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Comics to Consoles Antony Johnston Games & Comics: Commonalities Interactive Outcast Media Abstraction of both Iconography & Activity Audience controls the pace of experience A Brief Word On Concept (...Or, why


  1. Comics to Consoles Antony Johnston

  2. Games & Comics: Commonalities • Interactive • Outcast Media • Abstraction of both Iconography & Activity • Audience controls the pace of experience

  3. A Brief Word On Concept (...Or, why you should ignore movies.)

  4. The Worldbuilding Catch-22 • Must support more than one story • This story can only happen in this world

  5. Form & Structure (...Or, why you should still ignore movies.)

  6. Die Hard

  7. Die Hard: Hero’s active sequences (2-hour movie) 1) Recon terrorists 7) Deliver chairbomb 2) See Tagaki execution, 8) Encounter Hans evade capture 9) Fight terrorists on 3) Fight his way off the computer floor machine floor 10) Fight Karl 4) Send HO HO HO 11) Dodge FBI sniper fire, message, more recon jump off roof 5) Rooftop/pump room fight 12) Shoot Hans, save Holly 6) Fight terrorists in boardroom

  8. Seven Ancient Wonders

  9. Seven Ancient Wonders: Hero’s active sequences (550-page book) 1) Infiltrate mine, take 6) Rescue Mustapha from pendant Guantanamo Bay 2) Return through Great 7) Infiltrate Louvre, steal Cavern, escape swamp piece 3) Infiltrate volcano, rescue 8) Scale obelisk, escape Lily Paris 4) Find + enter Tunisian 9) Infiltrate Gardens, avoid chasm traps 5) Escape lava room in U- 10) Find piece, escape boat 11) Final fight on Great Pyramid

  10. The Losers

  11. The Losers: Heroes’ active sequences (Six-issue collection) 1) Stealth takedown missile 6) Fight SWAT at terminal range guards 7) Escape on speedboat 2) Steal helicopter 8) Scuba through drainage 3) Steal drugs truck with shaft helicopter 9) Infiltrate airport 4) Infiltrate Goliath HQ, 10) Take out aeroplane hack computer 5) Infiltrate tanker

  12. The Losers: Heroes’ active sequences (Single issue) 1) Stealth takedown missile range guards 2) Steal helicopter 3) Steal drugs truck with helicopter

  13. Brevity is the soul of wit (...Or, Press ✕ to Skip.)

  14. Economy • Of dialogue • Of exposition • Of scene duration

  15. “Look for the least amount of words that convey the most amount of information with the most amount of style and character.” — Warren Ellis

  16. Alan Wake

  17. Alan Wake Page 1

  18. Alan Wake Page 2

  19. Alan Wake Page 3

  20. Alan Wake Page 4

  21. Alan Wake Page 5

  22. Alan Wake All pages

  23. Alan Wake (Revised) All pages ?

  24. Alan Wake (Revised) Page 1

  25. Alan Wake (Revised) Page 2

  26. Alan Wake (Revised) Page 3

  27. Alan Wake (Revised) Page 4

  28. Alan Wake (Revised) All pages Space reduction: 20% Text reduction: 25%

  29. Mass Effect

  30. Mass Effect Page 1

  31. Mass Effect Page 2

  32. Mass Effect Page 3

  33. Mass Effect Page 4

  34. Mass Effect Page 5

  35. Mass Effect All pages

  36. Mass Effect (Revised) All pages ?

  37. Mass Effect (Revised) Page 1

  38. Mass Effect (Revised) Page 2

  39. Mass Effect (Revised) Page 3

  40. Mass Effect (Revised) Page 4

  41. Mass Effect (Revised) All pages Space reduction: 20% Text reduction: 25%

  42. Script format (Scrivener)

  43. Script format (Final Draft)

  44. “You can write this shit, George, but you sure can’t say it.” — Harrison Ford

  45. Transmedia (...Or, why you should have a go.)

  46. Comics transmedia • Unique and challenging form • Hones important skills: structure, economy, visual awareness • Kudos from audience’s recognition of easter eggs • HAPPY FUNTIME

  47. Iteration (...Or, why you should still ignore movies.)

  48. True script iteration • Writer present at VO • More willingness to make big iterative changes • Original writer to make those changes

  49. Thank You

  50. Q & A

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