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Thread: Klortho's Sequentials

  1. #21
    Thank you!

  2. #22


    Page 5

    Panel 1 - We are inside the Saloon. It has all the standard saloon furniture, tables, a bar, an upright piano stands in the corner, but the place is deserted. Aside from KRIS which stands at the entrance, the only other person in the room is the thin, almost sickly-wiry BARTENDER, who stands behind the bar. He has the same un-focused look in his eyes.

    KRIS: HELLO? I WAS TOLD THERE ARE ROOMS HERE?
    Panel 2 - KRIS now stands at the bar; she looks around at her surroundings, taking it all in. She still has the guitar slung across her back, and the amp rests on the floor next to her.

    BARTENDER: YES. WE HAVE ROOMS. WILL YOU BE STAYING LONG?

    KRIS: IíM JUST WAITING FOR THE REVERAND TO COME BACK.

    BARTENDER: RIGHT, IíLL PUT YOU IN A COMFORTABLE ONE THEN.

    Panel 3 - KRIS grabs one of the bar-stools, and sits at the bar.

    KRIS: MIGHT AS WELL HAVE A LITTLE PICK-ME-UP, THINGS LOOKING THE WAY THEY ARE. TEQUILLA, LEMON. THANKS.

    Panel 4 - The BARTENDER grabs a dirty-looking glass, and a bottle, filling up the glass. KRIS has her hand out, waiting for the glass.

    KRIS: IíM SUPPOSED TO PREFORM TOMORROW NIGHT. FAITHFUL STEED, THATíS THE NAME OF MY BAND, EVER HEAR OF US?

    KRIS (2): NAH, YOU DIDNíT. BY THE LOOKS OF IT YOU GUYS PROBABLY HAVENíT EVEN SEEN A CD BEFORE.

    Panel 5 - KRIS takes the entire shot down in one gulp.

  3. #23


    Page 6

    Panel 1 - KRIS puts the glass down, and starts getting off the bar stool.

    KRIS: RIGHT, WHICH WAY TO MY ROOM THEN?

    Panel 2 - The BARTENDER reaches underneath the bar.

    Panel 3 - Close on the BARTENDER’s hand, underneath the bar. There are numbered slots, some have keys with big, numbered key-chains attached to them. In one slot is a slightly decomposed human hand. The BARTENDER grabs one of the keys.

    Panel 4 - The BARTENDER hands the key to KRIS

    BARTENDER: UP THE STAIRS, TO THE LEFT. ROOM 7.

    BARTENDER: AND...

    Panel 5 - KRIS walks towards the staircase, the BARTENDER, who is shown in profile to the side of the panel, looks in her direction, exposing a large, previously unseen, gash in the back of his neck.
    BARTENDER: WE’LL BE SERVING DINNER IN A FEW HOURS.

    KRIS: THANKS.

  4. #24
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    It all seems very easy to follow.

    A note on the last couple of pages though -- the characters seem to change size a bit from panel to panel. For instance, on panel 2 of page 5 we can see that the bartender and the woman are practically the same size -- but then, in panel 4 of page 6 - the woman feels like a giant and the bartender looks like he's shrunk. I think you just need to watch that a bit
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  5. #25
    Thanks Beastie.



    Page 7

    Panel 1 - KRIS is in her room, she is resting in her bed. It’s night-time, evident by the darkness outside her window. The room is illuminated by a single light-bulb dangling fixture-less from the ceiling. The room is a shabby little room, with a bed, a small table and chair, and a door, which is half open and shows a toilet through the crack. The guitar leans on the wall next to the bed, with the amp standing next to it.

    Panel 2 - The outside of the general store, as the SHOPKEEPER steps out. The street is dark, the only light present is the moonlight.

    Panel 3 - KRIS is kneeling beside the amp, fingering the on switch, it is now plugged in to an electricity outlet in the wall.

    Panel 4 - The SHOPKEEPER looks towards the light beaming out of KRIS’s window. He reaches backwards, his fingertips touching the hilt of the knife in his back.

    Panel 5 - Close-up on KRIS’s hand as it plugs a cable into the guitar.

    SFX (chord): CLICK

    Panel 6 - Close-up on SHOPKEEPER’s hand as it pulls out the knife in one strong jerk. Bits of flesh and blood splatter as the knife is coming out.

    SFX (knife): SHLUP!

