Comic Book In-A-Box - Drippan Design

Comic Book In-A-Box
John E. Thompson
ITGM705
Professor Delao
Project A Proposal
Comic Book In-A-Box
Table of Contents
Introduction ........................... 3 Final Prototype .................... 15
Look and Feel Exploration .... 5 Final Prototype Pages ......... 16
Prototype Part I ...................... 8 Clamshell Box Covers ......... 26
Progress Report .................... 10 Final Thoughts ...................... 27
Newest Images .................... 11
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Book in a Box
In 1963 the first book in a box, a French novel written by Marc Saporta, titled Composition
No. I was published. A novel (no pun intended) idea, the book was actually not bound at all,
merely a sheaf of loose papers printed on one side. The reader then was instructed to shuffle
the pages into a random order and read it like that. There have been a few other books created similarly, some in very nice clamshell boxes, but they are fairly rare to come across.
I think the idea of a small scale interactive book, 3” x 4”, printed on a cardstock to aid in
shuffling, would be an engaging interactive experience for anyone who enjoys short fiction
and sequential narrative. I plan on creating this as a sequential project with about 32 - 64
panels or pages. The story would almost never be the same.
I plan on packaging this in a clamshell box, much like the examples I have come across, and
also adding a piece of ribbon or shoelace and punching holes on the left side of the book.
This will allow the reader to temporarily hand-bind the work and allow for ease of reading.
Below are some links to articles about the Saporta book.
http://nickm.com/if/composition_no_1.html
http://theexpertsagree.com/tag/ marc-saporta/
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Pages measure 3.5” x 4”. There is a I /2” margin on the left side with a I /4” hole-punch. This
will allow the reader to use the binding string provided to temporarilly bind the book for ease
of reading.
The art area measures 2-3/4” x 3-3/4” with an additional I /8” safe area.
Art will either be in black & white or duotone.
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Look and Feel Exploration
While beginning the preliminary exploration for this project I had been doing some other
research into Golden-Age comic book characters that have fallen into the public domain.
I had recently finished reading both volumes of Paul Karasik’s books on cartoonist Fletcher
Hanks, You Shall Die By Your
Own Evil Creation and I Will
Destroy All Civilized Planets. The
books are a partial biography,
partial collection of all of Hanks’
work including all appearances
of the characters Stardust and
Fantomah. Both characters
have appeared in various,
unrelated publications over the
past few decades as well as
other characters from comic
publishing’s Golden-Age,
generally considered the years
covering 1938-1951.
Intro panel from a Stardust story. Story
and art by Fletcher Hanks. c. 1939.
Another character that has fallen into the public domain
included the Black Terror. Created by comic writer and
editor Richard E. Hughes and artist Don Gabrielson, The
Black Terror first appeared in Exciting Comics #9 cover
dated, January of 1941. With a striking black costume that
featured gold trim, a blue and red cape, domino mask
and a skull-and-crossbones chest emblem, Bob Benton,
the alter ego of the Black Terror, was by day a pharmacist
who, with the use of “formic ethers”, was granted powers
such as super
strength and
invulnerability.
His junior
partner, Tim
Roland also
exposes himself
to the ethers
and joins him in
his fight against
crime.
Intro panel from a Fantomah story. Story and art
by Fletcher Hanks using the pen name Barclay
Flagg. c. 1939.
Cover to Exciting Comics #9, Jan.
1941. Art by Elmer Wexler.
The character
has been
revived many
times, and has at certain points appeared in
multiple publisher’s books at the same time.
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The character follows a long line of similar costumed avengers. The mystery man portion
mimics characters such as the Scarlet Pimpernel, Zorro, the Shadow and Batman. Another
story reveals that the Black Terror is just one of a long, familial line of other Black Terror
adventurers that preceded him reminiscent of Lee Falk’s, The Phantom. Because there was
an established “history” with the character I felt it would fit well within the story I wanted to
explore.
I did a few sketches and began with a bit of a character redesign. Throughout the years
since World War II there have been many characters that have come and gone and come
again with a more modern appearance. I wanted this to seem as if the character had
been well established, much like DC Entertainment’s Batman or Superman. I wanted to give
the character a more modern, menacing appearance similar to what Frank Miller did with
Batman in The Dark Knight Returns in 1986.
I added a cowl to the costume and changed the jolly roger looking chest symbol with a
more graphic looking version. I also wanted to develop a sense that he was a member of a
supergroup similar to DC’s Justice League or Marvel’s Avengers.
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Look and Feel Exploration-continued
I began to also look at various typefaces. Because this was meant to be driven by both
words and pictures, I wanted to convey the sense of a unified combination of type and art.
I also wanted to give it a comic book appearance. I began to experiment with a variety of
novelty and display typeface combinations.
