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Thread: Easter Eggs!

  1. #91

    Re: Easter Eggs!

    Welcome to the board, JRL.

  2. #92

    Re: Easter Eggs!

    Hi. I posted this on another thread here at the Bendis Boards.
    But it really should be here too. So...

    Here you go:

    AMAZING SPIDER-MAN #656
    “No One Dies”
    Part 2 of 2 “Resolve”
    Plot for 30 pgs.
    Dan Slott
    12/20/10

    PAGE 1
    Panel One
    It’s moments after the end of #655, MASSACRE has just executed his first hostage at the bank robbery. The man’s body lies dead on the street.

    Panel Two
    CAPTAIN YURI WATANABE and the policemen on the scene are out of their element. They don’t know what to do. The person they’re facing off against is a certifiable madman. YURI gets on her bullhorn and says that she can’t deal with this man in good faith if he continues to execute hostages—

    Panel Three
    Cut to MASSACRE. Pacing past all of his bomb-vest-wearing hostages. He tells her that this isn’t about playing by her rules. She has to play by his.

    Panel Four
    CLOSE UP on MASSACRE as he holds his kill-switch up to his face. With an emotionless expression, MASSACRE pushes one of the multiple buttons on the kill-switch…


    PAGE 2
    Panel One
    The cops reel in horror as part of the building they were watching blows up. BOOM! Sending glass, masonry, and shrapnel everywhere.

    Panel Two
    CLOSE UP on SPIDER-MAN in mid-swing over the city-- his head sharply turning to the sound of the explosion.

    Panel Three
    We pull back to see SPIDEY changing the direction of his swing towards the action. About 10 or 15 blocks away, smoke is rising from the building. Car alarms are going off from the shock.

    Panel Four
    Cut back to MASSACRE—he informs us that he took out the west wing of the bank. He had seven hostages on that side of the building.
    He states his demands again: He wants all alarms, close circuit cameras in the building—and for five blocks—turned OFF. And he wants the police and all authorities to pull back that far as well.
    This is not a negotiation. These are the rules. They have ten minutes and counting.


    PAGE 3
    Panel One
    Covered in debris—with smoke and dust still in the air—the cops are completely unnerved. One cop is freaking out—he can see a body part in the wreckage (though the reader can’t).
    In the foreground, YURI looks like she’s in complete shock. One of her officers is asking her what they should do next.
    “Captain Watanabe? Captain?!”

    Panel Two
    We go closer in on YURI’S face. She doesn’t know what to do. There’s a nick-or-cut from some shrapnel across her cheek. Maybe her eyes are starting to tear up (or maybe that’s too much?).

    Panel Three
    Another cop points skyward—looking almost relieved. He tells the CAPTAIN that—look—SPIDER-MAN’S here! In the middle of all this horrible real-world-violence—a super hero is on the scene! There may just be a way out of this after all!
    SPIDEY’S small in the background-- a tiny figure, swinging on a gossamer thread.

    Panel Four
    Hero shot of SPIDEY swinging through the skies of New York—one of his hands outstretched—shooting a web right at the reader! This is a pure, iconic, stick-it-on-a-poster-or-a-lunchbox SPIDER-MAN visual. It’s everything we love about this guy!


    PAGE 4
    Panel One
    Aspect shot of the web hitting squarely on a brick in the side of a building…

    Panel Two
    Same shot as before, but as SPIDEY has swung past, the mortar around the brick crumbles, it comes loose and starts to give way…

    Panel Three
    …as the full force of his weight rips the brick out of the building—SPIDER-MAN loses control of his swing—and he goes gracelessly flailing—dragging a web and a loose brick behind him…

    Panel Four
    …SPIDER-MAN slams down to earth in front of the startled cops. This is NOT a funny moment. It is embarrassing and off-putting. (And the LAST thing we should see is the brick beaming him on the head as a silly punctuation mark to the seen. Again, this is not funny. This is a moment where our hero is shown to be all too frail and human.)
    In fact NOTHING about Spider-Man this issue is funny. Spidey is straight-down-the-line serious this issue. This is a Spider-Man who FAILED to save Jameson’s wife. In his own guilt-laden mind, he has a LOT to atone for. Think of how Spider-Man/Peter Parker was for MONTHS after Gwen’s death. We’re in that kind of zone here. No quips. No puns. No jokes of any kind.


    PAGE 5
    Panel One
    The cops look around nervously. Should they help SPIDEY up? YURI asks if he’s okay.

    Panel Two
    Close up on SPIDER-MAN. He’s frustrated. He thinks about how recent events have left him without his spider-sense. Before this happened, he had no idea how MUCH he relied on it—in tons of little, everyday ways. Is he going to have to think about every time he shoots a web to swing off of now?!

    Panel Three
    SPIDEY gets up and asks YURI what’s going on here. YURI tells him that it’s a hostage situation—and that the hostage-taker has already killed eight people. At least six more are in danger.

    Panel Four
    SPIDEY tells YURI that he’s on top of this. He’s dealt with this kind of psycho before. YURI has faith in him. But some of the cops nearby look a little on edge—thanks to SPIDEY’S recent wipeout.


    PAGE 6
    Panel One
    SPIDEY starts walking past the police barricade and into the no man’s land between the cop cars and the bank. SPIDEY is holding hands above his head—without his spider-sense, he’s leaving himself COMPLETELY vulnerable—and he knows it. SPIDEY says he’s just coming in to talk…

    Panel Two
    Cut to a cold, emotionless MASSACRE. He says there is no way this is acceptable. A super hero? An Avenger? Approaching the perimeter? This is impermissible.
    If we can see the hostages in this shot, they’re scared out of their wits. Some are crying.

    Panel Three
    MASSACRE smashes out a window—kicking it out with his boot.

    Panel Four
    And then opens fire, spraying bullets out the window—down at SPIDER-MAN and the cops.


    PAGE 7
    Panel One
    BIG IMAGE of the cops ducking for cover as their cars are riddled with bullets—windows shattering—bullet holes peppering their cars—metal-on-metal sparks lighting up.
    Meanwhile, in the line of fire, SPIDER-MAN is leaping, bounding, and springing out of the way!
    In rapid-fire thoughts, SPIDEY tells the reader that he’s freaking out! He’s dodging bullets WITHOUT his spider-sense?! That’s crazy! It’s all just random guessing! He’s practically blind here!

    Panel Two
    In all the chaos, SPIDEY takes careful aim, bends his wrist down—and fires a SPIDER-TRACER. (Remember—just like that time he shot a tracer at SCREWBALL, Spider-Tracker’s are stored on the BACK of his wrist—as opposed to his web-shooter which is on the front of his wrist.)

    Panel Three
    It’s a one-in-a-million shot, but the SPIDER-TRACER goes right though the shattered glass of the window…

    Panel Four
    …and gets on MASSACRE’S coat! MASSACRE doesn’t even notice—as he’s still blasting away—unloading his automatic weapon!

    PAGE 8
    Panel One
    CLOSE UP on SPIDEY as he continues to leap about. He is SO pleased with himself. In his mind, what little of a plan he has is already working.

    Panel Two
    We pull back—as in mid-leap, SPIDER-MAN GETS SHOT! Grazed across his ribs by bullet-fire!

    Panel Three
    SPIDEY falls on the ground, wounded. And YURI gets out from behind the cop cars to go after him—like a brave soldier going back for a downed comrade.

    Panel Four
    YURI pulls him back behind the barricade. She’s worried about SPIDEY! She’s never seen him get shot before. SPIDEY tells her not to worry about it. He did what he had to do. He’s got a tracer on that maniac. If they can get him go—and leave the hostages behind—they can nail him when he’s on his own.

    Panel Five
    YURI gets on her bullhorn and yells out to MASSACRE—telling him that he’s won. They’ll do whatever he wants!


    PAGE 9
    Panel One
    Cut to later. Things are settled down. There’s no more dust or debris in the air. The cars have been pulled back blocks away. SPIDEY has some kind of towel or dressing that he’s holding to his wound. YURI is receiving a call from the bomb squad. They’re saying that they’ve removed the vest from the last of the hostages.

    Panel Two
    SPIDEY and the cops approach the site of the bank. Hostages (no longer wearing their vests) are being lead to ambulances by well-padded NYPD bomb squad units.

    Panel Three
    Aspect shot: One cop spots an open manhole cover. He thinks this is where MASSACRE went.

    Panel Four
    Down inside the sewers, YURI, SPIDER-MAN, and a couple of cops are standing by a four-way junction… Each of the three branching pathways in front of them is wired with explosives. One of the cops says that they’ll have to bring the bomb squad down here as well.
    YURI asks SPIDER-MAN which section they should clear first. Which way did MASSACRE go? What’s his spider-tracer telling him?

    Panel Five
    CLOSE UP of SPIDER-MAN, his head lowered in shame. HE DOESN’T KNOW! His spider-tracers are linked to his spider-sense! Without it, they’re useless! He doesn’t know what he was thinking!


    PAGE 10
    Panel One
    Establishing shot of the building where NIGHT NURSE has her emergency super hero clinic.

    Panel Two
    Inside her bare bones ER, NIGHT NURSE is properly dressing SPIDER-MAN’S wound. His shirt’s off, but his mask is still on.
    NIGHT NURSE says that she usually doesn’t treat him for gunshots. This is a rare thing. SPIDEY tells her that her bedside manner sucks. Does she know that?

    Panel Three
    As SPIDEY, pulling his shirt back down, walks out through the waiting room, we see that PALADIN is there, his arm in a makeshift sling. In the background, a TV is bolted to the wall (just like in a hospital). The news is covering the recent MASSACRE attack—and what a tragedy it has been for New York, and the eight families that lost loved ones.
    “Geez, web-head,” says PALADDIN, talking about the news, “way to louse it up for the rest of us…”

    Panel Four
    CLOSE UP on PALADDIN as he reminds SPIDEY that first he let the Mayor’s wife die—and now THIS? He’s really slipping up. (Something to keep in mind—PALADDIN is a total jerk who only does super hero-ing stuff for money.)


