Over at the Bendis Boards fans were treated to writer Dan Slott showing off a bit of his finished scripts for various Marvel books.

I’ve gotten a number of requests for both sample scripts/plots AND for peeks at dead/killed projects. And who am I to say no to Jinxworld posters? So starting today I thought I’d show you some scripts/plots of stories that have already seen print…

…or in, this case, projects that have been bought, paid for, and killed. This happens a LOT in this industry. In the case of Acclaim Comics, I had HUNDREDS of pages of material in drawers– all of it slated to come out… But then the company went through “restructuring period”… And “restructured” itself right out of existence. I probably won’t be posting ANY of that material, since there are a number of concepts and ideas that I can still use in other media.

Then there are certain ideas/concepts/pitches that are dead-dead-dead. Most of these are stories that were done ages ago– and while they languished out of sight– someone else produced something that was either TOO similar to the concept or completely invalidated it. (Check out the photocopier scene in today’s script. I wrote that back in ’94 and I’d never seen ANYONE do that bit before. Since then, I’ve seen it done a ba-zillion times.)

In the case of this PUNISHER story: “Serious Business”, this was produced for then Punisher Editor, Don Daley. It would have been my first full length, non-funny animal comic. It was penciled by Mike Harris and inked by Jimmy Palmiotti (the same team from my first Punisher short story). And it was slated to run in an issue of PUNISHER WAR JOURNAL. It was two or three months away from being solicited when Don Daley was let go from Marvel in the first editorial “purge” of the 90’s.

Click through for a Punisher War Journal script.

Over at Todd Klein’s blog he remembers a colleague who passed away recently, colorist Adrienne Roy.  From his blog:

I  was sad to hear of the passing of Adrienne Roy a few days ago. It wasn’t a surprise, I’d learned she was seriously ill about a year earlier. During the ten years I spent on staff at DC in the Production Department I saw and spoke to her often, she was a busy colorist for all of those years (1977-87). The sample color guide by Adrienne above was her stock in trade. In the years before computer coloring, hand-painted photocopies of comics art, like this page from Detective 562, were produced by colorists like Adrienne and her husband Tony Tollin in great quantity, using specific dyes to indicate to the separators (also working by hand) which colors to put where. The codes had to be added by the colorist after the color guides were finished and approved, and much of the time Adrienne spent in the office was to pencil those in, usually with someone hovering nearby ready to rush them off to the separation house in Connecticut.

IDW isn’t new to the digital comics distribution game, but they are trying to spearhead a slightly new approach by giving some focus to collections rather than single issues sold on their digital apps. From The Comics Alliance:

Other than a few notable exceptions, mainly The Walking Dead and Atomic Robo, digital comics generally take the form of a traditional floppy comic book: 22 pages of story. While this is a commonly accepted format, it isn’t the ideal one for digital books. Part of the beauty of digital comics is that you can read a lot all at once, without worrying about space, weight, or digging into longboxes. Long-form digital comics, whether in the form of graphic novels or otherwise, are definitely going to be a part of the future of comics.

IDW’s Digital Graphic Novels are an interesting stab in that direction. Rather than the panel by panel view that most digital comics use right now, the DGNs are taking advantage of the iPad’s increased screen size to present the comics in a way that comes the closest to emulating how we read comics. We see the full page before we see the panels, and the impact of each panel is therefore exactly as its creator intended.

The price point, and the fact that the books come as individual apps, are similarly interesting choices. Digital Graphic Novels being individual apps makes them searchable in the App Store, which isn’t possible with books that are located within an umbrella app. For full-size books, meaning longer than pamphlet form, five to ten dollars is a pretty reasonable price. It’s in the same price range as mass market paperbacks and overall cheaper than the print release, despite including all of the same content as the printed book.

I am definitely looking forward to this DVD which recounts the 75 year history of DC comics. Here is a trailer for the film:

With the year drawing to a close it is a fine time to look back at December 2009 and see a distinct lack of digital distribution for comics.  So the fine folks over at The Comics Alliance have taken some time to sit down with DC’s Digital arm, or more specifically Hank Kanalz, Senior Vice President, Digital for DC Entertainment, to talk about the state that digital comics find them self in.

A few excerpts:

CA: The industry-wide digital comics rollout has been fairly conservative. How do you go about choosing which series get converted to digital comics first?

HK: That’s actually a complex process that isn’t based solely on sales in the print world. We try to balance our releases, which I’m happy to see people actually noticing. Everyone wants everything digitally available NOW, but digital doesn’t mean “instant” — there is a lot of work that goes into preparing our material digitally. So, we want to be sure that there is compelling content released on a regular basis.

CA: Day and date comics — released in digital format on the same day as in comic shops — are another sticking point with digital comics. DC already produces at least one day and date title, and a fairly significant one, at that. For non-day and date comics, how do you decide how far behind the print release the digital comics release should lag?

HK: We get tons of requests for more day and date books! We only have the one book now (Justice League: Generation Lost), with a few more on the way very soon. Much of this is dictated by the production schedule. As I mentioned, “digital” doesn’t mean “instant,” and with the prep and approval process in place with our digital platform partners, we often cannot get a book out on the same day as in print. Hard to believe in the digital age, but it’s how things work right now.

For Brightest Day, we decided to put out in alternating weeks from the print book, but timed with the hardcover collection of the first arc. We have something “new” for Brightest Day each week now.

Read the whole interview HERE.