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 Genesis: Prelude

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Registration date : 2009-01-26
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PostGenesis: Prelude

Hey guys!!! ... and gals!!!

I just want to share this story to all of you.

Gawa ito ng taong kakilala ko Wink He is an avid fan of Marvels especially si Spiderman bounce

I hope you'll enjoy the story as I enjoy reading them study .... kung hindi, lagot kayo sa akin Twisted Evil ...

joke lang lol!

peace afro

By the way... ang story ay nakasulat sa patern na pang-comics at hindi pang nobela kaya medyo maninibago kayo dito. For example:

Pg. 1 Pn. 1 .... read as: Page 1 Panel 1

ang panel ay ung different box drawing sa isang page ng comics

enjoyable siyang basahin kasi mapapagana ninyo dito ang inyong imagination.

without further adiu... adio... hay bahala na kayo sa spelling... hehehe lol!

Here is...

Genesis: Prelude
written by: Charlie Jago

Last edited by ladymoonrose on Tue Jun 30, 2009 9:35 am; edited 1 time in total
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Genesis: Prelude :: Comments

Kaye Cee
Re: Genesis: Prelude
Post on Tue May 12, 2009 9:39 am by Kaye Cee

asan ang link!!!
Re: Genesis: Prelude
Post on Tue May 12, 2009 10:27 am by ladymoonrose
opppsss... Shocked

Pakilala ko muna ung mga characters para mas ma-appreciate niyo ung story

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Richard Fisk

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Vanessa Fisk

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Note: Arielle's character is the writer's own creation kaya wala siyang picture Very Happy
Re: Genesis: Prelude
Post on Tue May 12, 2009 10:31 am by ladymoonrose
Genesis One: The Prelude

Pg.1 Pan.1: The story opens up with a long overhead shot of a Lear jet sitting on the tarmac of a deserted R.A.F. airport. It is daytime, but the area is covered by darkness due to a rain squall that moved in off the east Atlantic. In the background -- with its view obscure-- are a couple empty run down hangers standing on a vast plane of lush green overgrown grass.

Narrator: A deserted R.A.F. fighter base, North England.

Shadow man: How much?

Pg.1 Pan.2: A closer level shot of the Lear jet. Rain drops should be beginning to fall and splash against the jet and the grim color tarmac below.

Foreigner: 250,000.

Pg.1 Pan.3: A direct upper torso shot of a man hidden in the shadows of the plane's gloomy interior. The readers should only see the dark outline of his body.

Foreigner: That's pounds, not dollars, old bean. I must say, don't look so bloody glum, mate. You should feel bloody fortunate, in a couple years -- at the rate of inflation -- it'll probably cost you one million.

Pg.1 Pan.4: A direct shot of a shadow outline of a man sitting behind a large mahogany desk. On his desk is a small lamp that is illuminating upon a clinched fist encased in white leather glove.

Shadow man: Fine, you have a deal. Just make sure that you don't fail. I have a lot riding on this.

Pg.1 Pan.5: A shot similar to that of panel three, except the man is holding a lighter in his right and igniting it with quick flick of his thumb. The flame should illuminate part of the purple fatigues as it erupts from the Zippo lighter.

Foreigner: Don't worry, mate...

Pg.2 Pan.1: A 45 degree angle shot taking up the entire page of the Foreigner's as he tilts his head down to light his cigar that dangles from his mouth.

Foreigner: ...The Kingpin is as good as dead! You have the word of the Foreigner!

Pg.3 Pan.1: An over-the-shoulder shot (originating from behind the shadow man) of the Foreigner taking his leave. The Foreigner should be speaking into a walkie-talkie as he exits through the Lear's doorway.

Foreigner: J.D., bring the car around.

Pg.3 Pan.2: A direct head shot of the outline of the man seated behind the desk.

Shadow man 1: He is gone, my friend. Do you think he'll succeed?

Pg.3 Pan.3: A left profile shot of a shadow outline of a man smoking a cigarette. The cigarette is in his right hand, while with his left he is pushing away the curtain that separates the cabin from the rest of the plane. The hand should obscure part of the outline of his face. His personal thoughts should be in a bubbly balloon.

Shadow man 2: Yes, he'll succeed. That is why I chose him. Soon the entire Fisk family will be wiped off the face of the earth and New York will be ours for the taking. Soon, very soon, we'll be the next Kingpins of Crime.

(Shadow man 2): Then you will die.

Pg.3 Pan.4: A shot of the Foreigner's limo leaving the airport.

J.D.: I take it all went well, sir?

Foreigner: Yes, it did, J.D. Yes, it did. This is exactly what I needed after that fiasco at Stark Enterprises. I don't know how I failed to kill Tony Stark, but I do know it badly tattered my reputation as the world's greatest assassin. This is my chance to redeem myself and the 1400 Club.

Pg.4 Pan.1: A large quarter page shot of a woman gliding through the air (with the aid of a paratrooper parachute used by special commandos) towards the deck of a forty foot yacht. She is a gorgeous Mediterranean woman with brown eyes, high cheek bones, and shoulder blade length raven black hair parted over her left eye and feathered towards her right side. She is wearing a purple jumpsuit similar to that of the Foreigner. In her right hand is an Israeli made Uzi and it should be aimed at a downward angle. Her left hand should be yanking on one of the parachutes steering cords. On her back in leather sheath is a sword. In the panel's background the sun is glowing in a huge, bright orange red fireball that blinds the eyes of those looking towards the west.

Narrator: A mile east of Guanabara Bay, Brazil.

Pg.4 Pan.2: A long profile shot of the woman landing on the boat and machine gunning down three men armed with Machine guns. The men are black; one has a shaved head and is very broad shoulder, and the other two are lanky and have long black pony tails.

Arielle: Hello, boys...

Pg.4 Pan.3: A large panel shot taking up the bottom half of the page of close-up shot of Arielle face and upper torso. Her face is livid with lust and her eyes dance with excitement as she fires an entire magazine into her victims. In the word balloon Arielle is introducing herself under her code name and it should be printed in large bold black letters.


Pg.5 Pan.1: A right profile shot of Arielle should be flipping over a large black man holding an M-16 machine gun and firing into empty air. In her left hand she should still be holding her Uzi, with her right hand she should be reaching for her sheathed sword.

Arielle: Let's dance.
Pg.5 Pan.2: A profile shot of Arielle landing on her feet and stabbing (without even looking) backwards with her sword and piercing the man's heart. From the left side of the panel, a word balloon should originate from a killer know as Sabretooth who joins in the attack; he is unseen by the readers in this sequence of panels.

Sabretooth: They don't know the steps, kid.

Arielle: Then teach them darling, while I find the Rat.

Pg.5 Pan.3: A direct shot of Arielle running along the Yacht's outer deck. With her right hand she should be holding out her sword in front of her and in her left hand she is still gripping her Uzi.

Sabretooth: All right, boys; you put your right claw out and tear all about. That what's it's all about.

Arielle: And I thought my sense of humor was bloody bad.

Pg.5 Pan.4: A shot of Arielle ducking a spray of bullets as another black body guard tries to kill her.