  6. #26


    Panel 1 - KRIS stands in her room, playing the guitar, in a very “rock-star” pose. She is clearly enjoying herself. Music erupts from the guitar.

    Panel 2 - Over-head view of the town’s main-street. There are lots of figures walking out of all the buildings, all heading towards the saloon. The music comes out of KRIS’s window.

    Panel 3 - Outdoor close-up on KRIS’s window. We can see the light beaming out of it, and the moon in the background. Music streams out of the window.

    Panel 4 - The zombie town-folk all mill about the stair-case inside the saloon. Each is holding some sort of make-shift weapon. The SHOPKEEPER is visible holding his knife, and the BARTENDER is leading them, at the top of the staircase with a large axe in hand.

    Panel 5 - Same as panel 3, music still streaming out the window but it is interrupted by...

    SFX (out of window): SKRWANG!!

  7. #27


    Page 9

    Panel 1- The town street, its morning. It should be similar to the scene shown in Page 4, panel 1. We can see a car approaching, bringing up small clouds of dust and sand behind it.

    Panel 2 - The car stops in-front of the general store. Inside are seated TOM and SUE.

    SUE: MAYBE YOU SHOULD ASK FOR DIRECTIONS, TOM.

    TOM: THIS PLACE IS DESERTED. WE’D BE BETTER OFF JUST DRIVING THROUGH.

    Panel 3 - Same as previous, except the car is gone, replaced by a puff of dust, smoke and sand.

    Panel 4 - The dust has settled and we see the general store, silent and still.

    Panel 5 - Close-up on the store’s front window. We can see all the items from before, except now, lying among them is a sparkly electric guitar, with a little scribbled price tag standing next to it.

    THE END

  8. #28



    Page 1: (6 panels)

    Panel 1:

    Birds eye view. It is late at night and DAREDEVIL is engaged in combat with a group of 5 normal, run-of-the-mill GANGSTERS in a
    typically grimy Hell’s Kitchen alleyway. The graffiti riddled walls of two buildings form the sides of the alley and are placed
    quite close together to create a claustrophobic feel. Daredevil is planting a high kick in GANGSTER 1’S face, sending him reeling
    backwards. GANGSTER 2 lies on the floor, clutching his broken ankle from a blow he took earlier in the battle. GANGSTERS 3 and 4
    are charging at Daredevil, each brandishing a knife in their hands as they do so. GANGSTER 5 is picking up a large piece of
    discarded wood from the alley floor.

    Gangster 1:

    Ugh!

    Daredevil:

    Careful there, gentlemen.

    Panel 2:

    Tight focus. Daredevil is disarming Gangster 3 of his knife with a sharp, powerful blow to his wrist, shattering several bones in it.
    Gangster 3 lets out a tortured scream as the pain rushes up his arm.

    Daredevil:

    You could

    Panel 3:

    Tight focus. Daredevil is ducking underneath a clumsy, imprecise lunge behind him from Gangster 4 and his knife. Gangster 4 looks
    shocked that Daredevil was able to dodge his lunge, despite having his back turned to him.

    Daredevil:

    have somebody’s

    Panel 4:

    Tight focus. Daredevil is now crouched and taking the legs of Gangster 4 out from underneath him with a sweeping kick which knocks
    Gangster 4 to the ground.

    Daredevil:

    eyes out

    Panel 5:

    Tight focus. Daredevil dispatches Gangster 5 with a strong and firm uppercut into his face. The uppercut goes through Gangster
    5’s piece of discarded wood which splinters as it breaks. Gangster 5’s face is screwed up from the incredible pain that he is
    feeling. His face almost appears to be crumpling under the force of Daredevil’s uppercut.

    Daredevil:

    with those.

    Panel 6:

    Over the shoulder shot. Daredevil watches the gangsters as they flee from him through the alley. Gangsters 3, 4 and 5 are running
    at pace from Daredevil and are a decent way ahead of Gangsters 1 and 2. This is because Gangster 1 is supporting Gangster 2 who is
    struggling to run with his broken ankle. The pain of trying to run on the broken ankle is too much for Gangster 2 and as such he
    begins to cry slightly. This is not necessary visible as he should be facing away from Daredevil, but his pain and sorrow should
    be evident in the way he holds himself.

    Gangster 2:

    *Ah-Huh* *Huh* *Agh*

    Gangster 1:

    Dude! Are you crying? Man the $#[(< UP!

    Gangster 1 (Continued, small text):

    You’re making us look bad...