    PAGE 11
    Panel One
    Again, throughout this entire issue—there is no “jokey” Spider-Man. This is a mad, angry, and confused SPIDER-MAN—who is at his wit’s end.
    SPIDER-MAN grabs PALADDIN and SLAMS him up against the wall. He is NOT going to take ANY of his shit! NOT TODAY!

    Panel Two
    PALADDIN winces. SPIDEY manhandling him is not doing his hurt arm any favors.
    “Damn, Spider…” he tells him, “…you really need to grow a thicker skin.”

    Panel Three
    SPIDEY stops and looks at all the padding/armor on PALADDIN’S costume.

    Panel Four
    CLOSE UP on SPIDEY. “Yeah,” he says, “I think I do.”


    PAGE 12
    Panel One
    Cut to JONAH in his office at city hall. On his desk he has all kinds of photos, testimonials, and awards/certificates that show what a rich, full, and celebrated life his wife, MARLA, led.

    Panel Two
    He gets on the phone and calls ROBBIE. JONAH says that he’s put together some things for a tribute to Marla. A follow up—celebrating her life.

    Panel Three
    Cut to the BUGLE. It’s a madhouse, as everyone is running around putting together the MASSACRE story! Files on all the victims. A profile on MASSACRE himself. Photos of all the destruction…
    As chaos circles around him, ROBBIE tries to give his friend, JONAH’S call his full attention.

    Panel Four
    Close up on ROBBIE as he apologizes to JONAH, but MARLA is not the story any more. They have to focus on this new massacre that took place. ROBBIE’S very sorry but-- Did JONAH hang up on him? Jonah?!

    Panel Five
    Cut back to JONAH’S office. JONAH is standing over his desk. His hand having just hung up the phone. He looks stone faced—dead inside—as opposed to his usual fiery/angry self.
    GLORY GRANT has walked into the room with the CHIEF OF POLICE. She tells JONAH that they’ve arranged a meeting with the family members who lost loved ones during this recent massacre. She asks JONAH if he’s up for it. JONAH says that he’s the MAYOR—he knows how to do his job.


    PAGE 13
    Panel One
    With some cameras looking on, JONAH and the CHIEF OF POLICE approach the family members of the victims from today’s massacre. These are husbands, wives, and parents. There is only ONE young child there-- a boy who lost his mother in the attack.
    JONAH is very Mayoral—professional—and on his game. He says everything a Mayor is supposed to say. He is a pillar of strength—assuring the families of the victims that the city will not forget their loved ones, and that the chief of police has New York’s finest on this case.

    Panel Two
    No expense will be spared in order to mete out justice. JONAH is serious. Though he’s usually a skinflint, this time, money is no object. And he is sincere about that.

    Panel Three
    JONAH notices how upset the young boy is. He asks for the cameras to be turned off.

    Panel Four
    And then he takes the boy aside to have a private word with him.

    Panel Five
    Two figure shot of JONAH and the BOY talking in private. The boy intimidated a little, but attentive and listening.
    JONAH tries to put what happened today in a child’s terms. NOT talking down to the boy, but getting to core fundamental truths.


    PAGE 14
    Panel One
    CLOSER in on JONAH as his stone-like veneer starts to crack. For the first time since MARLA’S death, he’s talking with pure emotion. He’s telling the boy that he understands about his loss.

    Panel Two
    JONAH tells the boy that this MASSACRE character—the man who killed his mother—that JONAH will do everything in his power to END him. He will NOT come back. He will not harm anyone EVER again.

    Panel Three
    CLOSE UP of JONAH. Maybe even a shot of his eyes—or an up angle on JONAH—like a POV shot from the young boy’s perspective—looking up at this adult’s face.
    JONAH promises the BOY, as the MAYOR, he’ll see that bastard dead.

    Panel Four
    SILENT REACTION SHOT of the BOY. The boy has stopped crying. But is it because JONAH’S news has comforted him—or scared him?

    Panel Five
    As JONAH walks away with GLORY and the CHIEF OF POLICE, JONAH inquires about Alistair Smythe, the man who killed his wife. Once he’s apprised of his status, JONAH says as Mayor of New York, he wants to make certain Smythe is facing the death penalty. When GLORY starts to question him, JONAH tells both of them to get on it! He’s done with pussy footing around. He has zero tolerance for murderers in his city. Everything changes. Right now!


    PAGE 15
    Panel One
    Cut to HORIZON LABS. An unshaven PETER PARKER is emerging from his lab. We don’t know what he’s been building—we’ll see that later. (Basically, I don’t want to do 3 arcs in a row where we SEE Peter cobbling together a device and/or suit. But I do want to reinforce that this IS part of the new set up. Much in the same way that we don’t HAVE to see him whip up each batch of web-fluid, but we DO know that he logically has to do that.)

    Panel Two
    PETE heads to the Atrium to get a much needed snack. A can of soda goes flying towards him as an off-panel GRADY SCRAPS tells him to “think fast”.

    Panel Three
    PETE (who no longer has spider-sense) turns and takes the can of soda RIGHT in the ribs where he was shot earlier. He winces.

    Panel Four
    GRADY (the happy, jolly fat guy who calls everybody “dude”) comes over and profusely apologizes. He says that he’s done this to Pete a couple of times before—and thought it was a regular “thing” with them. Pete ALWAYS caught it before…
    PETE picks up the can of soda and tell GRADY not to sweat it—he’s just been a little—off—lately.

    Panel Five
    We pull back to a group shot.
    GRADY leads PETE over to the Atrium where a bunch of Horizon cast members are hanging out and talking: BELLA (the nerdy, hippy chick), TIBERIUS STONE (Boo! Hiss! He’s secretly a spy for bad guys), and SAJANI (the know-it-all with a chip on her shoulder—and a wonderful taste in hats).

    PAGE 16
    Panel One
    Everybody’s hanging out talking about geeky water cooler stuff—what happened on TV last night—a new scientific breakthrough about greenhouse gas emissions—and a new LOL cat on YouTube.

    Panel Two
    PETE loses it a little. What’s the matter with these guys? This is the most trivial stuff in the world! There was a massacre in Manhattan this morning. Eight people are dead. If Pete was hanging with his NORMAL friends at the Bugle or the Coffee Bean—THAT is what they’d be talking about.

    Panel Three
    BELLA says that greenhouse gasses effect everyone. That’s important. In the big picture, right?
    SAJANI cuts BELLA off and reads PETE the riot act….

    Panel Four
    SAJANI asks PETE if he gets this way about EVERY death in the world? If so, why isn’t he down in Haiti helping with relief efforts? What about eight—probably mostly white—New Yorkers has him more worked up than anything ELSE in the world?
    PETE is taken aback and doesn’t know how to answer.
    From off panel, a voice (UATUA JACKSON) tells PETE that Horizon IS trying to help out with the massacre…

    Panel Five
    UATU JACKSON comes over and pulls PETER away. He tells PETER that he and MAX MODELL actually HAVE been working on something related to the massacre. Here—He’ll show him…


    PAGE 17
    Panel One
    UATUA takes PETER over to a workstation where MAX is showing CAPTAIN YURI WATANABE a new piece of equipment that HORIZON has been working on to help local law enforcement. It’s a new app for their e-reader.

    Panel Two
    MAX starts explaining how it works to both YURI and PETER. This is a new facial recognition app. Show it any footage-- or image-- of a known felon, and it will cross reference ALL known police data files from around the world—and compile a user friendly dossier about that perp—with lightning fast speed.
    (The e-reader should be like the iPad device that we’ve been showing on the recap pages. It’s important for a later story arc that this is an APPLICATION and NOT a big piece of hardware. This tech his something that all-new WRAITH will use as something that’s hooked INTO her goggles.)

    Panel Three
    YURI shows an image cap of MASSACRE that MAX asked her to bring in—it’s a blurry print out from the bank’s security footage.

    Panel Four
    The e-reader scans the image and starts putting together a file. MAX says that the app has located some video files about this character. He’ll patch them through…

    Panel Five
    PETE watches as DR. KAFKA (a long-time Spider-Man character—a helpful psychiatrist) comes on screen to talk about how MASSACRE was a patient of hers. PETE is surprised to see DR. KAFKA again—even in video form.

    PAGES 18 and 19
    Marcos, here’s why I’m seeing this as a double page layout instead of 2 Five Panel Pages:
    Panels One through Five are far more interesting visuals than Panels Six through Ten—and could probably do with stealing some of Six through Ten’s “real estate”.
    The natural cut off point is Panel Five, but Panel Six plays better if it directly follows Panel Five on the same page. But, in the end, I defer to you—and if you think it works better splitting these pages up, I’m all for it. ‘Cause I trust you implicitly in these matters.

    Panel One
    As the voice of Dr. Kafka narrates—we see old news footage of the accident that killed MARCUS LYMAN’S wife, JUDY, and turned him into MASSACRE.
    Both MARCUS and JUDY were Wall Street traders working for a major investment house. We see them heading home early one night. In contrast to later, we can see that MARCUS is an energetic person laughing about something his wife has just said.
    In narration, Kafka tells us that the LYMANS had the misfortune of being the only casualties…

    Panel Two
    …in a car bomb attack that went off right outside their firm. It was left by the terrorist organization known as ULTIMATUM, who are bent on destroying all forms of government and its infrastructures. We see the blast going off—and both MARCUS and JUDY getting caught in it.

    Panel Three
    As Dr. Kafka continues to narrate, we cut to an X-ray of MARCUS’S skull, showing a jagged piece of shrapnel that, by all rights, should have killed him. The shrapnel is both poking far into his skull, and protruding far out of it. Kafka explains that even though it was successfully removed, and MARCUS was still a fully functioning human being, parts of his brain were no longer active—his personality had been drastically altered. His ethics and regard for others were apparently GONE altogether.

    Panel Four
    We cut back to the newsreel—where MARCUS (the fragment now sticking out of his bleeding head), is cradling his wife’s dead, lifeless body. We can’t see MARCUS’S face though. It’s down turned.