Arielle: Excuse me, Exterminator coming through!

Pg.5 Pan.5: A right profile shot of Arielle springing forward and impaling her sword into the heart of the man in front of her.

Arielle: Can't stop and talk; I got a time frame to keep. Love the boots, though -- Gucci?

Pg.6 Pan.1: In the foreground of the panel, the reader should be glancing upon the upper right profile torso shot of a black man sitting on a toilet. He should be bare-chested. His head is shaved; he is wearing dark sun glasses and a large gold medallion necklace hangs around his neck. The door is being kicked in by Arielle in the panel's background, while the man know as the Rat accidentally knocks a Magnum .45 on the sink counter to his left as he clumsily reaches for the hand gun.

Rat: Who....

Pg.6 Pan.2: A similar shot to panel one on page five except Arielle is standing calmly in the door way; her face is hidden by the shadows of the yacht's walls and the gun in her left hand is pointed directly at the Rat. The Rat is frozen in shock and fear as he just sits and stares at his angel of death.

Arielle: Hello, Rat. Did I catch you at a bloody bad time? I love to give you a minute to finish up and freshen up -- trust me, I really would. Unfortunately, time is money and I got a dinner at Club Excelsior tonight, so good-bye to you.

Pg.6 Pan.3: A direct shot of Arielle firing a burst from her Uzi. Her face should still be masked in the shadows of the yacht's cabin way.

Arielle: Oh, by the way, Mr. Solzar sends his regards.

Pg.6 Pan.4: A direct shot of Arielle with a coy smile on her lip as she privately laughs at her own joke.

Arielle: And they say fiber works wonders...

Pg.7 Pan.1: The next four panels should be spread out evenly over the first two thirds of page six. A long shot of Arielle in the panel's background as she runs towards Sabretooth, who is in the panels foreground. At the moment Sabretooth is tossing a dead black man aside with a nonchalant attitude. Sabretooth's back should be to the reader as he looks upon the young, beautiful woman running towards him.

Arielle: Did you call in the boat, Darling?

Sabretooth: Relax baby, the boat's here.

Pg.7 Pan.2: A close overhead shot angling down at 45 degrees of Arielle and Sabretooth leaping over the railing of the yacht to a speed boat below. At the wheel of the boat is a woman, who is watching Arielle and Sabretooth descend upon them in the boat below. The woman is a young Mexican woman in her mid twenties. She should be wearing black squab diving gear with her long black hair in a pony tail. Sabretooth makes the comment, ``I had to ask." and this should be in very small black lettering as to indicate to the reader that he is speaking under his breath.

Sabretooth: When did Sabretooth ever let you down?

Arielle: Port-a-Prince, Bogotá, Havana, Port-a-Spain, Panama, Georgetown....

Sabretooth: All right...all right -- I had to ask.

Pg.7 Pan.3: A shot of the boat tearing away as Arielle and Sabretooth land on the floor of the speed boat.

Sabretooth: You know, baby, if you weren't who you were, I would rip your tongue out.

Pg.7 Pan.4: A direct shot of Arielle in the panel's near background gazing at the watch that was hidden under the sleeve of her uniform and counting the seconds indicator. Sabretooth is in the foreground but only his head and right claws are partially seen on the left side of the panel.

Arielle: Then it's a good thing I am, who I am.. Ten, nine, eight...

Pg.7 Pan.5: A large panel long shot taking up a third of the bottom. In the background of the panel is a long shot of a gigantic explosion tearing the yacht apart into a thousand pieces. In the foreground on the left corner of the panel, the dark shadow of the speed boat cutting through the water should be seen.

Pg.8 Pan.1: A half page panel scene of a side shot of Arielle and Sabretooth standing at the back of the speed boat and gazing upon the wreckage of the yacht. Arielle should have her foot up on the ledge of the speedboat with her right foot resting on the inner lip of the vessel. Her head should be away from the readers and her arms resting on her right thigh. The readers should have a side view of the left half of Sabretooth's face; he should be snaring in disgusted at the entire situation. A beeping sound emitting from Arielle's watch should be highlighted in small bold yellow letters.

Arielle: Not good, not good at all. Those bombs weren't supposed to go off for another eight seconds. Someone is going to have to die.

watch: beep, beep, beep...beep, beep, beep...

Pg.8 Pan.2: A quarter page panel shot of over the shoulder shot of Arielle looking down upon the face of her watch which now possesses the face of the man known as the Foreigner. He should be smiling as a large Havana cigar hangs out of the right corner of his mouth. Arielle should be on the right side of the panel and the reader can only see part of her face as she smiles back at her father. Arielle is also holding her left wrist with her right hand in order to stabilize her left arm.

Foreigner: Hello, luv. Daddy calling. Is the Rat dead?

Arielle: As a bloody doornail. We literally caught him with his pants down.

Foreigner: Bloody good. I say our client, Mr. Solzar, will be mighty pleased to have his competition eliminated. I have a new assignment for you, luv.

Pg.8 Pan.3: A quarter page direct shot of Arielle. Arielle should be looking down upon her watched and is smiling as she talks with her father.

Arielle: Fill me in.

Foreigner: Not on the old mike, luv. This is too big for that, too big. It's something to share in person, so I'll be flying into Rio tomorrow, luv. Then we'll talk. Over and out.

Pg.9 Pan.1: A direct head shot of an angry Arielle as coldly speaks to the person in front of her.

Arielle: Eight seconds. Eight. You failed, Carlos. If security was any tighter on that boat, I would've needed those eight seconds. You failed and the price for failure is death...

Pg.9 Pan.2: A direct shot of Arielle grabbing the black hair of a young Colombian and yanking his head back with her left hand and with her right hand forward the cutting edge of her dagger. The Colombian should be held in place by two rugged looking Latinos, each pinning Carlos' arms behind him. Behind them are several crates stacked neatly against each other.

Carlos: Please...

Pg.9 Pan.3: A long shot of Arielle from behind as the sound of her knife is heard (with small yellow letters) cutting flesh. The two men holding Carlos are coldly gazing upon scene with a grim hard look on their faces.


knife: Slllit...

Pg.9 Pan.4: Panel four is directly below panel three on page eight. In this panel the reader gets a left profile shot of Arielle's head tilted down, eyes shut, and mouth open in a gasp of ecstasy.

Arielle: Ahhhhhh...yes...

Pg.9 Pan.5: A quarter page shot on the bottom right hand corner of the page of Arielle in the panel's background pivoting towards the group of killers standing quietly in the panels foreground. The group consists of five black haired Latinos and the woman that drove the boat. All are wearing black skintight diving suits. Each should be quietly viewing the spectacle before them.

Arielle: I hope the rest of you have Learned from your mistakes. Now get out of here and celebrate the mission was still a success. And Tea, you’re the new squad leader. Report to me tomorrow at 1:00 P.M. for your new responsibilities.

Pg.9 Pan.6: None panel shot at the center bottom of the page. This shot should overlap at the bottom of panel four and five as well as half way below the standard border of the bottom of the page. This scene consists of a left head and shoulder's profile shot of Arielle and of Sabretooth, who is directly behind her. Arielle's face is strained with desire. Sabretooth is gazing upon Arielle with a blood lust smile.