    Daredevil:

    Hey now! Don’t just single him out. I thought you achieved that admirably as a group.

    SFX:

    VRAKOW!

  9. #29


    Page 2: (4 Panels)

    Panel 1:

    Same as Page 1 Panel 6, except Daredevil has turned his head around to look behind him and the Gangsters have managed to
    flee slightly further into the distance. Daredevil looks perplexed at the bizarrely out of place sound from Panel 6.

    Daredevil:

    “Vrakow”?

    Gangster 1:

    Screw you, Daredevil!

    Panel 2:

    Daredevil is bending over backwards as a brightly burning, focused energy beam shoots over his body, approximately where his neck
    would have been. At the last moment Daredevil realises that by dodging the energy beam, he has put Gangsters 1 and 2 in its path.
    Daredevil knows that despite only being gangsters that neither of them deserves to die and so he desperately calls out to them to
    duck.

    Daredevil (Large text):

    DUCK!

    Panel 3:

    Daredevil watches in horror as the energy beam strikes Gangsters 1 and 2 and they are disintegrated in a flash of dazzling light.
    The Panel shows Gangster 1 and 2 highlighted and coloured by the same light of the energy beam in a typical disintegration effect.

    Daredevil (Large text):

    NO!

    Death’s Head (Off panel, behind Daredevil):

    Oops. Friends of yours, eh? My apologies.

    Panel 4:

    Daredevil has turned to look at who fired the energy beam. In the background behind him are the ashy remains of Gangsters 1 and 2.
    Daredevil looks outraged.

    Death’s Head (Off panel, where Daredevil is looking):

    Only meant to stun them, yes? Accidentally set blaster to ‘disintegrate’. Easy mistake, hm?

    Daredevil:

    Who-?

    Death’s Head (Off panel, continued):

    Just lucky it didn’t hit you. No price for scattered ashes, right?

  10. #30




    Page 3: (5 Panels)

    Panel 1:

    Low angle shot. A human sized DEATH’S HEAD is using his boot jets to slowly descend upon Daredevil whilst staying upright
    to try and take another shot at him. As he descends Death’s Head points his blaster attachment- which appears in place
    of his right hand- at Daredevil. It can clearly be seen that the attachment is charging up for another shot. Daredevil
    stands rooted to the spot, momentarily shocked by the sight of this robotic killing machine descending upon him in
    Hell’s Kitchen of all places.

    Daredevil:

    I take it you’re a Bounty Hunter?

    Death’s Head:

    Huh! No need for name calling, eh? Now stay still so I can collect bount—I mean- price on you, yes?

    Panel 2:

    Death’s Head shoots another energy blast at Daredevil, who leaps acrobatically out of its way. As such the energy blast fires
    straight into the floor, ripping up chunks of it and creating a small crater. Death’s Head looks mildly irritated at Daredevil’s
    inability to cooperate with him and Daredevil is smirking at the absurdity of Death’s Head’s request as he leaps out of the way of
    the blast.

    Daredevil:

    Ha! Not likely!

    Death’s Head:

    What? Made sure blaster set to stun only this ti-

    SFX:

    VRAKOOM!

    Panel 3:

    Extreme close-up on the wrist of Death’s Head’s blaster attachment. There is a clear segment/bar with distinctly visible and
    easily readable text in it.

    Text:

    Disintegrate

    Death’s Head:

    Ah. My bad, eh?

    Panel 4:

    Same extreme close-up as Panel 3 except the text has now changed.

    SFX:

    Click!

    Text:

    Stun

    Death’s Head:

    There. Now it’s set to stun.

    Panel 5:

    Death’s Head is using his boot jets to follow Daredevil as he leaps and bounds upwards between ledges and balconies which jut out
    from each of the alley walls. There are three shots of Daredevil in the panel. Daredevil 1, the lowest down of all three
    Daredevils, is jumping off of a window ledge towards the bottom of a balcony. Daredevil 2 is propelling himself over the balcony
    with his hands and Daredevil 3 has only his legs visible at the top of the panel as he jumps to the top of the building and thus
    is mostly off panel. As Daredevil does this Death’s Head is able to get off two further energy blasts. One of which narrowly misses
    Daredevil 1 and the other of which narrowly misses Daredevil 2.

    Daredevil 1:

    Great.

    Daredevil 2:

    How

    Daredevil 3:

    comforting.

    Death’s Head:

    Stop moving then, eh?

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