    Panel Five
    Close up on MARCUS as he looks up and stares RIGHT into the camera with lifeless eyes—devoid of any emotion. It should be chilling to see. A man holding the dead body of the woman he loves—but not showing any sign of caring. None at all. This shouldn’t look like shock. This should look like staring into the abyss and finding nothing.

    Panel Six
    Silent reaction shot of YURI, MAX, UATU, & PETER looking at MARCUS’ haunting face. It’s creepy.

    Panel Seven
    Match shot. Suddenly YURI’S police communicator goes off—having the same effect of someone going “BOO!” in the middle of everyone watching a horror film. Everyone’s startled, letting at various sounds like “AH!” “GYAH!””Damn!” and “Oh!”

    Panel Eight
    YURI apologizes, pointing out that it’s her police communicator. She has to take this.

    Panel Nine
    Cut to YURI on the phone. It’s MASSACRE! He’s struck again? He has hostages again? The Wall Street District? She’s on her way.

    Panel Ten
    We pull back as YURI excuses herself to MAX, she has to go. UATU notices that PETE’S gone. Where’d he take of to?


    PAGE 20
    Cut to PETER in his lab. In a series of Quick aspect shots, he suits up in his new armor and straps on his new custom-built web-shooters.
    If there’s room—we could see him taking off from the rooftop of HORIZON LABS.


    PAGE 21
    Panel One
    Cut to MASSACRE’S latest hostage scenario: he’s taken members of his old investment firm hostage in their Wall Street offices. Outside we see nice establishing shots of the WALL STREET area—including the iconic shot of the George Washington statue.

    Panel Two
    Not only are the police there, but the CHIEF OF POLICE is there too! The POLICE CHIEF is by a parked limo—with one of its darkened windows slightly cracked open. THE CHIEF is confirming with the person inside—is he certain of this new policy.

    Panel Three
    Inside the limo is the shadowy form of J. JONAH JAMESON. He tells the CHIEF OF POLICE that he has it on his authority—if they S.W.A.T. teams have MASSACRE in their sights—they are to take the shot! Is that clear?!

    Panel Four
    Once again—MASSACRE is making his demands—once again, MASSACRE has a room fool of hostages. This will not go down well.

    Panel Five
    Close up on MASSACRE as he delicately fingers the SPIDER-TRACER that Spider-Man placed on him earlier. MASSACRE says that they wanted to find him—he’s made it easy for them. They have to be taught a lesson about following his rules.


    PAGE 22
    Panel One
    As the POLICE CHIEF is mobilizing heavily armed S.W.A.T. teams, YURI’S police cruiser pulls up.

    Panel Two
    YURI demands to know what’s going on. The POLICE CHIEF says that after her performance earlier, he’s running the show this time. This is what she gets for putting her faith in a wall-crawling idiot like…

    Panel Three
    SPIDER-MAN comes barreling in—in his new armored suit! The cops are worried. What the hell is he going to do this time?!

    Panel Four
    The POLICE CHIEF is yelling at SPIDEY as he blasts right on by…


    PAGE 23
    Panel One
    …and shatters through a window into the building where MASSACRE is currently holding hostages!

    Panel Two
    Before MASSACRE has a chance to react, SPIDEY goes jumping around the room—
    --DITKO-style! He’s shooting webs at ALL the hostages in their bomb-vests!

    Panel Three
    MASSACRE tells SPIDEY that he’s just sealed their fates! He activates a trigger on his kill-switch!

    Panel Four
    Cut to the some of the hostages screaming their heads off with fear---


    PAGE 24
    Panel One
    --but nothing happens! Standing in front of them—poised for battle—SPIDEY tells MASSACRE that this new batch of webbing BLOCKS radio signals. He has NO way to detonate his hostages!

    Panel Two
    MASSACRE opens fire on them-- but SPIDEY leaps into action and follows the trail—blocking the bullets with his armor-plated body, deflecting all the bullets!

    Panel Three
    Without his spider-sense, dodging bullets is HARD—but getting in the path of them—is the easiest thing in the world! It’s taking a lot out of him—and he’s feeling some pain—but it’s something he can live with! NO ONE DIES TODAY!


    PAGE 25
    Panel One
    SPIDEY finishes his big acrobatic moves—by plowing into MASSACRE with a massive hit!

    Panel Two
    Some of their fight knocks out walls and windows—leaving them more of an open target for the police’s sharp shooters (two pages from now).

    Panel Three
    Finally, MASSACRE brandishes his kill-switch! He says he’s prepared for this! There are hostages is another part of town! He pushes this switch—they’ll all die—and there’s nothing SPIDER-MAN can do about it!


    PAGE 26
    Panel One
    SPIDEY webs the kill-switch and MASSACRE’S hand.

    Panel Two
    REACTION SHOT of MASSACRE as he looks at his big, web-balled-up hand. From off panel SPIDEY says, “Remember? It blocks all radio signals?!”

    Panel Three
    SPIDEY delivers a massive/victorious punch or kick—knocking MASSACRE back…


    PAGE 27
    Panel One
    Outside, one of the sharp shooters, looking through his targeting site, says that MASSACRE has been incapacitated. What should they do?

    Panel Two
    Hearing this over his police communicator—the POLICE CHIEF tells his men to TAKE THE SHOT! YURI objects—this is NOT correct procedure---

    Panel Three
    Cut to a stumbling MASSACRE—who is now lit head-to-toe in red-laser-target sightings!

    Panels Four
    We see a row of sharp shooters pulling their triggers! Their muzzles ignite with gunfire! BIG SOUND EFFECTS LET LOOSE—BRATTA BRRT BRATTA BRRT!


    PAGE 28
    Panel One/BIG IMAGE
    AND SPIDER-MAN GETS IN THE WAY OF ALL THE LETHAL SHOTS—SAVING MASSACRE—and blocking them with his armored body!
    Even though armored—it’s obvious that Spidey’s new suit was NOT designed to take THIS much damage! Spidey taking these hits—FOR a dangerous psychotic—should look DAMN heroic!

    Panel Two
    The sharp shooters stop.

    Panel Three
    A weakened SPIDER-MAN is grateful that they let up.


    PAGE 29
    Panel One
    Later… SPIDER-MAN and all the hostages leave the building. They’re still in webbed up bomb-vests—and still scared. SPIDER-MAN is dragging a webbed up MASSACRE behind him.

    Panel Two
    JAMESON bursts out of his parked limo—furious at SPIDER-MAN! HOW DARE HE SAVE THAT LUNATIC?! IS SPIDER-MAN OUT OF HIS GOD DAMN MIND?!

    Panel Three
    SPIDEY and the widower, MAYOR JAMESON, have it out in the street. SPIDER-MAN says that he’s a hero—they’re the good guys—we have to save EVERYONE. We don’t get to be God.
    JAMESON tells SPIDER-MAN that even if they give this piece of trash the death sentence… Who’s to say he won’t break out of prison beforehand? There’s a prison break every damn day in this city!

    Panel Four
    And if MASSACRE strikes again?! EVERY death will be on SPIDER-MAN’S head!
    SPIDER-MAN says that that won’t happen. He’ll see to it. He’s Spider-Man. And from now on, when he’s around, no one dies.

    Panel Five
    JAMESON loses it. He says after all these years, he’s finally figured it out. Spider-Man’s not a menace. He’s an IDIOT! SPIDEY swings away.


    PAGE 30
    SPLASH. SPIDEY looks out across NYC—reverse angle from before—now we’re looking right at him—heroically lit—a sentry standing watch over the city.
    SPIDEY is now more sure of himself than ever. He can do this. It’s not impossible. He has great power, great resources, and dedication. He will live up to this promise. He’ll make this work.

    THE END

    "If you ever start to feel too good about yourself, they have this thing called the internet."
    Tina Fey 1/12/09

  3. #93
    ndub33's Avatar
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    Re: Easter Eggs!

    I am new to the site, and just stumbled across this thread. This is great stuff...engrossing and insightful, especially the backstories behind each script. I know that it has been a while since anything has been posted here-but Dan, if you schedule allows, please put up more of these! And thanks for what you have posted thus far.

  4. #94

    Re: Easter Eggs!

    Hi. Haven't posted one of these in a while...

    Here's the Plot to the 2011 Free Comic Book Day issue of Amazing Spider-Man...

    SPIDER-MAN FCBD
    “Way of the Spider”
    Plot for 20pgs
    12/29/10
    Dan Slott

    Characters:
    MADAME WEB
    Julia Carpenter—as she appeared at the end of GRIM HUNT, w/ red glasses, and a red costume w/ a white spider emblem.

    RICHARD & MARY PARKER
    Peter’s parents—at around the age when Peter was born.

    SPIDER-WOMAN
    The current one appearing in AVENGERS, Jessica Drew.

    THE MANDRILL
    A big, talking monkey-man, with the power to enslave all women with his powerful pheromones. http://bit.ly/35qRoW & http://bit.ly/hgv31t http://www.primates.com/mandrills/index.html http://www.oocities.com/daredevil_vi.../mandrill.html

    SHANG-CHI, THE MASTER OF KUNG FU
    It might be nice to use the design Deodato’s using over in SECRET AVENGERS. But if you want to go with a more classic version of his costume, like the one we used in the SPIDER-MAN: SHADOWLAND one-shot, that could be cool too.)

    Everybody else in the story is new (supermodels, cops, random New Yorkers, etc.) so you get to make them up.


    Locations
    5th Ave. (Near all the fancy stores: Tiffany’s, Bergdorf Goodman, Henri Bendel, etc.)

    Shang-Chi’s martial arts studio (It should look Chinese—and not like a Dojo, which is Japanese).

    We also see Madame Web’s lair—but in my mind, it’s all in shadows and knocked out in black.


    Extra Reference
    At the top of the issue, we’re going to retell Spidey’s origin in a double page layout. This will be your interpretation in your art style, so it wouldn’t hurt to have pages of AMAZING FANTASTY #15 standing by. (You should totally ask Steve & Ellie if Marvel can send you an original copy. For reference.)



