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Brad Hague
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Joined: December 19 2006
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Posted: December 18 2014 at 7:15pm | IP Logged | 1 post reply

Love the art.  
You retain your talent for creating characters with obvious personality with a few swift strokes of dialogue.  
You also remain a master of keeping a reader's attention being intriguing without being obvious about what is going to happen.
Love it.
Please don't cut off your ear.
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Wallace Sellars
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Posted: December 18 2014 at 8:08pm | IP Logged | 2 post reply

Thanks, JB! I dig your superhero comics, but love seeing you draw
"normal" people wearing "regular" clothes in "real world" settings!
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Paul Reis
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Posted: December 18 2014 at 9:21pm | IP Logged | 3 post reply

WOW! and holy crap!

Qs4JB:
Do you end up changing the dialogue? I was totally flabbergasted at the amount of dialogue, and where you were going to put it. 1st case in point: Page Two, Panels 2, 3 and 4 - where is the room for all those word balloons? and many other places as well. 
but i do like the idea of art on the left and text on the right (yes, i'm reformatting this as you post each page). it almost has a "Prince Valiant" vibe to it. 
oh, and story-wise:i am enjoying it so far.

thanks for this, JB.

Edited to add: I, too, am reformatting for my own reading pleasure - no intention to post anywhere outside of my little Chromebook and for my eyes only.


Edited by Paul Reis on December 18 2014 at 9:26pm
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John Byrne
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Posted: December 19 2014 at 6:45am | IP Logged | 4 post reply

Reading the script, I assume that the dialogue in ALL CAPS is meant to be printed in bold type.

Correct. Like italics in a text page.

As a writer, how do you decide which words merit that emphasis?

Mostly by ear.

Is it always the writer's call, or does the letterer sometimes make that call?

The writer.

Is there an industry standard, or does it vary from writer to writer?

Personal "style."

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John Byrne
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Posted: December 19 2014 at 6:46am | IP Logged | 5 post reply

Do you end up changing the dialogue? I was totally flabbergasted at the amount of dialogue, and where you were going to put it. 1st case in point: Page Two, Panels 2, 3 and 4 - where is the room for all those word balloons? and many other places as well.

After forty yar before the mast, I have a pretty good eye for how much space dialog will need.

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John Byrne
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Posted: December 19 2014 at 6:49am | IP Logged | 6 post reply

Love the title of the issue.

Now, there's something I DID change. Originally, I thought of a pseudo-James Bond title, "The Girl with the Golden Gaze." But then I got to thinking a bit more about the time period of my story.

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J W Campbell
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Posted: December 19 2014 at 7:05am | IP Logged | 7 post reply

 John Byrne wrote:
As a writer, how do you decide which words merit that emphasis?

Mostly by ear.

Is it always the writer's call, or does the letterer sometimes make that call?

The writer.

In this era of full script, where the writer will often not get to see the art in order to check that the character is correctly 'acting' as the dialogue requires before it goes for lettering, at least half the scripts I get have very little indication as to where the emphasis should go, and it's left to the letterer (me) to make those judgements.

Obviously, the if the writer has put emphasis into the dialogue, then this is observed, but there are many writers nowadays who don't.




Edited by J W Campbell on December 19 2014 at 7:05am
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John Byrne
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Posted: December 19 2014 at 7:16am | IP Logged | 8 post reply

In this era of full script, where the writer will often not get to see the art in order to check that the character is correctly 'acting' as the dialogue requires before it goes for lettering, at least half the scripts I get have very little indication as to where the emphasis should go, and it's left to the letterer (me) to make those judgements.

Obviously, the if the writer has put emphasis into the dialogue, then this is observed, but there are many writers nowadays who don't.

One more thing the current crew thinks they're doing right, I guess, ignoring almost a hundred years of logic and tradition. I can't imagine leaving something so important to the discretion of the letterer!

Your comment about the "acting" puzzles me, tho. In this age of full script, have they also abandoned descriptions of what's supposed to be happening in the panel? Or is this a lapse back to the kind of stuff Denny O'Neil used to describe, where a writer's description of an action packed stagecoach chase is rendered by the artist as closeup on a firing six-gun?

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J W Campbell
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Posted: December 19 2014 at 7:44am | IP Logged | 9 post reply

 John Byrne wrote:
Your comment about the "acting" puzzles me, tho. In this age of full script, have they also abandoned descriptions of what's supposed to be happening in the panel?

No, I mean that there's still a lot of leeway in full script, and the writer may imagine a character as being apoplectic with fury when he writes the script and the line, but the art may show the character more coldly furious, making shouty dialogue seem incongruous.

Now, in my book, that right there is what an editor's for: to either send the art back to the artist and say "draw what's in the script, bub!" or to take the decision to sub the script so it fits the art, but the role of editor is frequently reduced to that of traffic management, much to the medium's detriment, IMO.

EDIT: But I'm dragging this off-topic. My apologies. Having clarified, I shall say no more.


Edited by J W Campbell on December 19 2014 at 7:45am
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Conrad Teves
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Posted: December 19 2014 at 8:07am | IP Logged | 10 post reply

Great mood with all the vintage stuff, the cars and computers--gorgeous!
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Richard Stevens
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Posted: December 19 2014 at 8:53am | IP Logged | 11 post reply

I love this. I love the JBNM world and any chance to visit in any format is welcome! I'm really taken by how easy it is to "read" the story silently, then read the dialogue to get another layer. So much of the story is in the art and that's why I am a JB fan.
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John Byrne
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Posted: December 19 2014 at 10:06am | IP Logged | 12 post reply

Great mood with all the vintage stuff, the cars and computers--gorgeous!

One of the fun elements of doing series like this, set in the Past, is coming up with the appropriate "futuristic" equipment. Computers, for example, as we imagined they would be, not as they really turned out to be.

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