Think of a City - Outlooking

It's kind of funny.  The art in every single Think of a City piece is stunningly good, but the thing that so often grabs me is the use of colour.  Elliot Elam's 031 is no exception as the splash of pink sky practically leaps off the page over the beautiful greyscale that lies below it.  Don't get me wrong, I love the image, but it's that pink that seals the deal for me.

1 - A worn fence takes up the majority of the panel, with a bit of regular daytime sky peeking out from the top (perhaps the top of a house that is in the yard contained by said fence).

TANYA (tailless): No.

2 - On a sad-looking parking lot.  It's mostly empty, with some junkers parked here and there.  The concrete is cracked, the paint is mostly faded.  It's not a welcoming sight.

TANYA (tailless): Nuh-uh.

3 - On a brick wall.  There might be some nicks, maybe a wire of some variety, but there's nothing else going on here.

TANYA (tailless): Nope.

4 - On a freeway, with cars racing back and forth.  A tall sound fence is visible on either side.  There isn't much else going on.  The sky that is visible is wearing on into afternoon.

TANYA (tailless): No way.

5 - The interior of an empty apartment / condo.  A mother and her young daughter Tanya are coming in the front door accompanied by a real estate agent / landlord - Tanya is already running ahead towards something off-panel while the mother stands near the door as the agent closes it.

MOTHER: This is the last place.

6 - Tanya is standing at a window in the apartment looking out, a smile on her face.  Her mother stands behind her, looking at her daughter lovingly.  (This panel could be the continuation of the space from panel 5, simply divided by the gutter, but that type of continuity is by no means necessary).

MOTHER: What do you think?

TANYA: ...

7 - On the view from the window.  A beautiful and varied cityscape sprawls out into the distance (thanks to the height of the apartment room).  There's all matter of skyscrapers, apartments, parks, heritage buildings, and so on and so forth.  The sky is turning a brilliant pink / orange as the sun sets.

TANYA (off-panel): It's perfect.

Think of a City - Urban Renewal

As you may recall, I've been struggling to put together my thoughts on the artist / writer collaboration for Think of a City pieces, but Think of a City has provided a pretty solid answer in the text beneath Lekan Jeyifous and Ales Kot's 030.  As they say:

Sometimes a collaboration is not about what you do do, but about when you know to hold back in a partnership and let another person’s work shine.

Of course, that isn't limited to only Think of a City, but sometimes it's easy to forget how much similarities there can be between one creative endeavour and another.  Regardless, thanks to Lekan and Ales for the beautiful piece.

1 - Establishing shot of what looks to be a built-up downtown of some city centre.  We're looking at building tops - no streets or people are visible.

CAPTION: A city is rarely a place of peace and order.

2 - A large, dark shadow falls upon the downtown from something that remains off-panel.

CAPTION: But it can be.

3 - A human hand reaches down towards the buildings from the top of the panel.  The hand looks enormous next to the buildings, which are actually just models (although I suppose that's not even necessarily evident from this panel).

CAPTION: If you put in the work.

4 - The hand reaches towards something street-level (which would be below the bottom panel gutter), meaning that part of the wrist / possibly forearm would be visible crossing the panel - perhaps it is adorned with a watch or bracelet of some variety.

CAPTION: The only problem?

5 - The hand is coming back up from the model-streets, now holding a toy gorilla (which like the hand, looks enormous next to the model city, in a vein not unlike a certain King Kong).

CAPTION: The work never ends.

SPEAKER (tailless): Honey, what have I told you about leaving your toys lying around?

Think of a City - The Next Bend

Think of a City has generally leaned so far towards sci fi that I hadn't really considered a fantasy interpretation of the prompt.  Thankfully, Matt Sheean was more than happy to show us how it's done with 029, which is a beautiful piece of work.  I also love how it almost feels like this could be happening in one of the mazes found within Amei Zhao's piece.  Lovely connection, that.

1 - Two members of the city guard - evident through their matching uniforms, sheathed swords, shields, and helmets - walk along the city streets at night.  The two seem to be having a nice chat, some mirth on their face as they joke around a bit.

NO COPY

2 - In the foreground, a bloody city guard helmet lies on the ground.  One guard sees this and stops, putting their arm out to halt the other.  The former guard looks suspiciously towards the helmet; the latter hasn't seen it and looks confusedly towards their partner.