Arielle: I feel hot, darling. I feel hot and tingly... take me. Take me now.

Pg.10 Pan.1: Panel one should be placed in the upper right hand corner of panels two of page nine. A close-up head and shoulder shot of the kingpin with a grim look on his face. A gangster calls out to him by walkie-talkie.

Gangster: Boss, the Roman is here.

Pg.10 Pan.2: Panel two covers the upper half of page nine. A shot of Kingpin standing in the middle of a crowd of seven gangsters. Each gangster are holding an old-style Thompson machine gun and are dressed in black trench coats and broad rim humberg hats.

Kingpin: It is time, Gentlemen. You know the plan. I expect perfection. Any slip ups and you will personally answer to me, understand?

Gangsters: Yes, sir!

Kingpin: Then gather your men and strike on my cue. Now go!

Pg.10 Pan.3: A shot taking up the bottom quarter of page nine of two of the mobsters walking towards their posts.

Gangster 1: They say this guy cleaned for Lucky Luciano, that he organized the Murder Inc, that he led a inner revolt against the Mafia in the forties and was one of the architects that organized the Northern Italian gangs into the powerful Maggia family, and then strong armed the Mafia into a truce.
Gangster 2: That's what they say.

Gangster 1: Is it wise to try to whack him?

Gangster 2: Nope, but it is even less wise to wrong the Kingpin. I say if the Kingpin says "Whack Silvermaine", Then Silvermaine gets whacked. Better him than me.

Pg.10 Pan.4: This panel takes up the bottom right hand corner of panel nine. In this panel it is a close up shot of the second gangster face. He should have a black pencil mustache and eye brows.

Gangster 2: Besides, Silvermaine is a old man. He is on his way out. There's no way he can challenge the might of the Kingpin. And me, I figure I rather be on the winning team, than the losing team.

to be continued.....
Re: Genesis: Prelude
Post on Tue May 12, 2009 10:37 am by ladymoonrose
Quote :
Catey Amidala Skywalker wrote:

asan ang link!!!

ala siyang link sis... mano-mano ko siyang i-post dito
Very Happy
Re: Genesis: Prelude
Post on Tue May 12, 2009 10:49 am by ladymoonrose

Pg.11 Pan.1: A small panel taking up one eight of the upper right hand corner of the page should consist of the Kingpin sitting in the passenger seat of a black Sedan with two other occupants. One of the occupants is sitting in the back with a bazooka, while the other occupant is driving the car.

Kingpin: On board that ship is the one man, who could stands between me and my dream. Tonight, my dream will come true, for tonight Silvermaine will meet his demise and the Maggia Syndicate in New York will crumble before the might of the Kingpin!

Pg.11 Pan.2: A large page shot that under laps the other four panels on this page of the Kingpin's black sedan leading three other black sedans across the docks at a high speed and board side of a large cargo ship. From the Kingpin's Sedan, a bazooka roars as its tears into the ship; this is followed with the sound of machine gun fire as the men in the other three sedans open up with machine gun fire from their Thompson guns. At the same time gunfire from snipers cascade down upon the ship from the surrounding roofs tops of the wharf’s warehouses. The sniper should not be seen, but this gun fire should originate from the upper boundary of the panel.

Kingpin: Kiaser, fire upon will.

Kiaser: Yes, sir.

Pg.11 Pan.3: A small panel long shot of the war zone on the docks form the perspective of a small warehouse office window. The panel shot should only take up one eight of the upper right hand corner of the page. In this panel the reader should only see the shadows of the three spectators.

Marko: You were right, Silvermaine. They were waiting for you, just like you figured.

Silvermaine: Of course I was right. That's why I'm the boss and you're still just a lackey, Marko.

Pg.11 Pan.4: A similar sized panel as two and three, but this panel is located on the lower left corner of the page. In this panel the readers get a direct upper body shot of Silvermaine in a brown trench coat. The old man has a tired look about himself as he leans heavily upon a wooden cane.

Silvermaine: So the Kingpin thought he could catch me with my pants down, did he? He is even a greater fool than I thought. Yet, he is a very bold man to attack in the open like this; the Maggia was right to be concern about this man. He is a threat, a dangerous threat.

Pg.11 Pan.5: A similar size panel on the lower right hand side of the panel, of a profile shot of Silvermaine. Marko is not seen on this page, but his large shadow looms over Silvermaine from the panel's right hand side.

Marko: So, when do we strike back, boss?

Silvermaine: Soon, very soon, but first I need rest, for the journey from the old land has tired me. Caesar, get the car.

Pg.12 Pan.1: A profile shot of the Kingpin's fist smashing the plaster wall into a thousand shard pieces and yelling in large bold letters as he utters out his frustration.

Kingpin: Blast!!!

Pg.12 Pan.2: A close-up of the Kingpin's upper torso, as the man slams his right fist into his left hand.

Kingpin: He knew we were coming! Someone will pay for this...

Pg.12 Pan.3: A large half page shot of the Kingpin and his men. In the center of the panel and towards midway to the panel's background the Kingpin is pointing to his men and barking out several orders. To his right, Flint (from amazing Spider-man #50) stands and awaits his orders from the Kingpin, while on his left Kiaser mirrors Flint, and while the rest of the gang runs briskly trots directly at the readers as they head towards the cabin's exit.

Kingpin: Kiaser, grab the pigeon! Flint, put the word out that anyone seen speaking to the Maggia will speak his last. As for the rest of you, find Silvermaine and bring him to me -- dead or alive. NOW GO!!!

Kiaser: You got it, boss.

Gangsters: Yes, sir!

Pg.13 Pan.1: In the upper right hand corner, the narration should be printed in black letters. Otherwise, the rest of the panel is a close-up left profile shot of the Foreigner standing next to a brown wooden hotel room's door and knocking on it. The Foreigner is wearing a light black leather jacket, boots, and blue jeans. Arielle and Sabretooth's are not seen on this panel but word balloons originate from the door to indicate that the Foreigner can hear them messing around on the other side. The Foreigner has two word balloons in this panel: the first end with “Ta’ll well.” and the second begins with “Open up, Luv”.

Narrator: Rio de Janeiro.

Sabretooth: Arrrrgghhhh!!!

Foreigner: Toddles, I must be early. Ta'll well.

Knock, knock, knock....

Foreigner: Open up, Luv. Daddy's here.

Pg.13 Pan.2: A direct shot of Arielle standing in the open doorway wearing only a thigh length white terrycloth robe that is half covered in blood. Blood should also be running down her legs and splattered across her face. Her face should be frozen and shock and surprise. The Foreigner should have his back to the readers and be placed at the towards the lower right hand corner of the panel.

Foreigner: I know I always said you're the blood of my blood, but this is a bit over doing it - luv.

Arielle: Father!?! You're early.

Foreigner: Not in London.

Arielle: ...but this is Rio.