    PAGES 1 & 2
    This is a double page spread where MADAME WEB looks through the “Web of Destiny” as she tells us of PETER PARKER’S beginnings, the origin of SPIDER-MAN, and ominously introduces us to the question/theme that will be raised by next summer’s Spidey Event, “SPIDER ISLAND.”
    This spread is made up of 3 tiers. The First Tier takes us from Peter Parker’s birth to when The Spider lowered itself towards him on its silken thread.
    The Second Tier takes us from when Peter was bitten to when he failed to stop The Burglar.
    And the Third Tier takes us from when The Burglar shot Uncle Ben to the lesson Peter/Spider-Man learned… and how it might no longer apply thanks to what Madame Web sees coming up in the future…

    These Tiers are made up of four panels a piece. That means that there’s a good chance that the panels might split evenly down the middle. So that readers can follow the flow across to the second page, it might be a good idea to use a stylized boarder (probably a web pattern) to force the reader to see the three tiered structure. Does that make sense?

    TIER ONE
    Panel One
    Open on the NEW MADAME WEB sitting in the darkness, weaving a web-like tapestry. In narrative captions she tells us who she is, and how her newfound “sight” lets her look into the tapestry of life—the Web of Destiny.
    But its threads stretch out so far… Which, for one of its most pivotal players, The Amazing Spider-Man, begs the question: “Where does his story begin?”

    Panel Two
    Does it start at the moment of his birth? We see a shot of MARY PARKER in the hospital, propped up in bed and holding her new son, PETER, bundled in her arms. Her husband RICHARD PARKER is by her side, and his brother BEN PARKER and his wife MAY look on lovingly.

    Panel Three
    In captions, Madame Web asks if the story starts with Peter’s real parents, the couple who raised him, and helped shape his values…
    We see a shot of MAY, PETER, and BEN at the breakfast table—and how much MAY and BEN doted on their nephew. (AMAZING FANTASY #15, Page 2, Panel Two.)

    Panel Four
    In captions, Madame Web asks if Peter’s story starts with a literal thread, and the spider which spun it…
    We see a Bird’s Eye View shot, focusing on the SPIDER as it lowers itself towards the pair of radioactive globes… Below, we can see the form of PETER PARKER, high school student, attending a science exhibit.

    TIER TWO
    Panel Five
    We see your take on AF #15, Page 3, Panel Four, when the SPIDER bit PETER.

    Panel Six
    We see a montage of SPIDER-MAN using his various powers in front a TV camera: using his SPIDER-STRENGTH to lift something heavy, his WALL-CRAWLING ability to stick to walls, and his SPIDER-WEBS to shoot an object.
    These don’t have to be homages to AF #15, but he should be in the classic costume with the smaller eyes, the stylized spider on his chest, and the big webs under the arms.

    Panel Seven
    We see your take on AF #15, Page 8, Panel Two, where the GUARD is yelling for SPIDER-MAN to stop THE BURGLAR, but SPIDEY stands by and does nothing.
    PAGES 1 & 2 (continued)
    TIER TWO (continued)
    Panel Eight
    We see your take on AF #15, Page 8, Panel Six, when SPIDEY walked away from the GUARD telling him that stopping that Burglar was none of his business and that he had “better things to do.”

    TIER THREE
    Panel Nine
    We see THE BURGLAR shooting UNCLE BEN inside the house in Queens as a devastated AUNT MAY looked on. (There’s no shot of this in AF #15, but it’s alluded to on the second page of ASM #1).

    Panel Ten
    We see your take on AF #15, Page 11, Panel Three, when SPIDEY punched out THE BURGLAR.

    Panel Eleven
    We see your take on AF #15, Page 11, Panel Four, when SPIDEY realized that THE BURGLAR was the same man he failed to stop before.
    In narration, Madame Web tells us of the lesson that Peter learned that day: “That with great power must also come great responsibility.”

    Panel Twelve
    As MADAME WEB finishes weaving this part of the tapestry, she asks “But what would happen to Spider-Man’s story if there ever came a time when his power was not so great…?”



    PAGE 3
    SPLASH PAGE
    EXT. DAY TIME, 5th AVENUE, one of the ritziest and most expensive shopping districts in the world—swanky shops like Tiffany’s, Henri Bendel, and Bergdorf Goodman line the streets. And now, it’s the middle of a super hero slugfest—
    --as SPIDER-WOMAN flies towards SPIDER-MAN and painfully zaps him with one of her powerful “venom-blasts.”
    (Humberto, as SPIDER-MAN reels, please twist his neck and knock his head back so that we can see both SPIDER-WOMAN and SPIDER-MAN’S faces in this shot.)


    PAGE 4
    The centerpiece of this issue is a knockdown, drag-out fight between SPIDER-WOMAN and SPIDER-MAN, where SPIDER-MAN is woefully outclassed!
    SPIDER-MAN is fighting without the use of his spider-sense (which he lost back in ASM #654). And SPIDER-WOMAN has the extra advantage of being trained in combat techniques by both Hydra and S.H.I.E.L.D.—whereas SPIDER-MAN has no real formal fighting training at all.
    After this splash, that should be the focus of their battle. We should see SPIDER-WOMAN using very skilled and lethal attacks and counter-attacks on SPIDEY and kicking the shit out of him!
    Humberto, think of how awesome Scarlett Johansson looked when she was pulling off all of those super-cool moves as Black Widow in IRON MAN 2.

    Panel One
    As SPIDER-MAN and SPIDER-WOMAN continue to fight (or rather, as SPIDEY continues to get his ass handed to him), SPIDEY thinks of how he got into this mess. Now that he’s earning the big bucks, he thought he’d buy Aunt May something from Tiffany’s for her birthday.
    (We don’t see a flashback here—this is all just in SPIDEY’S narration captions. All we see is more of the SPIDER-MAN/SPIDER-WOMAN fight—as SPIDEY keeps getting pummeled.)

    Panel Two
    Close up of SPIDEY struggling almost face-to-face with an angry SPIDER-WOMAN. SPIDEY thinks how he had no way of knowing that his fellow Avenger, SPIDER-WOMAN would be knocking over that same jewelry store!

    Panel Three
    We pull back to see why SPIDER-WOMAN has apparently turned to evil…
    Nearby, watching SPIDER-MAN and SPIDER-WOMAN fight, is THE MANDRILL, dressed in an expensive Armani suit, and being attended to by a bevy of mind-controlled super-models. They’re all carrying his shopping bags from all of the most expensive 5th Avenue shops.

    Panel Four
    Close up of the MANDRILL laughing. In thought captions, Spidey fills us in that the MANDRILL is a bad guy who secretes powerful pheromones that make all women do his bidding…
    …including Spider-Woman! (In fact, it turns out that Spider-Woman’s own super-powerful pheromones leaves her especially prone to the MANDRILL’S form of mind-control.)


    PAGE 5
    Panel One
    The MANDRILL grows bored of this affair. He examines a jewel he had Spider-Woman steal for him from Tiffany’s. He tells her that there are some more pieces that he wishes to acquire. So if she could be a dear and kill off Spider-Man quickly, that would really help speed up his day.
    In the background, SPIDER-WOMAN continues to beat up SPIDER-MAN.

    Panel Two
    SPIDER-MAN tries to fight back and swings a big punch…

    Panel Three
    …but SPIDER-WOMAN dodges his attack, grabs his arm, and gets ready to judo toss him…

    Panel Four
    Cut to a nearby rooftop, where a woman and a man-- knocked out in shadow—watch SPIDEY and SPIDER-WOMAN fight on the street below.
    (The mysterious figures are actually the NEW MADAME WEB and SHANG-CHI.)
    The MAN wants to know if this is why she asked him to come here—to watch these two heroes in battle?
    “Yes,” the WOMAN tells him, “What do you think?”
    “Spider-Man is one of my friends,” he says, “I think I should go down there and help him.”
    “No.” she says.


    PAGE 6
    Panel One
    REVERSE ANGLE, big “hero shot”—as we reveal both MADAME WEB and SHANG-CHI. SHANG-CHI tells MADAME WEB that he’s confused.
    “You knew this fight would take place at this point in time?” he asks.
    “Yes, Shang-Chi” she tells him, “I’m Madame Web, I predicted it.”
    “And it was important that I be here as well—but you will not let me fight?”
    “Correct. Your presence here is pivotal. But any choice that is to be made today, is for Spider-Man. And Spider-Man alone.”

    Panel Two
    MADAME WEB and SHANG-CHI go back to watching the lopsided battle in progress—as SPIDER-WOMAN strikes a very martial-arts-style pose—getting ready to attack SPIDER-MAN again.
    “So,” says MADAME WEB, “as a master of kung fu, a fighting expert, what do you think?”
    “Her form is excellent,” he says, “Military training. Techniques I have seen used by both Hydra and S.H.I.E.L.D. Her opponent, on the other hand…”

    Panel Three
    Close up on SPIDER-WOMAN finishing her attack and striking SPIDER-MAN down. In a voice over caption we hear Shang-Chi complete his thought.
    “…Spider-Man , he still has a lot to learn.”


    PAGE 7
    Panel One
    CLOSE UP on MADAME WEB’S face. In her glasses we see the reflection of the full figure of SPIDER-MAN struggling to get to his feet. The image is repeated in both lenses.
    MADAME WEB explains that in the past SPIDER-MAN could rely on his SPIDER-SENSE to get by, but now that is gone. Recent events have severed his ties to the “Web of Destiny”.

    Panel Two
    Cut to SPIDER-MAN who shoots a rapid fire salvo of impact web-balls at SPIDER-WOMAN…
    In narration, Madame Web says, “He has proven himself to be resourceful time and again…”

    Panel Three
    “…but in the days to come, I fear that will not be enough.”
    In multiple image shots we see SPIDER-WOMAN jumping, dodging, weaving—and successfully avoiding ALL of Spidey’s web-balls.

    Panel Four
    End on MADAME WEB being stone faced and serious with SHANG-CHI. She tells him that if Spider-Man is to have any hope of surviving coming events—he shall need to become a warrior.
    SHANG-CHI says he would be honored to help his friend.
    “Again,” MADAME WEB tells him, “that choice is not for you to make.”