NO COPY

3 - On the alert guard's eyes, actively searching for threats.

NO COPY

4 - On the alert guard's hand reaching for their sword hilt.

NO COPY

5 - On the guards again, but from behind them as they walk forwards towards the alley's corner and the unknown beyond it.  The alert guard has their sword drawn and ready, while the other guard is only just noticing the bloody helmet and tries to awkwardly draw their sword to also be ready.

NO COPY

Think of a City - The Eyes Have It

After the relative dreariness of the past few entries, it's actually kind of relieving to have the bright and colourful 028 by Amei Zhao.  I love that it manages to hearken back to so many of the recent entries - as is so often the case, it feels like it is both encapsulating what's come before while also going off in a completely new direction.  I'm a little sorry for the repetition on that observation, but I don't know that I'll ever stop being impressed by how it keeps happening.

1 - Farm workers in a golden field pause in their labour to look over towards a big construction project happening in the distance.  It's still very much a work in progress, but a tall, black tower is clearly rising up towards the sky.

CAPTION: They said it was for our safety.

2 - Later.  Focus on the workers as they look up towards the sky, worry on their faces.  A dark shadow from the (unseen) completed tower covers them as they look up.  There should be one worker who stands out in the panel.

CAPTION: That if you have nothing to hide, you'd have nothing to fear.

3 - Far shot of many golden fields, each tended by many different workers.  Each field has its own tall, black tower looming over it.  Each tower has an eye peering out from it.

CAPTION: Now the sentinels are everywhere.

4 - On one of the towers, with the focus on the eye looking angerly out towards the world.

CAPTION: They see everything.

5 - The worker who was the focus of panel 2 is being taken away by two figures wearing masks (possibly decorated in some way to evoke the eyes of the towers).  Workers watch on, but other masked figures are present to keep them in line.

CAPTION: And if you have nothing to hide, they're happy to find something for you.

Think of a City - Rain Check

Gah.  I.N.J. Culbard's 027 is too striking.  That flood of red spilling out of the body already hits hard, but to couple it with this idea that someone has murdered a giant gets my synapses firing all over the place.  I mean, that's obviously the norm when going through Think of a City entries, but I'll never get tired of how they all inspire in different ways.  Gorgeous stuff.

(As an aside, I'm also fascinated to see the red flip back down to the bottom of the page.  Really interesting to try to track echoes from earlier works.)

1 - Close on a woman's mouth.  You can also see the phone she's talking into, but there isn't much more to take in.

WOMAN (1): Sorry, Liz.  We can't make it tonight.

WOMAN (2): Stu's not feeling too great...

2 - On the woman on her hands and knees on a hardwood floor, scrubbing at a sizeable pool of blood.  She's just starting, mostly spreading the blood about with her sponge.  The pool leads back to the prone body of a man, who appears to be bleeding (or have been bleeding) from his head.  There could possibly be a bucket near the woman, maybe her cellphone, and possibly a couch, but I'm imaging the image and room as quite spartan.  The focus is really on the woman and the mess she's cleaning up.

CAPTION (WOMAN): ...And someone needs to take care of him.

Think of a City - 20/20

Okay, it's actually blowing me away that Tristan Jones' 026 is basically a straight flip of the colours on yesterday's piece.  The actual art couldn't be more different, but it keeps the same black, white, and grey tones, while moving the red to the top from the bottom.  That's amazing.

1 - A reinforced door sits ajar and three teens - Dave, Randal, and Paul - are in the process of passing through its doorway.  Directly above said entrance, a big warning sign reads "DANGER: T-REX CAGE. DO NOT ENTER."  Dave is hanging back, looking up at the sign, quite hesitant at their course of action.  Randal stands midway through the door, looking back and rolling his eyes at Dave.

DAVE: Are you sure this is a good idea?

2 - Cut to a few minutes later with Dave and Randal running down a hall chased by an enormous T-Rex.  Paul is nowhere to be seen, and the T-Rex has a big smear of red around its mouth.  As they run for their lives, Dave looks terrified and Randal looks over at Dave in annoyance.

RANDAL: Nobody likes a know-it-all, Dave!

Think of a City - In a Crowd

The various Think of a City pieces I've encountered thus far have been many things, but I think Robert Sammelin's 025 is the first that I would describe as haunting.  It simply raises so many questions, and what little it hints at in the way of answers doesn't seem terribly promising for that woman.  I love it.