Pg.13 Pan.3: A direct shot Arielle stepping back and gently pushing the door father open with her back, thus allowing her father to enter the hotel room. While entering, the Foreigner (left profile shot of his upper body) is looking directly forward at her yet unseen companion.

Foreigner: Really? That explains the lack of rain and the tropical breeze. My travel agent will hear about this, the bugger. Ah, Creed, still enjoying the simple pleasures of life, I see.

Pg.13 Pan.4: A direct head shot of a snarling Sabretooth.

Sabretooth: Isn't that the whole point of it?

Pg.13 Pan.5: A profile shot of Sabretooth (on the left side of the panel) and the Foreigner (on the right), who is pulling out a knife from Sabretooth's upper right torso while with his other hand indicating to Arielle to go and freshen up. Arielle, who finally regained her composure, is standing right behind her father with a smirk on her face as she quietly laughs at her father's comments.

Foreigner: Yes, but you take the point of it, a little bit too literally, mate. But to each their own, I say... Now, you two go shower and change -- and no sharp objects in the shower, young lady, I don't have all day.

Arielle: Yes, father, I promise to try this time.

Pg.13 Pan.6: A small panel of a direct shot of the Foreigner shaking his head and slightly smirking.

Foreigner: I give up; you two are just hopeless! Now go, while I make me self a spot of tea.

Pg.14 Pan.1: A medium distance shot of Arielle, Sabretooth, and the Foreigner enjoying a morning breakfast on the hotel's balcony. To the sides of the table are tropical palm trees (on one of them a colorful toucan sits and chews on a large nut) and potted plants, while behind them is Guanabara Bay. Also in the distant background is the giant figure of Christ standing on the Corcovado Mountain in middle of the bay. Arielle is on the left side of the table, while the Foreigner is sitting in the middle with Sabretooth sitting opposite of Arielle; all are eating English muffins, jam, and tropical fruit.

Arielle: So father, what's the new assignment?

Foreigner: Impatient, little nymph, aren't we? Very well, ruin a perfectly good breakfast on a tropical coast with something like business -- actually that's one of the reasons why I love you, luv.

Pg.14 Pan.2: A direct shot of a grinning Foreigner tossing an file envelope to Arielle, who's back is to the readers.

Foreigner: Here you go... his name is Richard Fisk. Our client fears that he may pose a threat once I eliminate his father, Wilson Fisk. So...

Arielle: ...he has to go.

Foreigner: I thought I taught you better manners than that Luv; you don't finish other people's sentences. It's rude and I can't hear the sound of my own voice.

Pg.14 Pan.3: A direct head shot of a grinning Sabretooth as he licks his teeth.

Sabretooth: So when and where do we squash the little snot?

Pg.14 Pan.4: A direct head shot of the Foreigner.

Foreigner: I'm not even going to touch that sentence, mate.

Pg.14 Pan.5: A direct head shot of a smiling Arielle.

Arielle : That's probably the only thing you won't touch, father.

Pg.14 Pan.6: A direct head shot and shoulder shot the Foreigner shaking his right index finger.

Foreigner: That's not true luv. I won't touch acid, nuclear waste, or my ex-wife's dirty underwear.

Arielle: How is the Dragon Lady?

Foreigner: Don't ask.

Pg.15 Pan.1: A direct shot of Sabretooth tapping impatiently on the table top with his claw and clipping wood with each tap. This panel overlaps panel two on the left edge, but only a quarter of the panel two.

Sabretooth: I'm getting bored; can we cut the wise cracks and get on the briefing?

Pg.15 Pan.2: A narrow panel shot taking up the upper third half of the page of the three characters. Sabretooth is slapping his forehead with his right hand. The Foreigner is looking away from Sabretooth and towards the sky, with a mock look of hurt and sadness on it, while Arielle head is snapped back in a fit of laughter.

Foreigner: Fine, be that way. Never mind the fact that you're breaking an old man's heart, who never did anything to anybody and all he ever asked in return was just a little conversation and this is how he's treated -- ``sniff… sniff".

Sabretooth: I give up.

Arielle: ...hahahhahahhahahahaha...

Pg.15 Pan.3: A direct shot of the Foreigner looking at his watch.

Foreigner: Very well, since you insist -- not to mention that I have a two o'clock flight-- I guess I'll be telling...

Pg.15 Pan.4: A direct head and shoulder shot of the Foreigner.

Foreigner: The chap is in France. He's been going to college at the Sorbonne. Due to some personal tragedy, he has taken a leave of absence and is keeping quarters in downtown Paris -- the address is in the envelope, along with a few other bits of knowledge. You two are to locate him and keep him under surveillance; until, I give you the word to move. Understand?

Pg.15 Pan.5: A medium long shot of the Foreigner and Sabretooth as they speak to each other.

Sabretooth: Why can't we just go and whack him right off the bat?

Foreigner: Because that'll tip off his dear old dad. And I don't want to ruin the surprise that I personally intend to give dear old dad; that would be rude -- and you know how I feel about rudeness.

Pg.15 Pan.6: A direct head and shoulder shot of Arielle.

Arielle: He's that dangerous?

Pg.16 Pan.1: A panel shot taking up the top half of the page of Foreigner and Arielle converses.

Foreigner: That's what I hear, luv. And that is why I don't want him forewarned; because...

Arielle: ...forewarned is forearmed.

Foreigner: There you go again, luv. I just can't win, can I?

Arielle: No, you can't. We'll wait for your word father, you have my word.

Pg.16 Pan.2: A direct shot of a smiling Foreigner slapping Sabretooth's right shoulder blade. Sabretooth glares back at him with an annoyed look on his face.
Foreigner: Good. Now we can finish our breakfast. Well, eat mate; you're nothing but claw and fang.

Pg.16 Pan.3: A direct head shot of Arielle with a serious look on her face as she asks one final question of her father.

Arielle: One last question, father. You said this Richard Fisk suffered a recent tragedy?

Pg.17 Pan.1: A direct shot of a pile of clay skulls stacked upon each other; next to it sits an orange pumpkin jack-o'-lantern with a menacing grin upon it. Arielle's last comments should be written in black letters in the upper left hand corner of the panel.

Arielle: What kind of tragedy?

to be continued...
Re: Genesis: Prelude
Post on Tue May 12, 2009 11:04 am by ladymoonrose

Pg.17 Pan.2: A direct shot at the pumpkin's empty triangle eye socket.

Amy: Richard, this is wonderful. I can't believe I'm in Mexico during the Day of the Dead festival.

Pg.17 Pan.2: A shot of Richard Fisk with his parted blonde hair holding a young beautiful woman. The woman is very small; she is only five feet tall and weighs roughly a 100 pounds. She has black straight hair that is combed straight back and dark brown eyes. She is wearing a blue cord jacket and jeans; Richard is wearing a black windbreaker and blue jeans. In the far distance a red-orange sky glimmers as the sun sets over the Pacific Ocean of a small Mexican resort town.

Richard: Not half as wonderful as you are my love. Have I told you that I love you yet today and you're the most beautiful thing to set foot on this planet?

Amy: Only three minutes ago.

Richard: That was three minutes too long, my love.