    PAGE 8
    Panel One
    SPIDER-MAN finally lands a hit on SPIDER-WOMAN! And SPIDER-MAN is pleased with himself. It took some doing but he finally… hit a girl.

    Panel Two
    And SPIDER-WOMAN easily shakes it off…

    Panel Three
    …and SMACKS SPIDER-MAN sending him flying. In the background, the MANDRILL (who is still being attended to by his bevy of supermodels) laughs at SPIDEY’S misfortune. As do all the pretty ladies.

    Panel Four
    CLOSE UP of a beaten and bashed SPIDEY picking himself up off the ground again. SPIDEY grumbles that “This stinks.”

    Panel Five
    Match shot as SPIDEY triumphantly realizes something. “Wait. That’s it!” he says, “I’ve got a plan.”



    PAGE 9
    Panel One
    SPIDER-MAN goes leaping and bounding towards a posh 5th Avenue shop. As he heads away from SPIDER-WOMAN, the MANDRILL orders SPIDER-WOMAN to go after him and destroy him once and for all!

    Panel Two
    Interior of a posh 5th Ave department store (think HENRI BENDEL) as SPIDEY leaps through the front doors. A fancy doorman (in full uniform) ducks as SPIDEY goes bounding over his head. This should be a fun “Spidey in New York” moment as the doorman tells him that he can’t come into their stuffy store like that!
    And SPIDEY gives him some clever quip back.

    Panel Three
    SPIDEY swings his way through the department store, past all their displays of fancy hats and designer handbags. All the upper crust shoppers are startled.
    As he zips by, SPIDEY quips, asking if they have anything in a nice web-pattern, something to compliment his utility belt?

    Panel Four
    Back at the front door, the doors are blown off their hinges by a double shot of SPIDER-WOMAN’S venom-blasts—as she flies straight on through—hot on Spidey’s trail.
    The doorman is knocked down by the explosion—but we should not think that he’s been killed or seriously hurt.


    PAGE 10
    Panel One
    SPIDEY lands from his web-swing…

    Panel Two
    …and looks around the department store. He knows what he’s looking for is around here somewhere. He’s sure he saw it earlier while he was shopping for Aunt May’s birthday gift…

    Panel Three
    CLOSE UP on SPIDEY’S face. Suddenly, SPIDEY sees what he was looking for! His plan might just work.
    But what he doesn’t notice is SPIDER-WOMAN flying up quickly behind him! One of her cocked fists glowing with a charged venom blast…

    Panel Four
    POW! With a combined punch/venom blast (looking almost like Danny Rand using his IRON FIST), SPIDER-WOMAN clocks SPIDER-MAN and sends him flying!



    PAGE 11
    Panel One
    …and SPIDER-MAN goes smashing into and THROUGH a number of perfume displays!

    Panel Two
    As SPIDER-MAN lands groggily in one last perfume display, covered in broken glass and doused in tons of perfume, he acknowledges that this was all part of his plan. He just wishes he could’ve pulled it off a little more gracefully.

    Panel Three
    With her super-strength, SPIDER-WOMAN grabs SPIDER-MAN by his costume (around the chest)…

    Panel Four
    …and lifts him off the ground with one hand. SPIDER-MAN’S dazed and stunned—his legs dangle off the ground.
    With her other hand, SPIDER-WOMAN cocks back a clenched fist—which glows from the power of her venom blast. She’s getting ready to deliver the killing blow…


    PAGE 12
    Panel One
    Cut to a CLOSE UP of SPIDER-WOMAN and SPIDER-MAN… As SPIDER-WOMAN looks like she’s just smelled something terrible.
    “Oh my god, Spidey,” she says, “you reek.”
    “Jess?” says SPIDER-MAN, “Is that you?”

    Panel Two
    Match shot as SPIDER-WOMAN smiles at SPIDER-MAN.
    “Yeah,” she tells him, “I’m back. Now that you’ve got the smell of Mandrill out of my nose.”
    “Well, “ says SPIDEY, “You know the rule about fighting monkey-men. See no evil, hear no evil, and smell no evil.”
    “Speak no evil,” she corrects him.
    “Right,” he says, “And speaking of evil monkeys…”

    Panel Three
    Cut to OUTSIDE on 5th Avenue, MANDRILL is laughing it up with his entourage of mind-controlled super models…

    Panel Four
    Cut to a shot of MANDRILL’S back as two iconic super hero gloves (one of SPIDEY’S and one of SPIDER-WOMAN’S) poke in from either side of the panel and tap MANDRILL on each shoulder.
    MANDRILL sniffs and starts to turn his head as if to say, “Yes?” and “Ew? What’s that smell?”



    PAGE 13
    SPLASH PAGE
    Humberto, give me a nice Gil Kane type shot, where both SPIDER-MAN and SPIDER-WOMAN—on opposite sides of the MANDRILL—connect with big, swinging punches—and send the MANDRILL flying right towards the reader—his back and head bent so far back that we can see his big, dazed, baboon-like face!
    This is one of those times where you can say to hell with the background—and just draw big ol’ speed lines and have a giant, comic book style KTAMM! sound effect!


    PAGE 14
    Panel One
    Later… The police have the MANDRILL in high-tech handcuffs and his head in a high-tech muzzle. They’re loading him up into a special armored police van.
    Nearby the now no-longer-mind-controlled super models are booing him and telling him off!
    SPIDEY and SPIDER-WOMAN are now standing side-by-side and are clearly on each other’s good sides again.
    “Take him away, boys,” says SPIDER-WOMAN to the police.
    “And she does mean, ‘boys’, “ chimes in SPIDEY, “We’re serious! No female officers anywhere near Mr. Axe-Body Wash there! ¿Comprende?”

    Panel Two
    Two cops near SPIDEY look confused. They’re talking loud enough for both SPIDEY and SPIDER-WOMAN to hear.
    One cop says, “What are we supposed to do about, Spider-Man? Isn’t he a vigilante or something? Should we arrest him too?”
    The other cop strokes his chin, a little confused too, “Yeah… I’m not quite clear on that either…”

    Panel Three
    While addressing both of those cops, SPIDEY throws both his hands up in the air—in a big bombastic gesture and says, “What are you talking about? Don’t you know? I’M ONE OF THE MIGHTY AVENGERS!”

    Panel Four
    Both of the cops shrug their shoulders and saunter off.
    “Yeah,” says one of the cops, “He is an Avenger now, isn’t he?”
    “Guess that answers that,” says the other cop.
    “Hmm,” says SPIDER-WOMAN to SPIDEY, “That actually worked.”
    “Whattya know…” says a bemused SPIDEY.


    PAGE 15
    Panel One
    The doorman from PAGE 9 and a snooty upper crust manager from his department store come storming into the shot. (For later, please establish a hot dog vendor in the background.)
    “That’s them!” says the doorman pointing at SPIDER-MAN and SPIDER-WOMAN.
    “All right!” says the manager to SPIDER-MAN, “Who’s going to pay for all that damage to my store?! “

    Panel Two
    SPIDER-MAN tells the store owner to send the bill to Tony Stark.
    “You can do that?”says the manager, looking a little confused.
    SPIDER-MAN throws both his arms up into the air in the same heroic gesture he made on the last page.
    “I’m an AVENGER!” he proclaims.

    Panel Three
    “Um… okay then,” says the manager as he and the doorman walk away.
    SPIDER-WOMAN starts flying away, saying that she should be going too.
    SPIDEY waves goodbye to her—and sarcastically tells her that next time he won’t go so easy on her.

    Panel Four
    SPIDEY goes over to the hotdog vendor and makes the same big gesture with his hands.
    “One with all the works, please,”says SPIDEY.
    “That’ll be five bucks.”
    “I’m an AVENGER!”
    “Take a hike!”

    Panel Five
    “Aw well,” says SPIDEY shrugging his shoulders, “It was good while it lasted.”
    From off panel a voice calls out to him. (It’s SHANG-CHI…)



    PAGE 16
    Panel One
    SPIDEY asks SHANG what he’s doing there. SHANG starts to tell him—but pauses due to SPIDEY’S overwhelming perfumed stench.
    “You know,” he says, “you are very… fragrant today.”
    “Yeah, yeah,” says SPIDEY, “…so what’s going on, Shang?”

    Panel Two
    SHANG-CHI tells SPIDEY that he witnessed his latest battle, and he starts giving SPIDEY a couple of pointers.
    SPIDEY interrupts him, “Wait,” says SPIDEY, “You saw that fight and you didn’t jump in and help?”

    Panel Three
    SHANG sheepishly explains that he thought it was a fair fight. Both he and Spider-Woman have similar powers, they should have been an equal match. It would have felt unfair for him to upset the balance.

    Panel Four
    SPIDEY goes off on a rant. How was it a fair fight? Spider-Woman has all of these top secret, super-spy moves! Heck, most of the times he fights some one else with spider-powers he’s in over his head! It’d be great if once—just once—HE had the edge!

    Panel Five
    Silent panel as SPIDEY looks at SHANG-CHI and gets an idea.

    Panel Six
    SPIDEY asks SHANG-CHI if he can teach him Kung Fu. SHANG-CHI tells SPIDER-MAN that if that is his choice, he will be happy to oblige.


    PAGE 17
    Panel One
    Establishing shot of SHANG-CHI’S martial arts studio (a new location.)

    Panel Two
    Inside SHANG-CHI is about to give private instruction to SPIDER-MAN. SPIDEY is wearing white karate pants, a white belt, no shirt, and version of his SPIDER-MAN mask that is cut more like Iron Fist’s mask, so that we can see SPIDEY’S chin and mouth.
    SHANG presents SPIDEY with a high-tech inhibitor collar. With this on, it will neutralize SPIDER-MAN’S powers so that SHANG can teach him the fundamentals of Martial Arts.
    SPIDEY tells SHANG that that’s a pretty sophisticated piece of hardware. Where did he get it?

