkened out (more menacing). The old man remains slumped in his wheelchair (this is the title and credits panel for issue #1).
1. SFX (MUSICAL BARS/MAN WHISTLING)
Panel 2: The ambulance driver has reached the corridors end. The shot is viewed from
some distance. The driver is speaking to the large man. The conversation is low and
fractured. Only pieces of it should be audible.
2. DRIVER (LOW): INSISTED TONIGHT… DUNNO… STUBBORN I GUESS.
Panel 3: Single close up head on shot of Artie. He wears a pained and wearied look.
Panel 4: The shot is from above and behind the huge man (Darryl, age forty-four,
attendant at Gracey Hall for the past twenty-four years). The ambulance driver (short,
muscular man) and Artie are in front of him. Darryl holds a clipboard in his hands. The
I-pod earphones are now around his neck. Strained lyrics to Nirvana’s “Smells Like
Teen Spirit” is heard from them. Darryl shuts off the I-pod.
3. SFX (HEADPHONES): AN ALBINO… A MULATTO… A MOSQUITO… MY LIBI… CLICK
4. DARRYL: I’LL TAKE IT FROM HERE.
Page 4 (5 Panels)
Panel 1: Artie is being wheeled down the hallway by Darryl. This is a profile shot with
just Darryl’s thick arms and big frame seen behind Artie’s chair back. Yellow, rubber
gloves protrude from the rear pocket of his work pants. The I-pod is tethered to his belt.
Artie stares grimly ahead his eyes saddened, his jaw tight and fixed.
1. SFX (MUSICAL BARS/DARRYL WHISTLING)
Panel 2: Darryl and Artie start to turn a corner at the end of the hallway.
2. DARRYL: WELCOME HOME ARTIE.
3. DARRYL: YOU GAVE EVERYONE QUITE A SCARE.
Panel 3: Shot from behind. Darryl suddenly picks up speed and rushes Artie down an
adjoining hallway. At its end is an open doorway. The panel should be very kinetic
indicating Darryl’s disregard for Artie’s fragile nature.
Panels 4-5: Profile shot here, with spilt panel outside and inside doorway. Darryl on the
outside in the hallway has stopped abruptly and lifted the rear of the wheelchair spilling
Artie and catapulting him across the room.
4. DARRYL: WATCH THAT FIRST STEP THERE ART… IT’S A DOOZY.
5. ARTIE (SHOCK & SURPRISE): GAAA!
Page 5 (3 Panels)
Panel 1: Darryl closes the door with his arm behind him. He raises a cautionary finger to
1. ARTIE (OP/GRUNTS LOUDLY WITH SURPRISE AND PAIN): UH! UH!
2. DARRYL: S-H-H-H… LETS NOT WAKE THE OTHERS ALL RIGHT.
Panel 2: Darryl with a veneer of phony tenderness and concern, gingerly lifts the shaken Artie and sets him on the bed. Artie eyes him with silent anger.
3. DARRYL: S’MATTER ARTIE? WHY SO QUIET? WHERE’S THAT GARRULOUS NATURE WE’VE ALL COME TO LOVE AND EXPECT?
4. DARRYL: AHHH… YOU’RE NOT CONTINUING TO FOCUS ON ALL THAT UNPLEASANTNESS FROM BEFORE ARE YOU?
5. DARRYL: I WAS HOPING WE COULD PUT THAT BEHIND US.
6. DARRYL: HOSPITALS ARE GERMY PLACES? TELL YOU WHAT… I’LL DRAW YOU A BATH… WE CAN PLAY CATCHUP WHILE YOU SOAK… START ANEW.
Panel 3: Darryl walks towards an open bathroom door with his back to Artie. Artie is in
the foreground. A tubular, fluorescent bulb brightly lights the bathroom and some of the
7. DARRYL: I KNOW… I KNOW… YOU PROBABLY BELIEVE THERE’S PRECIOUS LITTLE THAT YOU AND I COULD STILL FIND TO DISCUSS; NO ISSUES OF MUTUAL INTEREST LEFT TO ADDRESS OR BE EXPOUNDED UPON EH?
8. DARRYL: I’M WOUNDED ART… DESPITE THE UNSOPHISTICATED NATURE OF MY VOCATION, I’VE ALWAYS CONSIDERED MYSELF A FAIRLY CONVERSE AND LITERATE FELLOW… EVEN WITH THE AWKWARDNESS OF PAST DAYS, I’M SURE IF WE DIG DEEP ENOUGH THERE’S STILL PLENTY OF TOPICS LEFT TO EXPLORE.