1 - A roaring house party is going down, with all manner of people dancing, drinking, and generally having a good time.

WOMAN (tailless): Have you ever felt invisible?

2 - Outside on the patio of the house where the party is taking place.  It's raining.  A young woman leans against the railing, talking towards a young man wearing a hoodie.  The man is leaning with his back against the railing, looking away from the reader.  The party from panel 1 can be seen going on through the glass doors in the background.

WOMAN (1): Like no matter what you say.

WOMAN (2): No matter what you do.

WOMAN (3): Not only can no one see you.

3 - The woman turns to look directly at the man in the hoodie.

WOMAN: They never have.

4 - On the young man.  He pulls back his hoodie and takes out the earbuds he's been listening to.  He turns his head towards the young woman (who is not visible on this panel), an inquisitive look on his face.

WOMAN (tailless): ...and never will.

MAN: Sorry--

5 - Back on the patio.  The young man looks towards where the woman was is, but she is gone.  The young man looks confused; another partygoer nearby shrugs their shoulders at the young man's question.

MAN: Did you say something?

Think of a City - Close to Home

Every single Think of a City piece is a wealth of detail, and Jonathan Edwards' 024 is no exception.  These organic, human-like buildings that look as if they're growing from the city proper are fascinating, but it's the little men and women standing on top of them that I can't stop thinking about.  What are they doing there?  I wonder if they aren't taking care of the buildings themselves...

1 - Eagle-eye view looking down on a wide-open veldt, except instead of animals, we've got a bunch of small bungalows surrounding a modest manor house (which is still much larger than said bungalows).  The bungalows are all of the same make and seem to be haphazardly spaced around the manor, although it's clear that they are way closer than houses normally would be - indeed, one or two bungalows might be right up against the manor, touching the larger building.  Beyond these homes, this is a regular rural grassland.

NO COPY

2 - Moving down and closer to the houses.  The bungalows have probably moved about a bit, but the important thing is that they are now all facing the same direction, with their front doors pointed towards something off-panel.  The manor remains in the same position, some noticeable wear and tear visible along most of its body - nothing major, but clear that it's seen better days.
NOTE: The manor should be angled so its front cannot be seen.  This reveal will wait until the last panel.

SFX (small, distant): hnk!  hnk!

3 - The bungalows are now moving away, little clouds of dust climbing into the sky to help denote this fact.  A safari truck with two men in park ranger grab - Henrik and Johann - drives up to the (still) motionless manor.

SFX: HNK!  HNK!

HENRIK: Go on and get, ya scavengers!

4 - Johann and Henrik two out of truck, looking on sadly at the sight they see before them.

JOHANN: Don't be mad at the bungalows.  You know they didn't do this.

HENRIK: You're right...

5 - Rotate perspective for the reveal.  Johann and Henrik look at the front of the manor, which formally had two sizeable bay windows - one on each side of the front door.  Unfortunately, the windows have been ripped out, seemingly each in one single piece, leaving gaping holes where they formally were.  Otherwise, beyond the aforementioned wear and tear, the manor seems to be mostly untouched (minus some missing paint where the bungalows rubbed up).

HENRIK: ...Only poachers would be so ruthless.

Think of a City - The Dark

Another aspect that I really appreciate about Think of a City is its restraint.  Every post is the same, starting with the image, listing its number / title, and crediting its creator (along with links to their online presence).  That's it.  Every time, the same, simple repetition.  It feels like a very fair way to present these many beautiful pieces.

I think of that because for every single entry I'm taking inspiration from I want to express some aspect of what I admire about it.  But I also don't want to simply repeat myself ad nauseam.  Looking at Christopher Sebela's 023, I want to gush at the incredible way he's continued the cycle of taking inspiration from previous entries, while still taking things in a completely new direction.  I want to rave at how beautiful the composition is, both in its distorted reflection and silhouetted hints of civilization.  But I wonder if I haven't used similar sentiments for earlier works.  Part of me thinks I should go back to confirm, maybe rewrite if I have, but another part knows that those are two things that really grab me about it and wants to be honest to those feelings.

And then at the same time, I wonder if maybe I should just throw down the credits, give the image, and present the script.  Today I've clearly gone for the middle approach, but I thought you might be curious about some of the method behind this madness.  If not, I've still got the script down below that'll hopefully be of greater interest.

