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スーパーヒーローのためのセラピー, p20 (彼の執筆者を撮影#comics文字に続編. #becominghero)

アップデート土曜日. アーティストイアン・ピネダ.

Woo fight scene

 

(の世界で非公式ウェブコミック BECOMING HERO, 彼の執筆者を撮影漫画キャラクターに関する小説, そして彼を停止する必要があります漫画本の読者は、. デッドプールのファンのための偉大なメタスーパーヒーロー小説, アニマルマン, ラスト・アクション・ヒーロー, 主人公は僕でした, Superboyのプライム, シー・ハルク, Cerebrusツチブタ, AmbushBug, およびその他の著者、会議tropists「著者に対する怒り」第4の壁破り。)

↓ Transcript
Panel 1: Establishing shot of the inside of an orphan’s room as the Guardians enter through the window. The shot’s framed by a doorway; we are looking THROUGH the doorway at the room, and the Guardians are entering through the window opposite us.

ROBOTMAN (looking back at Natasha and Skye): Don’t sass me, lady.

BUTTERFLY (looking into the fourth wall at us): Uh, Robotman.

PSYCH (off-screen; the word-bubble comes from the darkness behind the doorway frame; we are looking through his eyes): Well hello there, Skye Yamada-Johnson.

Panel 2:

Handsomely-featured slim, 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:
NATASHA: 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, wide, 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)