Pg.17 Pan.3: A direct shot of the sinister looking jack-o'-lantern.

Amy: What am I'm going to do with you, Richard?

Richard: Marry me and have house full children.

Pg.17 Pan.4: A profile shot of Richard holding Amy from behind. His hands should be resting on her stomach just above her waist and he leaning over and kissing her neck.

Amy: I love you. I just love you. Now stop it!

Richard: Stop what?

Pg.17 Pan.5: An enlarged close-up of the Jack-o'-lantern.

Amy: Distracting me. I want to see and touch everything that happens around me. I want to live in this moment as if it were the last day of my life...
Pg.18 Pan.1: A one page panel shot of gigantic explosion of fire and force engulfing the entire area as the jack-o'-lantern ignites into a ball of horror and flames. In huge red letters the word `Ka-boom' should be written at the center of the page to indicate ground zero.

Pg.19 Pan.1: A direct medium head and shoulder shot of Richard violently sitting up from his made bed. He is fully clothed in a tea shirt and sports jacket.

Richard: NOOOOOOOOO!!!

Pg.19 Pan.2: A direct shot of Richard sitting at the edge of his bed.

Pg.19 Pan.3: A long shot of Richard walking through a dark studio living room to a balcony.

Pg.19 Pan.4: A medium long shot of Richard standing on his small balcony looking out at the Seine River and the lit boats slowly moving up and down its watery bed.

Pg.19 Pan.5: A profile shot Richard bowing his head into his hands and quietly crying as he begs God for an answer to his misery.

Richard: Why God? Why? Why are you so cruel and heartless? Didn't our love mean thing to you?

Pg.19 Pan.6: A profile shot of Richard quietly yelling up at the heavens.

Richard: Didn't it!?!

Pg.20 Pan.1: A quarter page medium close-up shot of Richard bowed head and crying into his hands this time whispering his question to God. In the background the phone rings.

Richard: Didn't it?

Pg.20 Pan.2: A quarter page panel long shot of Richard, with his back to the readers, talking to his mother on the telephone.

Richard: Hello, mother... No, there hasn't been any change. The doctors say she could go at any moment. I should be there mother. I should be at her side. I should be there willing her to live. I should be there. Yet, I'm here. Why is life like this, mother...? Do you think they would...? You're right; I have nothing to lose....I will mother. And mother....Thank you.

Pg.20 Pan.3: A superior shot looking downward upon a listless Amy as she lays in a comatose upon a hospital bed. Tubes and electronic devices should be attached to her and her body covered in badges, only her mouth on the right side of her face remains uncovered by gauze. The room is darken except for a single night light above Amy's bed.

Pg.20 Pan.4: A profile shot of Amy from her right side. In the panel's background her parents and older brother stands quietly watching their family member fight for her life. The father is a old man fairly overweight and with balding gray hair. The mother's hair is black and long with strains of gray in them; she is fairly thin and very short. The son is a large young man of six foot five and black feathered back hair. Each stand transfixed in a silent grimness.

Pg.20 Pan.5: A direct close-up shot of Richard Fisk holding the hospital's room door open and entering the room.

Pg.21 Pan.1: A quarter page shot of Amy's brother grabbing Richard Fisk and slamming him into the hospital room wall.

Michael: How dare ya! How dare ya enter this room? Have you not caused enough misery, already? We told ya once boy you're not allowed here. Now get out before I put you on sticks!

Richard: Let go of me, Michael. I belong here as much as you do. I love her.

Pg.21 Pan.2: A direct head shot of Michael from Richard's perspective as he shouts at Richard. With his left hand, Michael should have a handful of Richard's shirt as he pushes him against the wall.

Michael: You call this love, boy? You call putting my little wee sister in danger, love? If you love her, you would have left her alone. You and your gangster father bring nothing but death and destruction to those around you.

Pg.21 Pan.3: A close-up profile shot of Richard knocking away Michael's hand grasp.

Richard: My father is not a criminal. He's a good man that built his fortune on the spice trade.

Pg.21 Pan.4: Panel four and five take up the bottom right hand corner of page nineteen. Panel four is a direct shot of Michael eyes' burning with hatred and angry.

Michael: Then why is my wee little sister here, Richard. Answer me that?

Pg.21 Pan.5: A direct shot of Richard's eyes darkened by the shadows of the room as he stare down Michael without an answer to the question posed to him.

Pg.22 Pan.1: A head and shoulder shot of Amy's father. William: That's enough, Michael. Ye know you're not allowed here, lad. Please go.

Pg.22 Pan.2: Another direct shot of Richard's eyes.

Richard: Please, sir.

Pg.22 Pan.3: A head and upper body shot of William pointing to the door way and still looking at Richard.

William: Go lad, before me changes me mind and let me Michael have ye way with you.

Pg.22 Pan.4: A 45 degree angle profile shot of Richard's left side with both fists clinched. In this shot he is looking down toward the floor, grim and defeated.

Richard: I'll leave, but only out of respect of Amy's love for all of you, only because of her and no one else, only her...

to be continued...
Kaye Cee
Re: Genesis: Prelude
Post on Wed May 13, 2009 12:53 pm by Kaye Cee
hehe... hinihintay ko pa iba post... nabibitin ako!

pero ang ganda ah... I love comic book stuff ...

pero sana me drawing para ma visualize ko agad!!
Re: Genesis: Prelude
Post on Fri May 15, 2009 2:38 pm by ladymoonrose
oo nga eh... wala kasi siyang kilala na pwdeng mag-drawing for him Crying or Very sad ...

sabi nga niya sa akin noon na baka manibago daw ako kapag binasa ko yan kasi sanay ako dun sa comics na may pics...
Re: Genesis: Prelude
Post on Thu Jun 18, 2009 2:48 pm by LuAn
ako may kakilala na graphic artist...gumagawa din xa ng comix...ung layout artist ng pub namen...hehehehehehe....
Re: Genesis: Prelude
Post on Thu Jun 18, 2009 5:00 pm by carmilina
aun pwede yun sis...magling lng me sa designs...pero drAwings di maxado..
Re: Genesis: Prelude
Post on Sat Jun 20, 2009 3:18 pm by Guest
nahihilo ako...di ko magets ate.....
Re: Genesis: Prelude
Post on Tue Jun 30, 2009 8:59 am by ladymoonrose
aldrien... bunso... ano po ang hindi mo gets Very Happy

eto kumuha ako ng isang panel box from the story

Pg.27 Pan.6: A direct head shot of the Foreigner using his Zippo lighter to light the cigarette dangling from his mouth. Jean Dewolff is not seen on this panel shot, but her dialogue is coming from the right side of the panel.

Foreigner: What does his wife and family think?

Dewolff: He has none.