    Panel Three
    CLOSE up on SHANG and SPIDEY as SHANG fastens it around SPIDEY’S neck.
    SHANG tells SPIDEY that when he explained this to the Avengers, and that Spidey would be getting tossed around, Tony Stark was all too happy to donate it.
    SPIDEY smirks that now it makes a lot of sense.

    Panel Four
    SHANG tells SPIDEY that there is no more time for joking. He has to take this seriously. SPIDEY promises.
    “Good ,” says SHANG CHI. “Then we shall begin.”

    Panel Five
    The two men bow towards each other.
    PAGES 18 & 19
    Humberto, this is where you get to go crazy. We should see a montage that represents weeks of SPIDER-MAN learning the deadly art of Kung Fu from SHANG-CHI…

    Panel One
    Shot after shot of the two of them sparring (with SPIDEY wearing the collar).

    Panel Two
    Interspersed with these shots, we should cut to static images of SPIDER-MAN taking what he’s learned and using these moves against SPIDER-VILLAINS during a string of quick adventures:
    A shot of SPIDER-MAN (in costume) using one of these Kung Fu moves against HAMMER HEAD.

    Panel Three
    Shot after shot of SHANG-CHI and SPIDEY (in his Kung Fu gear and collar) sparring.

    Panel Four
    SPIDER-MAN (in costume) using a Kung Fu move against THE SHOCKER.

    Panel Five
    Shot after shot of SHANG-CHI and SPIDEY (in his Kung Fu gear and collar) sparring.

    Panel Six
    SPIDER-MAN (in costume using a Kung Fu move against THE HOBGOBLIN.

    Panel Seven
    We see a CLOSE UP of SHANG-CHI removing the inhibitor collar from around SPIDER-MAN’S neck. SPIDEY is feeling pretty proud of himself. So? He’s finally got this Kung Fu stuff down?

    Panel Eight
    SHANG-CHI tells SPIDEY that this is just the beginning. Now that he knows the fundamentals, they must now develop a NEW style of fighting—one that incorporates all of his abilities. Together they must discover “The Way of the Spider!”

    Panel Nine
    The Panel fades into MADAME WEB’S web-pattern – as we see MADAME WEB’S hands weaving the “Web of Destiny” again. In captions she tells us that there is hope now. SPIDER-MAN is on the only path that has a chance of ensuring his survival. He will need this edge in the months to come…



    PAGE 20
    On this page we go back to the web-pattern boarder. In Panel One, we’ll see Madame Web’s hands weaving. In Panels Two through Four, we’ll see 3 quick shots of random New Yorkers developing spider-powers. And finally, in Panel Five, we’ll see a symbolic shot of Madame Web looking over the skyline of New York—with webs between all of the tall buildings—and spiders symbolically crawling over the cityscape as well.

    Panel One
    As MADAME WEB’S hands continue to weave the “Web of Destiny”, in narration captions she warns us that in the not too distant future, Spider-Man’s powers will not be so great…

    Panel Two
    We cut to a WALL STREET TRADER who is pleased with himself—as he just sold all of his stocks on the floor of the stock exchange—SENSING that they were about to drop in value. We see SPIDER-SENSE lines radiating from his head.

    Panel Three
    We cut to a MOTHER who finds she has the strength to rip the door off of a car and free her child from the back seat of a car accident.

    Panel Four
    We cut to a CONSTRUCTION WORKER who almost fell of high steel at the top of a building that was going up—by sticking his hand to the side of a girder—like how Spider-Man could with his wall-crawling ability.
    He’s astounded by this “miracle.”

    Panel Five
    We see a symbolic image of MADAME WEB looking over the skyline of New York—a New York that is covered in giant webs and has spiders crawling symbolically crawling along the cityscape.
    MADAME WEB knows that, yes, soon SPIDER-MAN’S powers will NOT be so great… once he is living in a CITY OF SPIDERS!

    TO BE CONTINUED…

    "If you ever start to feel too good about yourself, they have this thing called the internet."
    Tina Fey 1/12/09

  5. #95

    Re: Easter Eggs!

    And here's the script...

    SPIDER-MAN FCBD
    “Way of the Spider”
    Script for 20pgs
    2/21/11
    Dan Slott

    PAGES 1 & 2
    Panel One
    (Joe, the first three things from MADAME WEB really need to be balloons instead of captions. It’s weird, but I think for clarity’s sake, it turns her next captions into V/O instead of narration. That way SPIDEY is still our narrator on PAGE 3. Does that make sense?)

    WEB: I’m Julia Carpenter, the latest psychic to call herself Madame Web. And it’s my gift to see this…
    WEB: …the great WEB OF LIFE which we all weave as we crawl from the cradle to the grave.
    WEB: And no soul has been more tied to it than…

    Panel Two
    MARY: “Peter”?
    BEN (from off panel): Always liked the name “Ben”, myself.
    RICHARD: Then “Peter Benjamin Parker” it is.

    Panel Three
    MAY (whisper): Ben!
    BEN: What?
    WEB/CAP: “But where DOES Peter’s thread begin? With the parents who brought him into the world?

    Panel Four
    WEB/CAP: “Or the aunt and uncle who raised him as their own?
    MAY: I cooked your favorite breakfast, Petey—wheatcakes!
    BEN: Don’t fatten him up too much, dear. I can hardly outwrestle him now!

    Panel Five
    WEB/CAP: “Or perhaps it starts with a LITERAL strand…
    WEB/CAP: “…from an errant SPIDER at a science exhibit…

    Panel Six
    WEB/CAP: “…a spider struck down by RADIOACTIVE RAYS, that with its one last bite…
    WEB/CAP: “…transferred its AMAZING POWERS to young Parker.

    Panel Seven
    WEB/CAP: “Powers he selfishly used in pursuit of personal gain.

    Panel Eight
    WEB/CAP: “Till one day, while full of himself and far above the affairs of others…
    WEB/CAP: “He stood by and did nothing while…
    COP: STOP! THIEF!

    Panel Nine
    COP: I oughta run you in!
    SPIDEY: Save your breath, buddy. I’ve got things to do.

    Panel Ten
    WEB/CAP: “I believe his thread starts HERE. Where the thread of his Uncle’s life was cut short…

    Panel Eleven
    WEB/CAP: “…by the thief Peter COULD have stopped earlier.

    Panel Ten
    WEB/CAP: “For it was then Peter learned his greatest lesson…
    WEB/CAP: “That With Great Power Comes Great Responsibility.”

    Panel Eleven
    WEB: But what if there came a time when his power was NOT so great?


    PAGE 3
    LOCATOR CAP (to the left of SW): Now.
    LOCATOR CAP (to the left of SW): Fifth Avenue, the most expensive shopping district in the world.


    TITLE (use logo)(to the right of SW): SPIDER-MAN in
    TITLE (to the right of SW):: WAY OF THE SPIDER
    TITLE (use logo) (to the right of SW):: guest-starring SPIDER-WOMAN


    SPIDER-WOMAN: VENOM BLAST!
    SFX: ZZZAK
    SPIDEY: Argh… “Painful Utterance!”
    SPIDEY: See, Jess? It sounds STUPID when you call stuff out like that. Just sayin’.

    CREDITS (along bottom)

    PAGE 4
    Panel One
    SPIDEY/CAP: Ow! So I figured, hey, I’m earning the big bucks now. My Aunt’s birthday is coming up…
    SPIDEY/CAP: Why not finally buy her something from one of your swankier stores?
    SPIDER-WOMAN: This is that playful-banter-thing you always do, isn’t it?
    SPIDER-WOMAN: I HATE that.
    SFX: KTAM
    SPIDER-MAN: Gnhh! Duly noted.

    Panel Two
    SPIDEY/CAP: Last thing I expected was stopping a robbery—
    SPIDEY/CAP: Wait. Let me finish. (I know, I’m SPIDER-MAN, I stop robberies ALL the time).
    SFX: THOK
    SPIDEY/CAP: I MEANT stop one being committed by HER. Spider-Woman. A fellow Avenger!

    Panel Three
    SPIDEY/CAP: Oof! So why was everyone’s favorite Spider-Femme knocking over Tiffany’s?
    SPIDEY/CAP: That’d be him over there.
    SPIDEY/CAP: The primate in the two thousand dollar Armani.

    Panel Four
    SPIDEY/CAP: THE MANDRILL.
    SPIDEY/CAP: Not your ordinary talking monkey-man. He’s got a super power too.
    MANDRILL: Heh.
    SPIDEY/CAP: Amped up pheromones that—I’m not joking—lets him control all women.


    PAGE 5
    Panel One
    MANDRILL: These trinkets bore me now. I say we watch the end of the fight…
    MANDRILL: …and then get some gelato.
    GIRL: Ooh. Whatever you say, boss.
    SPIDEY/CAP: Would it be horribly un-PC of me to say that’s an AWESOME super power?
    SPIDEY/CAP: Just look at him! He’s got an army of super models!

    Panel Two
    SPIDEY/CAP: AND my pal, Jessica here.
    SPIDEY/CAP: Spider-Woman’s got enhanced pheromones of her own.
    SPIDEY: Hey! You moved! Don’t you know the rules of super-hero-mind-control fights?
    SPIDEY: You’re supposed to be slow and sluggish! It’s in the handbook.
    SPIDEY/CAP: Problem is—somehow that’s made her MORE susceptive to Mandrills attacks!

    Panel Three
    SPIDER-WOMAN: Tsch. For me…
    SPIDER-WOMAN: …this IS slow and sluggish.
    SFX: KEE-RAK
    SPIDEY: AHH! Stop it! I need this head! I use it to wear HATS!

    Panel Four
    SHANG-CHI: Tell me. Is this why you brought me here? To watch these heroes do battle?
    MADAME WEB: Yes. So, Shang-Chi? What do you think?
    SHANG-CHI: That Spider-Man’s my friend and I should go down there and help him.
    MADAME WEB: You mustn’t.


    PAGE 6
    Panel One
    SHANG: I don’t understand. You knew this fight would take place. Here. Now.
    WEB: Yes.
    SHANG: And that I need to be here as well—but NOT to offer any aid or assistance?
    WEB: Correct. Your PRESENCE here is pivotal.