1 - Bird's-eye view of a city at night, its lights burning brightly against the darkness.

CAPTION: It's no surprise that our cities bathe the world in light.

2 - Moving closer to the city, to the point where individual buildings can be made out.  A blackout is in the midst of occurring, with a wave of darkness crossing the panel.

CAPTION: After all...

3 - Approaching street-level of a neighbourhood.  There are no lights to speak of.  Shadowy buildings loom all about, details mostly decipherable through their absence.

CAPTION: We've always been scared of the dark.

4 - People come out into the streets, look out their windows, climb to their roofs, and so forth to see what's happening.  Everyone is looking up to the sky, some pointing, others simply taking in what they see.

CAPTION: But in trying to eliminate it, we too often forget an important truth.

5 - On the night sky.  It is brightly coloured with stars, comets, the northern lights, or whatever natural phenomena you think would most effectively show off its brilliance (not unlike Christopher's image, of course).  The tops of some buildings might be visible near the bottom of the panel, but it's by no means necessary.

CAPTION: Just because there's no light, doesn't mean there's nothing beautiful.

Think of a City - The Storm

I really dig this little seaside village that Ben Towle has given us for 022 and part of me would have liked to head down and explore it, walk its streets and visit its cafes as Think of a City would say.  But in considering it, my focus fell to its periphery, encouraging a different story to unfold.

1 - On a pirate ship under attack on the high seas.  An explosion and smoke burst high into the air from the ship's centre as canon-fire from an unseen enemy hits home.  The ship itself seems to be painted a deep, rich red.

NO COPY

2 - On Captain Belvedere, standing at the ship's wheel, holding on for dear life.  He surveys the scene before him of smoke and crew: a bucket line is already forming on the main deck of the ship as pirates scramble to put out the fire from the shot.  Others may be trying to ready their own canons for a retort.

BELVEDERE: Mr. Riggles!  Who dares to fire on The Crimson Cog?

3 - On Mr. Riggles up in the crow's nest.  He holds his telescope in front of him, as if uncertain of its use.  He looks towards the reader, stunned at what he sees.

BELVEDERE (off-panel): Mr. Riggles?

4 - On an entire fleet of ghost ships sailing towards Captain Belvedere and company.  The ships look ragged and worn to the point where they are beyond being seaworthy, but they float on, undaunted by such concerns.  The fact that they are translucent and the like may have something to do with it.

BELVEDERE (tailless): Mr. Riggles!

Think of a City - Crashed

God damn that pink and blue (purple?).  I know I was getting all philosophical yesterday on artist-writer collaborations for Think of a City and Mingjue Helen Chen and Sam Humphries' 021 would be a perfect opportunity to continue down that road, but all I want to do is get lost in the beautiful composition and colour they've got going on, so we're going to do that instead:

Just wow.

1 - On a crashed spaceship.  One woman (Lexi) stands on top of it, helping another woman (Zella) climb out of the roof hatch.  They wear fancy sci fi clothing / armour, with floating hoops around arms, cool-looking but probably impractical helmets, and the like.  There shouldn't be much beyond the ship visible in this panel.

LEXI (grunting): *uff!*

2 - The two women walk away from the ship.  Lexi, in front, looks forward and off-panel, a mix of wonder and excitement on her face; Zella, behind her, holds hand to her head, nursing a pain and looking down.  The grass is a deep shade of blue / purple, but that's all of the planet we can see at this point.

ZELLA: Where are we?

LEXI: I dunno...

3 - The two walk across a wide field of the blue / purple grass, holding hands and looking at each other happily (if desired, Lexi could be leading the way).  In the background, huge floating towers reach up towards the sky.  The towers are a darker purple, while the sky is an incandescent pink.  Impossibly white clouds obscured parts of the towers.

CAPTION (LEXI): "Let's find out."

Think of a City - Fresh Air

While Think of a City proper is primarily to do with art and the individual artists who create it, they do also team-up artists and writers to collaborate.  020 by Simon Gane and Rob Williams is the first one we're coming across here, and like so many other aspects of the project, I find the idea intensely fascinating.  An artist and writer working together is pretty much business as usual when it comes to comics, but the idea of doing so to tell a story through a single image seems so different and unique in my mind.  The distribution of labour feels less defined, more nebulous.  But then again, in some senses I suppose that's true for every collaboration...