Foreigner: Interesting. So I suppose you want to hear what I saw now, Detective Dewolff?

this is from page 27, panel 6. sabihin na lang natin kunwari sa isang page ay may 6 na panel box. so ibig sabihin this scene ay nasa bandang baba sa right corner ng page. and inside that panel box ay diniscribe kung ano ang larawan na makikita mong scene. so in this particular scene makikita ang direct shot na kuha ni Foreigner na nagsisindi ng sigarilyo while having the dialogue na nakikita mo sa taas. meron siyang kausap pero hindi iyon pinakita sa panel box pero makikita ung dialogue nung isang guy sa panel box na iyon.

sana nagawa ko siyang i-explain ng maigi... hehehe... ok lang yan bunso...medyo nahirapan din ako nung una... pero nasanay din ako... tapos iniimagine ko ung mga characters... pinapagalaw ko sila sa utak ko.

mas mabuti na ung aminado kang hindi mo gets para may chance akong mag-explain

lol! lol! lol!

alam niyo kung marunong lang ako... ako na ang nag-drawing... hehehe lol!

Last edited by ladymoonrose on Tue Jun 30, 2009 9:47 am; edited 1 time in total
Re: Genesis: Prelude
Post on Tue Jun 30, 2009 9:05 am by ladymoonrose

Pg.23 Pan.1: A medium long shot looking down at Richard as he sits alone at table in a small French restaurant next to the large store window. It's dark and grim as the rain splatters against the window pain and the cold wind howls.

Pg.23 Pan.2: A similar angle shot of Richard sitting by the window as Arielle, who is wearing a waitress outfit consisting of a lacy long sleeved white blouse and a knee length black skirt and offers him a menu. In this scene < > around the person's name indicates the reader is speaking French.

<Arielle>: Coffee, monsieur.

<Richard>: Yes please, but no food... I'm not hungry.

Pg.23 Pan.3: A medium long shot of a shadow outline figure of Wolverine speaking into a pay phone at the back of the restaurant. In the background the reader should see Richard on a cell phone.

Wolverine: She's here.

Pg.23 Pan.4: A shot of the Kingpin and his wife, Vanessa, sitting in a booth in the back of a French restaurant. To their left and right are two body guards in dark three piece suits and sunglasses. Each has their hand inside their coat pocket as they grip their concealed weapons. The Kingpin should be wearing a white suit and pants, while Vanessa is snuggled in a green emerald dress.

Kingpin: Wilson says the Tablet of Time is older than the Dead Sea Scrolls; just imagine the economic value the tablet offers the individual who holds them.

Vanessa: Is that all you can think of? Money?

Kingpin: Vanessa, what's wrong, my love?

Pg.23 Pan.5: A medium long shot of Vanessa, the Kingpin, and the Foreigner. The Foreigner is dressed as a waiter as he sports a black sports jacket with matching pants, a white shirt and a black bow tie. He should be smiling as he laughs at some private joke.

Vanessa: I'm worried about our son, Wilson. I spoke with him this afternoon; he sounds lost and hopeless. I'm afraid.

Kingpin: You speak nonsense, my love. Richard will be fine; he is my son after all. And no son of mine is weak.

<Foreigner>: Are we ready to order, monsieur and Mademoiselle?

Pg.23 Pan.6: A direct medium shot of a husky-looking man in a gray trench coat appearing with a Thompson machinegun in his hands.

Pg.24 Pan.1: A medium long shot of Richard climbing up on to a old stone bridge railing as the rain pellets at him without mercy.

Pg.24 Pan.2: A medium long shot of Richard about to leap off the bridge as Arielle grabs him in a flying leap.

Pg.24 Pan.3: A medium long shot of Richard and Arielle landing on the stone cobbles of the bridge walkway.

Pg.24 Pan.4: A medium long shot of a gangster filling the air with bullets.

Hitman: Silvermaine said hello, Kingpin.

Pg.24 Pan.5: A medium long shot of the Kingpin grabbing his wife and leaping out the way of the bullets. The two body guards are cut down by the hail of bullets. The Foreigner should be hitting the ground as he leaps out of the line of gun fire and at the same time he throws a pen knife at the assassin.

Pg.24 Pan.6: A direct shot of the knife nicking the killer in the neck as the knife hurls through the air.

Pg.25 Pan.1: A direct shot of Richard on one knee looking at Arielle as the rain beats down upon them in sheets of water. Arielle should be placed in the lower left hand corner of the panel and is turned away from the readers, so only the back of her head can be seen.

Richard: She's dead.

Pg.25 Pan.2: A similar shot of panel one on page 23, only Richard and Arielle are locked in a mad passionate kissed.

Pg.25 Pan.3: A long shot of Arielle and Richard in the panel’s background. They are locked in an intense embrace as the rains pours upon them. Wolverine should be in the panel's foreground watching them with a concern look on his face.

Wolverine: Not good. Not good at all.

Pg.25 Pan.4: A direct shot of the gangster in the gray trench coat grabbing his neck, where the little pen knife nicked his skin.

Pg.25 Pan.5: A shot of the assassin falling to the ground dead.

Pg.25 Pan 6: A direct shot of the Foreigner, lifting himself up off the ground as he whispers to himself.

Foreigner: Not good. Not bloody good at all.

Pg.26 Pan.1: A shot of Arielle and Richard in bed; Arielle is holding Richard's head to her breasts as he sleeps. In this scene Arielle is wearing Richard's white button shirt.

Pg.26 Pan.2: A shot of Logan and Charlemagne standing on a roof top across the street from Richard's studio apartment. Wolverine is holding a pair of binoculars to his eyes in his left hand. Charlemagne is standing next to him and looking in the same direction. Charlemagne is wearing a brown leather jacket and camouflage parachute pants with boats. Logan is wearing his traditional brown jacket and blue jeans.

Logan: Are you sure about this, Charlie?

Charlemagne: It's the only way, Logan.

to be continued
Re: Genesis: Prelude
Post on Tue Jun 30, 2009 9:08 am by ladymoonrose

Pg.26 Pan.3: A close-up left profile shot of Arielle looking down at an unseen Richard Fisk. Arielle is still speaking in French.

<Arielle>: Rest, Cherie, rest.

Pg.26 Pan.4: A long shot of the NYPD looking for evidence and questioning people at the restaurant. In the right hand background Detective Jean Dewolff and Detective Keatings questions the Kingpin and Vanessa.

Kingpin: Detective Keatings, I have answered all your questions to the best of my knowledge. My wife has been badly shaken by this monstrosity and I insist that I be permitted to take her home. In other words, your questions can wait till morning.

Keatings: No can do, Fisk. An assassination went down here and you were the target. We want answers and we want them now!

Pg.26 Pan.5: A medium long shot of Detective Jean Dewolff, Detective Keatings, Captain O'Riley, the Kingpin, and the Foreigner. Detective Dewolff is wearing a green plaid jacket and skirt, with a white shirt and a Green Beret hat over her feathered brown hair. Captain Keatings is wearing a crumpled brown suit and black tie. Captain O'Riley is a wearing a blue suit and has black hair that's graying at the temples. He is a thin man with a black beard and mustache. In this panel scene the readers see the left profile shot of the Kingpin and the right profile shot of the Detectives as they speak to each other. In the near background the Captain O'Riley is approaching them, while off to O'Riley's left, the Foreigner is in the background quietly watching the scene.

