Xochitl and Detective Foster
Xochitl and Detective Foster introduced.
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Archive for March, 2010
6 items.
First case, Kassandra and Xochitl
These panels include locations, first case start of plot, Kassandra and Xochitl.
This is just a mock up created in photoshop and chopping up pieces to put together moments for the first page of the graphic novel.
First panel of crime scene for K2 Investigations first case.
In 2009, Batwoman or Kate Kane was introduced as the lead in Detective Comics issue #854 written by Greg Rucka. The first few issues followed Batwoman hunting down a crime gang. This plot was a somewhat typical and expected storyline of the comic book issues. So much so that Batwoman could have easily been substituted with Batman. But this changes, when a twist at the end of issue #857 reveals the head of the crime gang to be Kate Kane’s sister.
The next three issues reveal Batwoman’s back story. The issues tell of her Mother’s death, her coming out to her Father, her meeting Renee Montoya and her transition from West Point drop out to vigilante, Batwoman. These issues transitioned the storyline for me from being plot driven to character driven. As a writer, I decided to review these issues further to understand why I enjoyed reading these issues more then the first three introductory issues of Batwoman into the Detective Comics.
Right from the start of issue #858 the reader is taken to a different place and time just by the style and panel layout of the first nine pages. The style is reminiscent of the old 1950′s Batman comics from the choice of words and picture use to the coloring and illustrations. The storyline and plot also take a turn focusing on Kate Kane’s relationship with her sister when they were young and at a time when her Mother was still alive. While the issues prior to #858 show Kate Kane’s relationship with her Father and other women, the episodes mainly focused on the telling of the plot and how Batwoman would discover who was the crime gang’s leader. In these prior issues there is also a level of detachment between Kate Kane and others which help to set up issue #858 and the sequential issues that tell Kate Kane’s back story.
The pages ten through fourteen orient the reader in the future. They explain how the pages before and after relate to Batwoman. Immediately, these pages pull the reader into a different time and place similar to the first pages by their style and layouts. The illustration is modern, detailed and dark while breaking out of standard square panel layouts by using a set up that breaks the fourth wall where the artist extends the illustrations to the edges and across pages while incorporating the ‘panels’ or points of focus within as part of the entire page illustration. While this layout can be seamless and artistic it is often difficult to follow. As a reader, I found that I had to look over/read the pages more then once to truly understand their meaning. I felt the reason for having to reread these pages was because of this chosen layout and the interdependent nature of the words and picture in the design.
The following pages, after this section, return to the same style and layout as the first pages. This more standard type of layout, flows easier and tells Kate Kane’s history effectively. Some could say this simple layout is boring, but it helped with the telling of emotions in the events as well as the telling of the ‘human’, relatable and vulnerable side of Batwoman.
Issue #858, #859 and #860 all use the same method for the storytelling of Batwoman’s history with each issue building up to the next to reveal Kate Kane’s transformation into Batwoman. These methods, overall, worked well for me as the reader to find the vulnerability in the main character that made her less of a detached superhero and more of a woman looking to heal her wounds while finding her place in the world.
Storytelling is about sharing the human experience whether it is through photography, acting, writing, painting, poetry or a combination of them such as graphic novels. Through stories we share our commonality, our inhibitions, our emotions or our fears. It is these moments in stories that we get pulled into the telling and find the relatable elements. The situations and actions that have audiences wanting to follow along and come back to learn more about the characters. Thus, it is through good storytelling that memorable graphic novels are made.
In Scott McCloud’s, Making Comics, he explains that there are,
“…three qualities that no great comics character can do without. An inner life: a unique history, world view and desires. Visual distinction: a distinct and memorable body, face and wardrobe. Expressive traits: traits of speech and behavior associated with that character. (p. 63)”
It is through these characteristics that strong characters are built and foundations are made that will help the creators to “…predict what they’ll do in any given situation (p. 64).” Fundamentally understanding a characters’ inner workings will help to better foretell how they will behave in any give situation and predict the characters’ emotional responses. These emotional responses are what creates relatable characters that help to express the stories that humans share with each other and that the creators often want to tell.
In creating K2 Investigations, as the creator, my challenge will be to find my characters’ inner lives. What drives them, motivates them and propels them to act and behave in the situations that I will layout and plan for them. By having this understanding of my characters it will help to create a story that is character driven first and plot driven second as well as help to make the storytelling flow easily and coherently.
Knowing the characters’ inner workings will help me to develop their appearance, their ticks, their habits, their clothing and most importantly their reactions with each other and in their situations. Through Scott McCloud’s book, Making Comics, I am learning the tools that will help to develop these details by establishing back stories, mapping out character designs and importantly knowing their behaviors.
A bit of Theus’ backstory
by Delusion on March 5th, 2010Posted In: graphic novel, character bible, graphic novel, graphic novel, character bible, theus alastor
“ She’s been a bit useless except for being a play toy for the boys. Not one prediction. Are you sure this is what you want?”
“The little bit is perfect. Who would suspect her? She’s observant with a photogenic memory, not just visually, but viscerally. It’s worth a try.”
“She could get in your way or cost us.”
Theus crosses his arms and nods. Acario Panagakos bows his head. “This fails, then….”
Theus, “I understand.”
Theus knocks on Kassandra’s door before entering her room. The twelve year old does not look up from her desk where she has taken apart a small radio with each piece carefully laid out over every inch of the desk. Theus walks over and stands next to Kassandra.
“How much longer before you have it fixed?”
“I can put it back together in eight minutes and thirteen seconds.”
“Let’s see it.”
He times it. It takes her exactly the time she stated. Theus picks it up and turns it on, the DJ announces the next song.
“Kate, how would you like working for me instead of Acario?”
The young girl tenses at the name. Theus squats down so he his at her level.
“I’ll teach you to take apart all other kinds of electronics and use security equipment.”
She turns to face Theus. Apprehensive, he shrugs. “Or maybe you’ll teach me.”
Kassandra smirks and nods. “I’ll start with the radio.”
“First get your things, you’ll stay over at the working quarters with Contessa. Okay.”