I feel like I'm getting a little turned around here, so let's simply enjoy the fruits of their labour for now and come back to the discussion another time.  I'm sure we'll have more opportunities down the line.

The page would be laid out as one big image (very much in the vein of 020), but divided horizontally by gutters to create four different panels focusing on different elements of the page.  Each panel could be slightly further ahead in time (not a huge amount, but enough).

1 - The top portion of the image is the edge of a big city - or what was a big city.  Most of the buildings have been knocked down and destroyed by giant mechas, which also lie damaged and destroyed in the rubble (presumably from battling each other?).  Smoke may billow out from some of the mecahs.  There could be more destruction and the like in the distance, but it's not necessary.

CAPTION: It was admittedly a dramatic way to redecorate.

2 - This panel is focused on the very edges of the city, transitioning to grass and greenspace at the bottom.  People (small with the distance) are helping other people out from the rubble, providing them blankets, hot drinks, and the like.  A line of folk walk away from the destruction and out into the green.

CAPTION: But once it became clear no one was seriously hurt.

3 - We're all green space here, with maybe a line of trees at the bottom.  This panel can be thinner than the others - we just want a bit of a pause before getting to the final panel.

NO COPY

4 - Beyond the small treeline, the people formerly-of-the-city are setting up a new little society in further greenspace.  What we see here is mostly people resting, dining together, playing games, and the like.  Basically, people are enjoying themselves.

CAPTION: No one seemed that upset.

Think of a City - Take a Dive

I love this image, which I recognize as a common refrain around here, but in this particular instance, it's for the amount of allusions to previous entries that Dalton Rose manages to cram into 019.  Just off the top of my head, I feel like I can see elements of at least three different entries here, all the while creating something entirely its own.

1 - The middle of a small brawl.  A private-eye whose face and hands are wrapped in bandages similar to the traditional Invisible Man (although the PI does not wear sunglasses and their eyes are visible) is just about to punch out a mook they've been fighting.  However, a shout from off-panel grabs the PI's attention, causing them to pause and look towards the sound's source.

CAPTION (PI): Clients don't hire me because I make the best choices.

ROBOT (off-panel): Enough!

2 - A gangster-looking robot stands at the edge of a balcony.  He holds a tired and beaten young man by the collar, leaning the hostage over the edge.  The young man is out cold.  The city looms in the background - if possible, showing how high up the scene is.  The PI looks towards them from the foreground, putting their arms out in a conciliatory manner.

CAPTION (PI): They hire me because I get the job done.

ROBOT: Leave immediately.  Or else.

PI: Let's hold on a minute--

ROBOT (interrupting): No.

3 - The robot lets go of the young man, who starts to tumble into the open air.  The PI puts a hand to their head, stunned at the audacity - maybe have a little exclamation mark over the PI's head to show just how surprised they are.

ROBOT: Let's not.

4 - The PI has run up to the edge of the balcony and leaps off awkwardly, diving without hesitation after the falling young man.

CAPTION (PI): Sometimes I do wish I'd smarten up though.

PI: I got ya!

Think of a City - Hang On

It's interesting to me that so far into Think of a City Joe Decie's 018 is the first instance of public transit.  I mean, there's been lots of different modes of transportation (with a delightful emphasis on hoverbikes), but actual shared transportation hasn't come up before now.  I don't know that there's much to it beyond the fact that taking the bus, while helpful to many, does not always set the imagination on fire, but I can say that in the hands of Mr. Decie, it does.

Also, I totally love Joe's comics.  You should read them, for they are hilarious.

1 - Close on a man's hand holding onto a subway pole (the vertical type).

NO COPY

2 - On the same man still holding the pole, but at a distance where we can actually see him.  He's a hipster-type, maybe trying a little too hard to be cool / disinterested.  Case in point, a bubblegum punk woman stands nearby, looking at her cellphone.  The man notices her.  Behind them, the subway doors are closing (maybe have a little visual effect to connote the sound or movement).

NO COPY

3 - As the subway starts forward (maybe have people leaning into the movement / change the view through the windows), the woman, not paying attention, loses her balance and is falling backwards.  The man opens his eyes wide, surprised and concerned.

NO COPY

4 - The man has let go of the pole and manages to catch the woman, saving her from that nasty fall.

NO COPY

5 - The man has helped the woman back up and they are both being kind of awkward / shy towards each other.  The man tries to downplay his helpfulness.  The woman tries to downplay her embarrassment.  Both blush to one degree or another.  The subway pole is nearby (if not already being held by the man).