Kingpin: In the morning, Detective Keatings. I'm sure the Chief of Detectives will agree with me on this point. Won't you, Captain O'Riley?

O'Riley: That's enough, Detectives. I'm sure Mr. Fisk, has told you everything that he knows. You may go, Wilson, but don't leave town.

Kingpin: Thank you, Captain O'Riley. Good day, Detective Dewolff, Keatings.

Pg.26 Pan.6: A direct shot of the Captain giving his detectives their orders as he walks away from them and out of ear-shot.

O'Riley: Finish up, Detectives. I want your reports on my desk by the end of the day.

Dewolff: Yes, sir.

Keatings: The nerve of that guy. He's has to be on the take.

Dewolff: O'Riley's record is spotless. Unfortunately, I can not say the same about city hall and the powers to be.

Keatings: Believe what you want, Jean. I still think that he's on the take.

Pg.27 Pan.1: A direct head and shoulder shot of Logan shaded by the darkness of the night.

Logan: When do we move?

Pg.27 Pan.2: A direct head and shoulder shot of Charlemagne.

Charlemagne: When she is contacted by her father and no sooner. Now we watch and learn.

Pg.27 Pan.3: A similar shot of Wolverine as in panel one on page twenty five.

Logan: I still don't like this.

Pg.27 Pan.4: A direct head shot of an enraged Keatings. Overhead medium long shot looking down upon Keatings, Dewolff, and the forensic doctor, and the Foreigner (who is standing next to Dewolff waiting to be question).

Keatings: A heart attack? This bag of scum tried to blow away the biggest mobster this town has seen since Luciano and he dies of a heart attack? That's doesn't wash. That just doesn't wash.

Pg.27 Pan.5: A medium close-up shot of Keatings angrily storming to the exits, thus leaving Dewolff and the Foreigner behind.

Keatings: I had enough of this place! I'm out of here. Damn whole place has be bought and paid for by that tub of lard.

Foreigner: Intense man, isn't he, Detective?

Dewolff: Dewolff. Jean Dewolff. He cares, that's all. The job is all he's got.

Pg.27 Pan.6: A direct head shot of the Foreigner using his Zippo lighter to light the cigarette dangling from his mouth. Jean Dewolff is not seen on this panel shot, but her dialogue is coming from the right side of the panel.

Foreigner: What does his wife and family think?

Dewolff: He has none.

Foreigner: Interesting. So I suppose you want to hear what I saw now, Detective Dewolff?

to be continued...
Re: Genesis: Prelude
Post on Tue Jun 30, 2009 9:19 am by ladymoonrose

Pg.28 Pan.1: A direct shot of the backside of a gravestone of white marble shaped in a cross; behind the cross a devastated Richard Fisk with Arielle standing in the background quietly watching the spectacle before her. Richard should be wearing a dark brown open trench coat covering up a black suit with a white shirt and black tie. Arielle is standing about ten feet behind Richard and is wearing a blue trench coat that is tightly tied around her waist. The entire scene should be cast in a red glow of the evening sunset and the shadows of dusk; thus the shadow of the grave stone should be casting itself partially upon Richard. In the upper right hand corner of the panel in black lettering is the panel's narration.

Narrator: Fifteen hours later...

Richard: Amy... There are so many things I want to say... so many things... You were the closest thing to heaven, my love. You were hope, beauty, and compassion all rolled into one. After I lost my sister, I felt liked I died inside. Then you came along and with your smile you gave my life meaning... now it's meaningless again...

Pg.28 Pan.2: A close-up head shot of Richard Fisk.

Richard: ...and full of pain... it feels like my heart was ripped out when I learned you died. I wanted to die... I nearly killed myself... I would've if weren't for... She gives me something to hang on to... something to bandage the pain with... I don't know if you could ever understand and forgive me for my actions, but please just know this...

Pg.28 Pan.3: A shot of Richard placing a single red rose on the gravestone.

Richard: I love you. Always have and always will. May you rest in peace, my love. I'll see you on the other side.

Pg.28 Pan.4: A direct head and shoulder shot of a unshaven cook with a large French cooking hat on his head, who is tenderizing a packet of meat; thus the sound effect of several "thuds" should be originating at the bottom of the panel in bold white letters and moving towards the top of the page. The Foreigner is not seen in this panel shot, but his dialogue should be at the top of the panel originating from the panel's right side.

Foreigner: You can stop sweating, old bean. The police are gone. You're in the clear, at least with them.

Chef: What are you talking about, Monsieur?

Pg.28 Pan.5: A close-up head shot of the Foreigner.

Foreigner: Mighty cleaver set up, I must say, old chap. Who ever this designed knew what he was doing. The Kingpin had this place heavily guarded except for the back door, because it was locked. Meaning that the shooter had to have inside help in order to get through that back door, which required an inside man and that where you came in old bean. You were the only one back here with keys to that door, thus making you guilty as charged as you Yankees like to say. Just answer me one question. Who ordered the hit?

Pg.28 Pan.6: A close-up head shot of the chef as beads sweat form on his brow.

Chef: I don't know what you are talking about, Monsieur.

Pg.29 Pan.1: A medium long shot of Arielle and Richard walking alone along a gothic stone path. Neither is touching each other, but they are very close to one another. In the panel's background bare trees loom over the two and the ground is covered with golden red leaves. Unseen in this panel is Michael, but his voice cuts through the dark dusk of the late evening light from the left side of the panel.

Michael: You move quickly, don't cha lad. Me wee little sister is barely in thee ground and you already found a replacement, eh lad?

Pg.29 Pan.2: A medium close-up shot of Richard and Arielle turning their heads back towards Michael.

Richard: Michael?

Arielle: Monsieur?

Pg.29 Pan.3: A medium long shot of Michael and several other men in black ski masks and navy blue reefer coats. Each of the men is gripping tire irons in their leather gloved hands.

Michael: First you kill her, lad. Then you cheat on her, lad. You must live in a world of dreams, if you think you can disgrace the memory of me sister with your transgressions. Well, me lads and I are going to reawaken you to thee errors of ye ways.

Pg.29 Pan.4: A long overhead shot of a long black stretch limo pulling away from the curb and into a stream of heavy traffic.

Pg.29 Pan.5: A direct shot of the Foreigner sitting in the back of the inside of a limo. There is a lit cigarette in his right hand and a puff of smoke lifting upward from his mouth. With his left hand he is unbuttoning the shirt of his waiter disguise. Unseen in this panel is the driver: J.D.

Foreigner: To the Galby building, J.D.

J.D.: Right away, sir. I take it that you were successful in obtaining the information you desired from the chef in question.

Pg.29 Pan.6: A direct shot of the meat tenderizer sitting in a pool of blood. Right above it is a dangling arm of the French chef with blood dripping from his finger tips and splashing to the pool of blood below.

Foreigner: As the local yanks say, ``He sang like a bird"; well, at least after I tendered him up a bit.

to be continued...
Re: Genesis: Prelude
Post on Tue Jun 30, 2009 9:25 am by ladymoonrose

Pg.30 Pan.1: A shot of Richard and Arielle surrounded by their antagonists. Richard is facing Michael, with his hands up in front of him in a defensive position. Michael is pointing at Richard with an accusing finger as he approaches Richard. Behind Richard stands Arielle with a quiet but serious look on her face.