9. DARRYL: HELL… LOTS OF THINGS SPRING TO MIND.
Page 6 (6 Panels)
Panel 1: Close-up shot of Darryl’s hands removing towels from Artie’s hamper.
1. DARRYL: WE COULD FOR INSTANCE, CHAT ABOUT THE IMPORTANCE OF COMMUNITY. A VALUE SEEMINGLY SO ABSENT IN THE LIVES OF MANY OF TODAY’S YOUTH… BUT NEVER THE CASE AT VENERABLE ‘OL G.H.
2. DARRYL: WHY… OUR RESIDENTS HERE EMBRACE COMMUNITY LIKE FEW OTHERS. WHETHER IT’S ATTENDING TUESDAY BINGO OR SUPPORTING A WORTHY FUND; FEW FACILITIES COULD CITE SUCH WIDE SCALE PARTICIPATION OR UNFLAGGING DEVOTION TO THE VERY NATURE OF COMMUNITY.
3. DARRYL: IT’S TOUCHING, REALLY.
Panel 2: Close-up shot of Darryl’s hands stuffing the towels at the base of the apartment front door.
4. DARRYL: IF CIVICS AREN’T YOUR CUP OF TEA, HOW ABOUT LANGUAGE? WE COULD ALWAYS EXAMINE THAT PARADIGM OF GREEK EVOLUTION, THAT VERITABLE STANDARD OF WESTERN DEVELOPMENT… THE ART OF THE TIMELESS DEBATE.
5. DARRYL: TO POINT… YOUR RECENT ARRIVAL AT THE HALL COINCIDES WITH WHAT I FEEL TO BE A CONTINUED DEGREE OF RETICENCE IN CONTRIBUTING TO THE AFOREMENTIONED FUND… TRUE?
6. DARRYL: EXPECTED PARTICIPATION NOTWITHSTANDING, I ACQUIESCED FOR A TIME… A GRACE PERIOD OF SORTS… TO BETTER CONSIDER YOUR POSITION.
7. DARRYL: IT WAS MY FERVENT HOPE THAT YOUR FRIENDS AND NEIGHBORS WOULD PREVAIL IN PRESENTING MY OPPOSING STANCE… HELP YOU TO SEE THE FLAW IN YOUR REASONING AS IT WERE.
Panel 3: Shot from outside in the dark, Darryl is pictured shutting Artie’s open window.
Artie’s face remains impassive, seated at the bed.
8. DARRYL: ALAS… IT WAS NOT TO BE.
9. DARRYL: A MONTH GONE AND WHERE AM I FOR ALL MY PATIENCE? STILL NOTHING FOR THE KITTY AND EVEN MORE OBSTINATE THAN BEFORE.
10. DARRYL: SIGH… WHAT ARE WE TO DO WITH YOU ARTIE?
Panel 4: Shot is of Darryl’s back as he lowers the blinds.
11. DARRYL: THING IS… I RESPECT YOU… HONEST I DO. A DECENT BOWEL MOVEMENT IS A RED-LETTER DAY FOR MOST ‘ROUND HERE.
12. DARRYL: FEW FLEAS ON YOU THOUGH. JUST SHY OF THREE FIGURES AND ALL YOUR CARDS…, IF NOT YOUR TEETH IN PLAY… TOP SHELF OLD MAN … REALLY… WELL DONE.
13. DARRYL: YOU’VE GOT A LOT OF CLUB ART… I‘D LOVE NOTHING BETTER THAN TO ALLOW THE EXEMPTION… HOWEVER, IMPARTIALITY HAS ALWAYS PROVEN TO BE THE KEYSTONE OF MY LITTLE BENEFIT’S SUCCESS.
14. DARRYL: THEREFORE AFTER CAREFUL CONSIDERATION OF YOUR COMPELLING ARGUMENT, AND IN THE SPIRIT OF TRUE DEBATE, I COUNTER YOUR ORIGINAL POSITION WITH THIS FINAL REBUTTAL.
Panel 5: Darryl’s face head turns to look over his shoulder as the blinds lower. His look is
one of pure evil.
15. DARRYL: I DON’T GIVE A FUCK.
Panel 6: Same shot as previous panel. Darryl’s face breaks into a wide friendly Cheshire
cat like smile.
16. DARRYL: LET’S GET THAT BATH DRAWN O.K.?