For issue #3, I’ll be posting my rough layouts along with each page. Since the writer, Mike Barr, and I were working “Marvel Style” (in that he gave me a fairly fleshed out plot outline as opposed to a finished script, writing the dialogue and captions to my penciled pages) I suggested possible dialogue to go along with my staging, anticipating that Mike, or the editor, Bob Schreck, would ask for changes in my layouts before I went into the tight pencils. This was how we worked in the animation biz; I had been trained to accept that as a normal part of the collaborative process.
Panels 3 and 4 are what is often called “cinematic”, in that both panels are “shot” from the same “camera set-up”, as though it was more of a film storyboard. I’m not sure if that’s a real term or if I’m making it up; check with Scott Cloud and Will Eisner to verification. If it is a “real” comic’s grammar term, I think it’s as relevant as “modern dance” which refers to a specific style of dance done in the early 20th century, not as a descriptor of whatever is currently happening in dance. I mean, as far as “cinematic” goes, every panel on this page could be cinematic in so far as each one is a brief moment in time, not, as on previous pages, several moments condensed into one panel, organized, hopefully, by eye read.
This is page 4 for "The Mark" issue 3, volume 2, otherwise known as "The Mark In America", published by Dark Horse Comics in January 1994. Written by Mike Barr, Drawn by Brad Rader
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