Richard: This is insane, Michael!

Michael: No lad, the only thing that I see as insane is ye lad. You and that tart disgracing thee memory of me wee little sister. Now ye are going to pay for that!

Pg.30 Pan.2: A direct profile shot of Arielle clubbing the back of Richard's head with an open hand karate chop.

Pg.30 Pan.3: A long shot of Arielle standing over the unconscious body of Richard Fisk as her surrounding opponents close in on her.

Arielle: Bring it on boys!

Pg.30 Pan.4: A direct shot of the aged Silvermaine sitting in a large plush green office chair amongst the darkness of the room. The Foreigner is unseen in this panel, but his dialogue comes from the left side of the panel.

Foreigner: What is this city coming to? I had to kill two men just to use the elevator, then another three more in the hall after that. In the old days, I used to have to kill five just to enter the front door.

Pg.30 Pan.5: A direct shot from the Silvermaine perspective of the Foreigner standing in the office doorway of Silvermaine's dark office. The Foreigner is wearing his purple and silver trim battle fatigues.

Foreigner: You're slipping, old man.

Pg.30 Pan.6: A direct shot of Silvermaine putting a cigarette into a long black cigarette holder. Behind Silvermaine stepping out of the shadows is the seven foot giant bruise known as Man Mountain Marko.

Silvermaine: Perhaps, perhaps I am... Then again the time you speak of was before I acquired the services of my large employee here. Marko, show the unwelcome guest to the door.

Marko: My pleasure, boss.

Pg.31 Pan.1: A profile shot of Arielle ducking under a swing tire iron and at the same time delivering a karate chop to the knee of her opponent, which emphasize with bold white letters: "CRACK!!!"

Arielle: That's got to hurt.

Pg.31 Pan.2: A left profile shot of Arielle delivering a hand blow to the chest of the man in front of her and a swift back kick to the chest of the man behind her.

Arielle: Now what did you call me? Pg.31 Pan.3: A direct shot of Arielle delivering a knuckles curl blow to the throat of the next man in front of her.

Arielle: Oh yes, it was a tart!

Pg.31 Pan.4: A profile medium close-up shot of the Foreigner ducking Man-Mountain Marko vicious right hook and delivering a bone cracking karate chop to Marko's knee; which is emphasize with bold white letters spelling out "CRACK!!!".

Foreigner: Oh, now that's got to hurt.

Pg.31 Pan.5: A shot of Foreigner ducking under another wild right hand punch and delivering a closed fisted blow to the sternum area of Marko.

Marko: I'm going to crush you, Squirt!!!

Foreigner: Now there is a first.

Pg.31 Pan.6: A shot of the Foreigner smashing a hard right into Marko's face.
Foreigner: I've been called many things in my life -- most of them not very nice, mind you, but never a can of soda.

Pg.32 Pan.1: A medium long shot of Arielle leaping into the air and delivering a rough house kick to the jaws of two of her opponents. Arielle's right hand grasps a jagged rock.

Arielle: You think I'm some sort of strudel?

Pg.32 Pan.2: A direct shot of Arielle landing in a crouch position, thus using her left hand to balance herself. At the same time she flings the rock in her right hand at one of her unseen opponents.

Arielle: Do I look fruity to you?

Pg.32 Pan.3: A profile shot of both Michael and one of his associates. In this instance Michael stands frozen with shock, for he is stun at the spectacle before him, while to his right, his associate is knocked off his feet by the propel rock that drills him directly in his face.

Arielle: ...or is that your way of telling me that I'm wearing too much make-up?

Pg.32 Pan.4: A right profile shot of the Foreigner springing upward and delivering a straight kick to Man-Mountain Marko's chin.

Foreigner: What? Do I fizzle or something?

Pg.32 Pan.5: A profile shot of the Foreigner completing a mid air somersault and grabbing Marko by the neck on his way down.

Foreigner: Of course, if I was a can of pop; I always felt partial to Seven-Up. After all I have a reputation to maintain...

to be continued...
Re: Genesis: Prelude
Post on Tue Jun 30, 2009 10:45 am by ladymoonrose

Pg.32 Pan.6: A direct shot of the Foreigner using his momentum to tossed the giant over his shoulder and towards the front of the panel.

Foreigner: ...just ask the ladies.

Pg.33 Pan.1: A direct shot of Arielle leaping with her leg extended.

Arielle: Now, let's get serious!

Pg.33 Pan.2: A medium close-up shot of Michael receiving Arielle's blow to his shoulder. The word "Crack" should be written in bold yellow letters to indicate the sound of Michael's collar bone breaking.

Arielle: You're trespassing on my territory, Michael.

Pg.33 Pan.3: A direct close-up shot of Arielle breaking Michael's leg with a brutal swing kick. This time in bold letters the word ``snap" should be written in bold yellow letters to indicate the sound of Michael's shin breaking.

Arielle: I don't like that, Michael, not one bloody bit.

Pg.33 Pan.4: A direct shot of the Foreigner leaping through the air with his right foot extended.

Foreigner: Hey, check out my version of Rice Krispies -- milk not included.

Pg.33 Pan.5: A direct shot of the Foreigner foot devastating Marko's shoulder on impact. Marko in this panel's shot is leaning against a damaged office wall. The word "snap" should be written in bold yellow letters indicating the breaking of Marko's bones.

Pg.33 Pan.6: A close-up of the Foreigner stomping on Marko's knee, thus breaking Marko's shin in two. The sound of his bone breaking is emphasize with the word ``Crackle" in bold yellow letters.

Pg.34 Pan.1: A direct shot of Arielle's foot stamping down on Michael's good leg, thus breaking the bone in his right shin the word "snap" should be written in bold yellow letters indicating the breaking of Michael's bones.

Michael: Arrgh!!!

Pg.34 Pan.2: A direct shot from Michael's perspective as a grim Arielle looks down upon him.

Arielle: You're lucky; I don't need this incident in the papers, lad. Otherwise, you and your boys would be corpses; right now.

Michael: Who are you?

Pg.34 Pan.3: A close-up of Arielle's face.

Arielle: The name is Genesis, and I'm the beginning of the end for Richard Fisk. Now I ask you again, do you want to join him?

Pg.34 Pan.4: A direct shot of the Foreigner with his right fist coil back as he prepares to deliver the death blow. Unseen is Silvermaine, yet his dialogue is in this panel shot.

Foreigner: And now the pop...

Silvermaine: Enough!!

Pg.34 Pan.5: A direct shot of the Foreigner looking over his shoulder at the aged Silvermaine.

Foreigner: You certainly know how to ruin a chap's breakfast, Silvermaine.

Silvermaine: Who are you and what do you want?

Pg.34 Pan.6: A close-up shot of the Foreigner's face as he grins viciously at Silvermaine.

Foreigner: I'm called the Foreigner and I want the sole rights to the Kingpin's life.
Re: Genesis: Prelude
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Genesis: Prelude

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