NO COPY

6 - Close on the man and the woman's hands holding onto the same subway pole.

NO COPY

Think of a City - N(a/ur)ture

Wow.  On the surface this meeting of technology and nature is perhaps a simple idea, but Ingo Römling's execution with 017 knocks my socks right off.  I mean, there's so much going on here that part of me just wants to sit back and revel in all them different levels.  I suppose I should probably write something, considering the goal of my little project, but let's pause to appreciate this for a moment, shall we?

Perfect.

1 - An establishing shot of the downtown of what was once a bustling metropolis.  However, that was clearly many years - if not decades - ago, as there are no hints of humans having been around in quite some time.  Buildings are crumbling and vines / plants are growing up their sides, grass and flowers are growing through the concrete, vehicles have been abandoned willy nilly - that general type of thing is all about.  In the midst of this emptiness, a lone robot walks, looking up at the city in curiosity.

CAPTION (ROBOT): Things have changed a lot with everyone gone.

2 - Close on the robot as she turns to enter into the dilapidated / overrun by vegetation entrance to a condo building.

CAPTION (ROBOT): It's quieter, for one.

3 - On the robot as she climbs the building's stairs.  They should be similarly used, but still structurally sound.  If possible, keep them stark, like a concrete stairway, to emphasize the robot as the only thing approaching life here.

CAPTION (ROBOT): In their absence, I wondered if I would be lonely.

4 - Inside a condo room.  The Robot is entering through the front door, looking to something off-panel.  What can be seen of the room is without adornment or furniture.  Some leaves seem to be strewn along the floor without noticeable pattern.

CAPTION (ROBOT): I soon realized such concerns were without merit.

ROBOT: I'm back!

5 - The robot stands next to a potted tree at the window, both of them seeming to look out at the city before them (similar to the above image, but the two stand next to one another).  The window is long since broken - you don't need to have any shattered glass about, but this is how the leaves have gotten in.

CAPTION (ROBOT): As loneliness is only for those who are alone.

ROBOT: How was your day?

Think of a City - So There's That

Something that I've really appreciated about spending time with these beautiful images each and every day is being able to take some time to consider the use of colour throughout the different entries.  Watching different colours emerge and recede over time is fascinating, but as someone who know he could be more attuned to the visual, having the opportunity to focus on varying approaches to colour - and the impacts these approaches can elicit - is rather helpful.  Of course, Pedro Cobiaco's 016 is a terrific example of that, throwing down some brilliant blacks and reds, with just a touch of white for that young girl.  Love it.

1 - Establishing shot of a house in a normal neighbourhood.  A moving truck sits outside, some parents moving in the last of the boxes.

CAPTION (GIRL) (1): Everything was going to be awful forever.

CAPTION (GIRL) (2): We'd just moved to a new city.

2 - Still outside, looking at one of the house's windows where a young, red-haired girl can be seen looking out sullenly.  In the foreground, some other kids play outside.

CAPTION (GIRL): I didn't have any friends.

3 - Inside the house.  The girl turns away from the window and sits on the floor

PARENT (off-panel): We'll be back soon, honey!  Just gotta return the truck!

CAPTION (GIRL): And there was nothing to do.

4 - Similar shot as panel 4, but the girl looks up in surprise at something off-panel.

CAPTION (GIRL): ...oh, yeah.

5 - Wide shot of the living room.  The girl is no longer alone, as a whole bunch of ghosts have appeared, flying all about, playing with boxes, and performing various other ghostly activities.  They don't necessarily seem like the most nefarious group of spooks you've ever seen.  The girl is now standing, holding her hands in front of her and looking around, unsure of what to make of this.

CAPTION (GIRL): Our house was also crazy haunted.

Think of a City - Edge of Forever

I don't need to tell you that Dave McKean is a mighty talented gentleman, but he was kind enough to offer a reminder in the form of 015.  I found myself quite taken by the striking contrast of the beauty and pain of the larger and smaller figures, a feeling that I couldn't shake as I sat down to write something inspired by it.

1 - The skyline of a modern-day city.  There's all manner of skyscrapers, parks, apartments, and the like visible.  If possible, draw attention to an observation deck of one of the taller buildings, with plenty of people on it looking, including a woman wearing a bright red jacket (it would likely be more the jacket than the woman that would be visible).