Fantique Four & Chalkboard
Balloon & Cooper Black
Crash Landing & Creative Block
Batman Forever Outline &
RedStateBlueState
Newsflash & Twelve Ton Goldfish
Feast of Flesh & SmackAttack
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Prototype I Example
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9
Progress Report
Keeping in mind I knew this would be a pretty big row to hoe I knew I would have to plan
a lot of this project ahead. As we get nearer to the deadline though I see that I am going
to have to ramp up my production. I also see that it is getting much harder to develop a
coherent story line when the pages are shuffled which I knew was probably going to be
a possibility. Although, the original idea Marc Saporta presented when he first published
“Composition No. I” was not necessarily to present a linear narrative I think the idea may
be possible. In the case of this particular project though, I think that would require more
planning than I have time for.
Taking this into account as well as feedback from the class, I believe that the actual storyline
will fall along the lines of what Grant Morrison describes in his book Supergods as “using
surrealsit methods: automatic
writing, found ideas ... deliberately
elliptical...and provocative.”
(Morrison pp.222-225) Morrison
himself defines the late 1980’s and
early 1990’s of comic books as “The
Art School lnvasion”.lt was a time of
great experimentation and, in fact,
an interview with Alan Moore, writer
of The Watchmen and The League
of Extraordinary Gentlemen during
this period is where I first heard of the
Saporta book.
After all that wordy, expository
introduction, I describe the storyline
as being more trancelike as if the
reader begins in a dreamstate. It
will in all likely-hood not make a
linear narrative but it will, I hope, be
interesting and engaging none-theless.
10
Newest Images
Images currently in progress
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As you can see I have begun to illustrate and add the art to my page templates. I will have
to admit that I need to ramp up my production but I am happy to be able to have an
excuse to sit and draw for hours at a time. I do not get to do that very much anymore. I am
also enjoying experimenting with various styles to fit the mood of each piece as if each page
were to represent the work of a different era in comic book history. Some of it I go for a more
dynamic Jack Kirby feel and some for the more nervous hatchwork of Robert Crumb. Some
of it I try and push an old Golden-Age feel and some I push more toward the Dark-Age, post
Dark Knight feel. I’m excited to see how it all turns out as long as I can finish on time.
I do plan to upload this as a do-it-yourself .pdf file when I submit my final piece as well if you
are interested in trying it out yourselves.
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Comic Book-in-a-Box
Attached are ten pages encompassing the”guts” of the final piece. If you would like, print those pages on thick
cardstock, cut carefully with a sharp knife, shuffle the pages, and give it a try. The feedback I have received has
been pretty positive.
I gave out test copies to a number of students at both schools I teach and also a few at the comic book store that
I frequent and allowed them to experiment with the format. The thing most people found hard to grasp was the
idea of a non-linear story but once they got started things went very smoothly. Most seemed to understand that
the story was not necessarily meant to be a cohesive, linear story in the same sense as traditional storytelling
methods. I would classify it as a successful test run.
I have also included the cover design which is on the page following the 10 story sheets. The inside front cover
gives a basic story setup as well as instructions on how to read the story. The back cover gives a little historical
information on the main character,” The Black Terror”.
I hope you enjoy your experience with this.
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Comic Book In-A-Box
Covers
Front Outside
Front Inside
The Black Reality
asunder.
has been torn
Bob “The Black
Terror” Benton seems to be
the only person in the
universe that is aware that anything has happened
at all. Tossed through time and space, reality and
unreality, only he is aware that something is wrong
with the universe.
Journey with The Black Terror on his terrifying
travels as he experiences time, space and
dimensional
shifts. With
this
interactive
experience you help create the story, each time
with different results. Shuffle the pages and lace
them together with the ribbon provided. When
the story is done unlace, shuffle and read again.
The Black Terror’s
fate is in your
hands. Literally.
Terror
The Black
Terror
©2012 John E. Thompson
Back Outside
BEWARE!
Back Inside
The Black The
first
original Black Terror
appeared in Smash
Comics #9 dated January
1941 in a story written by
Richard E. Hughes and art by Don Gabrielson. The
character has had a varried publishing history
appearing in a number of publications by a number
of publishers.
In the character’s origin story, pharmacist Bob
Benton breathed in formic ethers which caused
his skin to harden enough to stop bullets as well as
endowed him with super strength. He used these
powers dressed in skull emblazoned black
jumpsuit with blue cape to fight crime. Early on in
his adventures he teamed up with a junior partner
named Tim Roland who wore an identical suit.
The two battled crime throughout the 1940s as
the Terror Twins.
Terror
©2012 John E. Thompson
Final Thoughts
After revising this project I really had to do nothing to improve it. All-in-all I was very pleased
with the final result. I have had a number of colleagues try this out and all said they thought it
was very engaging and entertaining. Some of my associates within the comic industry have
also encouraged me to see about marketing it.
I have since thought of maybe revisiting it with a sequel but, at least until I finish my MFA, it will
have to wait.
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