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.
Here’s another preview panel of Yindi Duluth, the protagonist Cain’s 14 year old daughter. What role will she play in The Resurrected series? You’ll have to wait and see!
Art by Crizam and colours by Salvatore Aiala
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:
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.
Another panel preview from The Resurrected comic book series. Cain Duluth and his partner at the Special Division for the Resurrected, Akimi Ozaki, at the scene of a homicide in Nova Lucis.
Art by Crizam & Salvatore Aiala. Written by Christian Carnouche. Letters by Cardinal Rae. Edited by Erica Schultz.
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.
Excited to introduce our third main character for our comic series The Resurrected. Check these link if you missed our last character introductions –
Meet Akimi Ozaki, Cain’s 35-year-old easygoing Japanese-American partner at the Special Division for the Ressurected (SDR). Akimi was a detective at the LAPD before transferring to the UN city-state of Nova Lucis four years ago, not long after the 2032 techno-terrorist attack that rendered Australia inhospitable. Akimi is dedicated to the word of the law and in contrast to her technophobe partner Cain, she has embraced the massive leaps in nanotechnology that have improved her chances of catching crooks. Although Cain’s intensity often annoys her, Akimi has his back, no matter what the situation.
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:
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.
