Check out my interview on the Creator Talks podcast!

Check out Christian Carnouche‘s appearance on one of our favourite podcasts –
Creator Talks:

Creator Talks Podcast – Christian Carnouche and The Resurrected

He and Christopher Calloway had a really fun chat about Christian’s comic #TheResurrected, the importance of an editor (yay for Erica Schultz ), comic book promotion, the research that went into writing an Indigenous-Australian protagonist & of course vintage Star Wars.

Massive thank you to all of the collaborators CrizamSalvatore Aiala & Erica on The Resurrected:)

Another preview panel from The Resurrected comic book

Another preview panel from The Resurrected comic. Cain Duluth and his partner at the Special Division for the Resurrected, Akimi Ozaki, at a crime scene in Nova Lucis.

Art by Crizam & Salvatore Aiala . Written by Christian Carnouche. Letters by Cardinal Rae. Edited by Erica Schultz.

Updates coming soon about our publication plans.

What does a comic book writer do?

What exactly does a comic book writer do? I’ve been asked this question a bunch of times so I thought I would share a really brief example of the script that I wrote for Issue One of the The Resurrected. The sample attached is Page One, which is relatively quite a short page.

Every comic book writer is different, some provide the artist merely with some basic details and let them design the majority of the panel but others use their script to suggest panel size and shape, shot angles, colours etc etc. As you can see from my script sample, I’m probably somewhere in between. There’s no right or wrong way to go about it.

As a writer, we should also be describing what action is happening in the panel, what the characters are doing, saying and feeling, and what the environment is like.

The writer’s job also includes mapping the plot, character arcs and themes. Our entire series is already mapped out, with the help of my amazing editor Erica Schultz.

Page One was quite a difficult page both to write and draw, considering that we had to be historically accurate. We undertook loads of research and also ran the script and panel designs past Indigenous friends to make sure we weren’t misrepresenting their culture. I’ve already written an article about this process so I won’t go into it further:

http://carnoucheproductions.com/index.php/2017/04/26/comic-book-writing-experience-2-a-white-australian-creating-indigenous-characters/

Hope this helps you guys understand the writer’s role a little bit better.

Art by Crizam & Salvatore Aiala Studio. Written by Christian Carnouche. Letters by Cardinal Rae. Edited by Erica Schultz.

Artwork 100 percent complete for The Resurrected #1!

The first issue of ‘The Resurrected comic,’ including the cover, is finally 100% complete. We’re all stoked with the result, so to celebrate, we’re revealing another panel, this time of Cain Duluth and Akimi Ozaki, who are partners at the Special Division for the Resurrected.

Hope you guys like it.

Art by Crizam​ & Salvatore Aiala​. Plot/Script by Christian Carnouche. Letters by Cardinal Rae.

Art finally complete for ‘The Resurrected’ Issue #1!

The art is finally finished for the first issue of The Resurrected comic so we’re celebrating with the first ever public release of a completed page – Page 1 (albeit low res for now). Not only that, but our artist Crizam ZAMORA has shared the entire art process for this page, from the pencils/ink through to the colours/letters,

Line work by Crizam, Colours by Sal Aiala, Letters by Cardinal Rae & Plot/Script by Christian Carnouche.

From pencils to colours: The Resurrected artistic process

We finally have the chance to reveal some art process shots for our comic book series ‘The Resurrected,‘ pencilled and inked by artist Crizam Zamora, coloured by Salvatore Aiala and written by myself, Christian Carnouche.

Check out our logline if you want to know what the series is all about:

Logline

We’ve isolated one panel to illustrate the process from the very first pencil outlines (which are quite detailed compared to what a lot of other artists provide for their outlines), to the inking – where these outlines are fleshed out, and finally to the colours. This panel won’t be complete until the dialogue/narration bubbles are added by our letterer.

It is quite common in comics that changes are made during the artistic process, as you can see with this panel. In the pencilled page, the imprisoned Indigenous are standing in front of some trees, while – for the sake of clarifying the story’s chronology, we decided to replace this background in the inked page with a prison.

I know I’m a little biased but I’m absolutely stoked with the magic Criz and Sal have weaved into this panel, and the rest of the story for that matter.