Out of Time - Page 2

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The Making Of

Script

You may notice that not all dialogue and panel directions are always followed. I try to give the artist plenty of freedom to not only visualizing the script, but also adapt it to best suit the final result.  This leaves them free to rewrite captions and word balloons as necessary.

PAGE 2
Panel 1
The vortex is now fully developed, more stable but still whirling around in the room. The laws of space and time are pulling hard at the body of Max Tempus. But Max seems relaxed, holding up his hands apologetically in a calming way and communicating with  good-natured boyish charm to the occupants of the room. Benoid Syc has calmly risen to his feet, standing up tall, but relaxed. He looks the time traveler straight in the eye. (In order to do this, Benoid has to lift his head, since Max floats a little above the ground.  This would put his head roughly 1 ft above that of Benoid.) I imagine we see this panel from a well behind Benoid, giving us a good look into the room and allowing us to see the vortex effect in all its glory.

MAX TEMPUS
Don’t be alarmed. I am a time traveler from the past.

BENOID SYC
We know.

Panel 2
Max reacts surprised to Benoid’s remark.

MAX TEMPUS
You do? But I am the first to make it through alive.

BENOID SYC
The others also came through alive.

Panel 3
Close up shot of Max. His surprise is growing.

MAX TEMPUS
But no-one ever made it back.

Panel 4
Close up of Benoid looking up at Max, saying his line in a stoic, matter of fact way. There is a certain coolness in his response, as if he speaks to an unwelcome guest.

BENOID SYC
That is because they were killed on sight.

Layouts

Andrea starts work on the script by providing layouts for each page. Here the editor can ask for a different number of panels, different breakdown of panels, camera shoots, environments, poses, etc.

Roughs

Next, Andrea submits a rough for the page. Here the editor can make the "structural" changes of each panel, camera shoots, environments, poses, etc.

Pencils

Then pencils will be delivered. Here the editor can ask for a better drawing. Eg. This arm looks weird, or the her look is off, etc.

Inks

Because Andrea is an all-rounder, he also supplied the inks.  (As mentioned on the previous page, inks are usually created by a separate artist.) Inks ensure the page is crisp, clear and fit for print. At this stage, the editor can ask the artist for more ink, less ink, more shadows, less shadows, etc.

Colors

Andrea worked together with Ylenia Di Napoli to create the final, colored page.

Lettering

At long last, the letterer adds the captions and balloons, turning the visuals into a full fledged narrative:

Tomorrow, you will witness whether or not our hero Max will live long enough to make it to page 4!

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