    Panel Two
    WEB: There’s a choice to be made here today, but it’s for Spider-Man. And Spider-Man alone.
    (space)
    WEB: Tell me, Shang, as the master of kung fu, what do you make of them?
    SHANG: Well, HER form is excellent…

    Panel Three
    SHANG/CAP: “Signs of military training. Techniques I’ve seen used by both Hydra and S.H.I.E.L.D. operatives.
    SHANG/CAP: “Her opponent, on the other hand…

    Panel Four
    SHANG/CAP: “…still has a LOT to learn.”
    SFX: WAKK


    PAGE 7
    Panel One
    WEB: Yes. For years he relied on his SPIDER-SENSE to get by, but that’s gone now.*
    WEB: All of his precognitive abilities, his ties to the “Web of Life,” have been severed.
    CAP: *Back in ASM #654. –Simperin’ Steve.

    Panel Two
    WEB/CAP: “And though he uses his wits and other skills to compensate…
    SPIDER-MAN: Voice command: Web barrage.
    SPIDER-MAN: Full spread!
    SFX: THWIP IP IP IP

    Panel Three
    WEB/CAP: “…in the days to come…

    Panel Four
    WEB/CAP: “…they will NOT be enough.

    Panel Five
    WEB/CAP: “If he is to have ANY chance…

    Panel Six
    WEB/CAP: “…of surviving his next, great challenge…

    Panel Seven
    WEB: …he must reinvent HIMSELF.
    WEB: He must become a WARRIOR.
    SHANG: It would be my honor to instruct him in the ways of—
    WEB: No. Again, that choice is not for YOU to make.


    PAGE 8
    Panel One
    SFX: WUMP
    SPIDEY: YES! See that? Took some doing, but I finally--
    GUY w/ hands cupped: HE HIT A GIRL!
    MAN IN CAB: Wotta creep!
    SPIDEY: Oh, cut me some slack! This’s Spider-Woman! She’s tough, man. And she’s…

    Panel Two
    SPIDEY/CAP: “…totally shrugging that off.”
    SPIDER-WOMAN: Cute. My turn.

    Panel Three
    SFX (vertical—Joe, can we do that old school deal where you put a star in the center of the “o”?): POW
    MANDRILL: Ha!
    BLONDE: Master? This’s takin’ forever. I thought we were getting gelato?
    MANDRILL: Of course, dear. Spider-Woman, be a doll, wrap this up. KILL the pest.

    Panel Four
    SPIDEY: Unhh…
    SPIDEY/CAP: Can’t get close enough to take out Mandrill. And CAN’T take out Jess—even if I wanted to.
    SPIDEY/CAP: Face it, this stinks.

    Panel Five
    SPIDEY/CAP: Wait! THAT’S IT!


    PAGE 9
    Panel One
    SPIDEY/CAP: I’m all over this! But first— Ah! There we go.
    SPIDEY/CAP: When I was shopping for Aunt May earlier…
    SPIDEY/CAP: …that store had EXACTLY what I need!

    Panel Two
    SPIDEY: Scusi!
    DOORMAN: Hey! You can’t go into our fine establishment like dat!

    Panel Three
    SPIDEY: Man’s gotta point. I really SHOULD accessorize.
    SPIDEY: You have anything here that goes with a web motif?
    FLOOR MANAGER (man with hand to chest): Notions and sundries, third floor.
    SPIDEY: Now that’s service.

    Panel Four
    DOORMAN: Hold it! You can’t—
    DOORMAN: AHH!
    SPIDER-WOMAN: Get back here, Spider! You heard Mandrill. It’s time for you to DIE!
    SFX: KSHH!

    PAGE 10
    Panel One
    SPIDER-MAN: C’mon! C’mon! C’mon!
    SPIDER-MAN: It’s around here somewhere…

    Panel Two
    SPIDER-MAN: Bingo!
    SPIDER-MAN: This’s the right section.

    Panel Three
    SPIDER-MAN: Now I just need a second before Spider-Woman shows her—

    Panel Four
    SFX: ZKAM


    PAGE 11
    Panel One
    SFX: KE-RECHH-ESHH

    Panel Two
    SPIDER-MAN: YOW!
    SPIDER-MAN (weak): Oh spider-sense, I miss you SO mu-huh-huch.
    (Space)
    SPIDER-MAN (weak): Well, that got me where I wanted to go. Was just hoping to get here a little more graceful-

    Panel Three
    SPIDEY o/p: Eep!

    Panel Four
    SPIDER-MAN (weak): Jess? Snap out it. We’re friends, remember?
    SPIDER-WOMAN: The master wants you DEAD. That’s ALL that counts.


    PAGE 12
    Panel One
    SPIDER-WOMAN: Doesn’t matter how close—
    SPIDER-WOMAN (small): *sniff* -- we are—
    SPIDER-WOMAN: Oh my God… You REEK!
    SPIDER-MAN: A dozen bottles of perfume. My new signature scent. I call it: DISTRACTION.
    SPIDER-MAN: Jess? That the REAL you?

    Panel Two
    SPIDER-WOMAN: Yeah, I’m back. Now that you got the smell of Mandrill out of my nose.
    SPIDER-MAN: Well, you know the rule about fighting monkey-men. See no evil, hear no evil, SMELL no evil.
    SPIDER-WOMAN: Speak no evil.
    SPIDER-MAN: Right. And speaking of evil monkeys…

    Panel Three
    MANDRILL: This way, darlings. We’ll have a nosh and then hit FAO Schwarz.
    MODEL: Yes, master.
    MANDRILL: Supermodels. What was I thinking? With those stick figure arms you can barely carry anything.

    Panel Four
    MANDRILL: Next time? Aerobics Instructors. Or pro wrestlers. Definitely gals with more meat on their bones…
    SFX (by SPIDER-MAN’S FINGER): Tap
    SFX (by SPIDER-WOMAN’S FINGER): Tap
    SPIDER-WOMAN o/p: You rang?
    MANDRILL: *sniff* Ugh. What’s that smell?


    PAGE 13
    SPIDER-MAN: That, sir, is the sweet bouquet of—
    SPIDER-MAN (BIG!!!!): --JUSTICE!
    SFX: WHAM!
    MANDRILL (jagged burst): Ooh-Ooh- AHH!

    PAGE 14
    Panel One
    LOCATOR CAP: Later…
    SIGN ON the ARMORED PLATING on the front of the van (thick, chunky letters): THE RAFT
    SUPERMODEL #1 (w/ hands over mouth): I’ve never felt more degraded in my LIFE. And I’ve been on the cover of MAXIM!
    SUPERMODEL #2 (angry, yelling blonde): You’ll be hearing from my attorney, creep!
    SPIDER-WOMAN: Take him away, boys.
    SPIDER-MAN: And she does mean “boys.” We’re serious!
    SPIDER-MAN: No female officers anywhere NEAR Mr. Axe-Body Wash there! ¿Comprende?
    SPIDER-WOMAN: It’s okay. He’s got a power inhibitor collar on.
    SPIDER-MAN: How many times have I heard that one?

    Panel Two
    COP #1: Uh, Lou? What’re we supposed to do about Spidey? Isn’t he a vigilante or something? Should we arrest him?
    COP #2: Not sure.
    SPIDER-WOMAN: You still have to deal with this?
    SPIDER-MAN: I know. Guys, don’t know if you’ve heard, but…

    Panel Three
    SPIDER-MAN (BIG—use AVENGER’S LOGO where it says AVENGERS): I’M AN AVENGER NOW!

    Panel Four
    COP #1: Yeah. He is, ain’t he? With Cap and Thor and whatnot.
    COP #2: Guess that answers that.
    SPIDER-WOMAN Hm. That actually worked.
    SPIDER-MAN: Whattya know…
    VOICE o/p: That’s them!


    PAGE 15
    Panel One
    DOORMAN: They’re the ones, boss! The hooligans what smashed up our fine establishment.
    MANAGER: All right! And who’s going to pay for all that damage?!
    SPIDER-MAN: Um… Send the bill to Tony Stark.

    Panel Two
    MANAGER: You can do that?
    SPIDER-MAN (BIG—using AVENGERS LOGO where is says AVENGER): I’M AN AVENGER!

    Panel Three
    MANAGER: Oh. Okay then.
    SPIDER-WOMAN: Well, on that note, see you around, Spidey.
    SPIDER-MAN: Later, Jess. And next time… I won’t go so easy on ya.

    Panel Four
    SPIDER-MAN: Hi there. One with all the works please.
    VENDOR: Five bucks.
    SPIDER-MAN: *ahem* I’m an AVENGER!

    Panel Five
    VENDOR: Yeah? Avenge this!
    SPIDER-MAN: Ah well. Was good while it lasted.
    SHANG (o/p covering end of vendor’s balloon): Spider-Man!

    PAGE 16
    Panel One
    SPIDER-MAN: Hey! If it isn’t Shang-Chi! What are you doin’ here, pal?
    SHANG-CHI: I came to tell you that—that—
    SHANG-CHI: *sniff*
    SHANG-CHI: Oh! You are very… fragrant today.

    Panel Two
    SPIDER-MAN: Yeah, I stink. I know. So that’s it? Glad you and your nose could make the trip.
    SHANG-CHI: No, I meant to tell you I witnessed your battle.
    SHANG-CHI: Your fighting style is very… unique.

    Panel Three
    SPIDER-MAN: WHOA! Rewind a sec. You SAW the fight and you DIDN’T jump in and lend a hand?!
    SPIDER-MAN: Thanks a lot, “pal.”
    SHANG-CHI: I’m sorry. But both yourself and Spider-Woman possess similar powers.
    SHANG-CHI: It SHOULD have been an equal match. To interfere would have upset the balance.

    Panel Four
    SPIDER-MAN: WHAT?! Balanced?! That was the FOX NEWS of fighting! Jessica’s got all these super-spy moves!
    SPIDER-MAN: And me? MOST of the time I fight OTHER spider-powered guys…
    SPIDER-MAN: …I get my BUTT handed to me!

