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Therapie für Superhelden, p20 (Ein Prequel zum #comics Charakter, der seinen Autor schießt!. #becominghero)

Updates Samstagen. Künstler Ian Pineda.

Woo Kampfszene


(Eine informelle Webcomic in der Welt der BECOMING HERO, der Roman über eine Comic-Figur, der seinen Autor schießt!, und die Comic-Leser, haben ihn zu stoppen. Große Meta-Superheld-Fiction für Fans von Deadpool, Animal Man, Last Action Hero, Schräger als Fiktion, Superboy-Prime, She-Hulk, Cerebrus die Aardvark, Ambush Bug, und andere Autoren-Treffen der vierte Wand brechende „Wut gegen den Autor“ tropists.)

↓ Transkript
Panel 1: Establishing Shot von der Innenseite eines Raumes Waise als die Wächter durch das Fenster eingeben. Der Schuss wird von einem Türrahmen; suchen wir durch die Tür in den Raum, und die Wächter treten durch das Fenster gegenüber uns.

ROBOTMAN (im Rückblick auf Natasha und Skye): Nicht tun Sass mich nicht, Dame.

SCHMETTERLING (Blick in die bei uns der vierten Wand): Uh, Robotman.

PSYCH (Off-Screen; die Wortblase kommt aus dem Dunkel hinter der Tür Rahmen; Wir suchen durch seine Augen): Na hallo dort, Skye Yamada-Johnson.

Panel 2:

Ansehnlich ausgestattete schlank, slender man with a completely blank white mask, in a beautiful suit—like Armani suit, like really nice. This is the leader: Psych.

Panel 3:
NATASCHA: Skye, how does he know your last name?
SKYE (Off-Screen): Whu--

Panel 4:
Action shot, with detailed background. Three things happening at once; use perspective, close-up and far away, to make the shot dramatic, or split it into three small panels across the page next to each other. (Study: http://sequart.org/magazine/23824/how-comics-work-the-fight-scene-part-1/ and this composition stuff: https://sirspamdalot.livejournal.com/87692.html and this https://www.cloudscapecomics.com/2011/07/13/an-introduction-to-graphic-novels-basic-cinematography-and-perspective/ and this https://www.makingcomics.com/2014/02/05/anatomy-storyboard-part-1-terms-techniques/ and some more lay out stuff: https://design.tutsplus.com/tutorials/create-a-comic-how-to-plan-and-lay-out-your-comic--cms-24179 and ten rules: https://www.comicsbeat.com/larry-hamas-10-rules-for-drawing-a-comic-book-page/ and then the rest of this: https://www.makingcomics.com/composition/)

Psych is positioned beside the doorway now, casually, his hands in his pockets.
A gunman charges through the door.
Robotman fires his arm cannon at him.

Panel 5:
Long, breit, very very short (in height) strip across the page: view from the side of Psych’s shoulder and arm dramatically extended with a remote in his hand as he presses a button. His body bleeds outside the panel so that his shoulders and torso, whatever amount will fit on the page, go all the way to the edge of the page. He’s outside of and around the last panel.
-Dramatic sound effect ZOORRRNK

Panel 6:
Robotman’s face behind his foreshortened cannon-arm, “what the--?”
(Good example of Robotman’s cannon situation: http://becominghero.ninja/comic/inside-the-comic-four-years-ago-traitor-29/ Also has some examples of creative bubbling (hearts on July’s sarcastic words, spikes around her meaner words), dramatic posing (all of July’s poses), perspective (shot up at July, shot behind from Robotman’s perspective), use of dark ink (the darkness behind Robotman’s disappointment), bleed (Jun’s body from panel 4 frames the rest of the page and bleeds to the edge of it; Robotman’s flames bleed off the side of the panel to show power), and varied panel size/composition)