    Panel Five
    SPIDER-MAN: I tell ya! Once—
    SPIDER-MAN: --just ONCE—
    SPIDER-MAN: It’d be great if *I* had the edge…
    (space)
    SPIDER-MAN: Sayyyy…

    Panel Six
    SPIDER-MAN: Shang?
    SPIDER-MAN: You think you could teach me some Kung Fu?
    SHANG: If that is your CHOICE, than I would be happy to oblige.


    PAGE 17
    Panel One
    LOCATOR CAP: Later.
    LOCATOR CAP: Upstate New York. An abandoned Hai-Dai training facility.
    SHANG (inside): One hundred Hai-Dai warriors were instructed here-- in the deadliest of arts…
    SHANG (inside): …so that they could serve my father, Zheng Zu, in his criminal empire.
    SHANG (inside): Now, to restore the balance…

    Panel Two
    SHANG: …you must excel a hundred-fold . And use the skills I teach you for the forces of good.
    SPIDEY: No sweat. I mean I’ve got spider-strength and speed. I’m already ahead of the game, right?
    SHANG: Wrong. This inhibitor collar will keep those powers in check.

    Panel Three
    SHANG: Before I train the spider, first I must train the man.
    SPIDEY: Whoa. Inhibitor collars are hard to come by. How’d you score it?

    Panel Four
    SHANG: When I explained what we were doing to the Avengers, and that it would most likely involve physical pain…
    SHANG: …Tony Stark was more than happy to donate it.
    SPIDEY: It was the hot dog wasn’t it? Shouldn’t’ve tried to charge him for the hot dog.

    Panel Five
    SHANG: No more jokes. We do this seriously or not at all.
    SPIDEY: Yes.
    SHANG: Then let’s begin.


    PAGE 18 & 19
    Panel One
    LOCATOR CAP: In the weeks that follow…
    SHANG: Good! That is the correct form.
    SHANG: Now you need to hone it. Repeat it. Practice it a thousand times if you can.
    SPIDEY (going into PANEL TWO): Not a problem, Shang. One of the benefits of our line of work is…

    Panel Two
    SILENT

    Panel Three
    SPIDEY (coming out of PANEL THREE): …you always get plenty of sparring partners.

    Panel Four
    SPIDEY: Think I’ve got this. It’s mass, acceleration, leverage, and a knowledge of human biology.
    SPIDEY: That’s science. And I’m GREAT at science.
    SHANG: No, Spider-Man, it is so much more…

    Panel Five (giant shot of SPIDEY & SHOCKER, w/ Shang & Spidey in the background).
    SHANG/CAP: “…this is no mere application of brute force.

    Panel Six
    SHANG: It is an art.
    SHANG: And an expression of the self.
    SPIDEY: What if most of myself IS science?

    Panel Seven
    WEB: Stop fighting him, Spider.
    WEB: The web’s tightening, you have to hurry…

    Panel Eight
    WEB/CAP: “…and learn what he has to teach you…
    WEB/CAP: “…while there is still time.

    Panel Nine:
    SHANG: You’ve done well. It’s time to remove the collar.
    SPIDEY: So I guess that’s it, huh? We done?
    SHANG: No. We are now half way.
    SPIDEY: Half way?!

    Panel Ten
    SHANG o/p: Yes. Now we must find your OWN form of Martial Arts. One based around ALL of your special abilities.
    SHANG o/p: From this point on, you shall learn THE WAY OF THE SPIDER!

    PAGE 20
    Panel One
    WEB: I can sense it. Something I haven’t felt in a while: hope. For the future.
    WEB: Even if it’s a slim hope at best.
    (space)
    WEB: They’re coming for you, Peter Parker. I can read the signs.

    Panel Two
    WEB/CAP: A young man, with no training, wins the city’s marathon…
    WEB/CAP: …setting a new world record by almost half an hour.

    Panel Three
    WEB/CAP: A mother on the Cross Bronx Expressway frees her child from a car crash…
    WEB/CAP: …by tearing off a steel door.

    Panel Four
    WEB/CAP: A construction worker’s harness breaks across town…
    WEB/CAP: …and he saves himself by sticking his hand to an I-beam.

    Panel Five
    WEB: More and more, every day. They’re coming, Peter.
    WEB: You have great power, and have done great things with it.
    WEB: But will it matter anymore? When you’re living on an ISLAND OF SPIDERS?
    TEXT: TO BE CONTINUED

    "If you ever start to feel too good about yourself, they have this thing called the internet."
    Tina Fey 1/12/09

  6. #96

    Re: Easter Eggs!

    Never put one of these up here...

    Here are my lettering notes for the issue.
    Putting out comics is a process. And this is all part of it.
    Along with my lettering notes, there are also notes from proofreading, and-- MOST IMPORTANTLY-- the editor.
    There's a LOT of time and thought that goes into doing this job-- for EVERYBODY-- at every stage of the game.
    It's a lot more work-- on EVERYBODY'S plate-- than you'd think.
    Lettering is a VERY demanding job! And it usually has to be done under INCREDIBLE time constraints!
    If you see a letterer on a message board or social media-- you should reach out and tell them that you REALLY appreciate all of the hard work they do! That'd be very nice of you.
    (Trust me, they deserve EVERY amount of praise you can heap upon 'em!)

    SPIDER-MAN FCBD
    Lettering notes

    PAGES 1 & 2
    Panel Three
    Please CUT this line.
    BEN: What?

    Panel Six
    This line needs a comma after “one”,
    WEB/CAP: “…a spider struck down by RADIOACTIVE RAYS, that with its one, last bite…

    Panel Ten
    Please change “believe” to “think”—and “starts” to “started”.
    WEB/CAP: “I think his thread started HERE. Where the thread of his Uncle’s life was cut short…

    Panel Ten
    Please add “that” after “then”.
    WEB/CAP: “For it was then that Peter learned his greatest lesson…

    PAGE 4
    Panel One
    This line NEEDS A TAIL going to SPIDEY.
    SPIDER-MAN: Gnhh! Duly noted.

    Panel Three
    Please change SPIDEY’S 2nd CAP to this. AND in his 3rd CAP, please change “the” to “that”.
    SPIDEY’S 2nd CAP: That’d be his fault.
    SPIDEY/CAP: That primate in the two thousand dollar Armani.

    PAGE 5
    Panel One
    Please add periods to the P.C.
    SPIDEY/CAP: Would it be horribly un-P.C. of me to say that’s an AWESOME super power?

    PAGE 6
    Panel Two
    Please replace “But any choice that is” to “There’s a choice” AND “is” to “but it’s”.
    WEB: There’s a choice to be made here today, but it’s for Spider-Man. And Spider-Man alone.

    PAGE 7
    Panel Two
    Please remove the comma after “though” add the words “he uses his”
    WEB/CAP: “And though he uses his wits and other skills to compensate…

    Panel Seven
    The last balloon should go to MADAME WEB
    WEB: No. Again, that choice is not for YOU to make.

    PAGE 8
    Panel Three
    The 2nd Balloon NEEDS A TAIL to the BLONDE. AND can we change the end of her line to this.
    BLONDE: Master? This’s takin’ forever. I thought we were getting gelato?


    PAGE 9
    Panel Four
    Can we please add this to SPIDER-WOMAN’S BALLOON:
    SPIDER-WOMAN: Get back here, Spider! You heard the Mandrill. Time to DIE!

    PAGE 10
    Panel One
    Can we change the commas to exclamation points.
    SPIDER-MAN: C’mon! C’mon! C’mon!

    PAGE 12
    Panel Three
    Can we change the MANDRILL’S line to this.
    MANDRILL: This way, darlings. We’ll have a nosh and then hit FAO Schwarz.

    PAGE 14
    Panel One
    This balloon should be going to SPIDER-MAN.
    SPIDER-MAN: No female officers anywhere NEAR Mr. Axe-Body Wash there! ¿Comprende?

    Panel Two
    Please change COP #1’s line to this.
    COP #1: Uh, Lou? What’re we supposed to do about Spidey? Isn’t he a vigilante or something? Should we arrest him?

    Panel Four
    Please CUT this from COP #1’s LINE. AND the last balloon should go to the DOORMAN o/p.
    COP #1: Yeah. He is an Avenger, ain’t he? With Cap and Thor and whatnot.
    DOORMAN o/p: That’s them!

    PAGE 15
    Panel Three
    Please CUT this from SPIDER-WOMAN’S LINE (to avoid repetition.)
    SPIDER-WOMAN: Can’t believe that worked. Well, on that note, see you around, Spidey.

    PAGE 16
    Panel Six
    The last balloon should be going to SHANG-CHI.
    SHANG: If that is your CHOICE, than I would be happy to oblige.

    PAGES 18 & 19
    Panel Six
    The last balloon should be going to SPIDEY.
    SPIDEY: What if most of myself IS science?

    PAGE 20
    Panel One
    Please bold the word “HOPE.”
    WEB: I can sense it. Something I haven’t felt in a while: HOPE. For the future.

    Panel Three
    Can we please change “crash” to “accident”.
    WEB/CAP: A mother on the Cross Bronx Expressway frees her child from a car accident
    Last edited by Dan Slott; 05-23-2013 at 04:37 AM.

    "If you ever start to feel too good about yourself, they have this thing called the internet."
    Tina Fey 1/12/09

  7. #97

    Re: Easter Eggs!

    Hi Mr. Slott,

    Joined the forum here at Jinx World just to say thank you to you for this post!

    I'm trying to become a professional letterer, and I'm already finding it hard to deal with the pressure of time constraints!
    People want things yesterday, and they think what I do is sooooo easy.
    It does sometimes get to me...

    like when the artist didn't leave me enough dead space to put balloons and I need to change the proportion on a panel,
    or that the essay that the writer wants to fit on their 9 panel page just won't work,
    or an artist puts the first speaking character on the right hand side of the page ...
    ARGH! WHY!

    So thank you for the thank you!

    Even though I missed the boat, I'd also like to mention that all the people that DON'T like Superior Spider-Man are weird and missing out on a fantastic book.
    Keep up the SUPERIOR work, sir!

    All the Best

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