CAPTION (WOMAN): It's beautiful.

2 - On the observation deck, looking over the red jacketed woman's shoulders as she looks out into the city.  Another angle on the urban jungle can be shown off here.  The woman leans on the guardwall / ledge in front of her.

CAPTION (WOMAN): But everything is - you just need to be willing to look for it.

3 - The woman is now standing on top of the guardwall / ledge, a melancholic look on her face (we should probably switch angles so we can see her face).  Behind her, other visitors seem to be noticing her actions, some pointing worriedly, others stunned, and yet others moving towards her.

CAPTION (WOMAN): I wonder if taking the time to think about that more often would've made things better.

4 - Similar setup to panel 3, but the woman is gone.  Some of the visitors have rushed to the guardwall and look down over its edge.  Others hide their faces or look away.

CAPTION (WOMAN): Something to ponder on the way down, I guess.

Think of a City - If Walls Could Talk

I will confess: I've been looking forward to Dilraj Mann's 014 since I started doing these scripts.  I love how it fits into the conventions of Think of a City, reusing the colour-scheme that's been floating about the last few pieces, but how it also uses that for its own ends to tell three different stories that are all also inter-related.  I loved it so much that I actually also chose this image as my pick over at Thought Balloons around the same time that I started this project.  So this is technically my second go at it.  I hope you don't mind.

Each panel is set in the same apartment bedroom, but the time period changes throughout (mostly going backwards in time).  Ideally, it would be the same angle of the bedroom, with the decor and characters changing to mark the differences.

1 - On a young couple moving into the apartment.  They're in the process of unpacking some of the many boxes sitting all over the floor of the bedroom, but they haven't gotten far.  They're mostly making eyes at each other, smiling in the goofy way that young lovers do.  They're so early in the move that the only thing that's set up is their bed, of which only the foot can be seen on panel.

CAPTION: There's nothing I love more than a relationship's beginnings.

2 - Same room, but jump back in time to the mid-90s.  There's a different young couple and a different set of furniture and the like in the bedroom (bed in the same position).  Feel free to insert whatever 90s touchstones you deem appropriate.  The couple are making out at their dresser - the woman is sitting on top while the man stands in front of her.

CAPTION: When every day together is an adventure.

3 - Same room, but jump back in time to the mid-80s.  Same deal with different couple and furniture (bed still same position).  This couple sit together on the edge of the bed.  The woman is visibly pregnant and the two are over the moon happy.  Maybe they holds knowingly or the man holds a hand to her stomach.  Whatever floats your boat.

CAPTION: I know it can grow into a dream come true.

4 - Back in time to the mid-70s.  You know the drill.  Bed's still in the same spot, but now there's a crib set up at its foot.  This couple is arguing with each other, both of them absolutely furious.  The baby cries in their crib.

CAPTION: But it can just as easily languish into a living nightmare.

5 - Return to the initial couple and time of panel 1.  The boxes are as strewn about as ever, but now the hastily discarded clothing of the couple is strewn about them.  As the bed is ever in the same spot, only the couple's feet are visible as they get intimate (too euphemistic?).

CAPTION (1): So it's these early days that I cherish.

CAPTION (2): When anything is possible.

Think of a City - Holding Out

Goodness gracious that is a lot of pouches!  Again, I'm all about how Think of a City can go from yesterday's lowkey scene to, 013, this violent beast by Alexis Ziritt.  I love all the violence we got going on here - past, present, and (promised) future.

1 - Establishing scene of a fantasy town / castle besieged by a dragon.  The beast flies over the town, spewing fire and causing havoc.  Based on the flames and destruction all about, it looks like the dragon's been at it a while.  In the foreground, a warrior stands behind an outcropping, hiding for the moment.

CAPTION (WARRIOR): I've long wondered if one person can make a difference.

2 - The warrior takes a moment to collect themselves / take a deep breathe.

NO COPY

3 - The warrior runs out from their hiding spot, moving quickly and quietly to try to get closer.  The dragon's destruction continues.

CAPTION (WARRIOR): Here's hoping the answer's "yes".

Think of a City - Duly Noted

I'm not going to lie, with the bright islands of orange leaping out from all that the blue, it's a little hard to look past the fruit of Steve LeCouilliard's 012.  I mean, there's obviously quite a lot going on here, but it's tough not to get your eye caught.  For one thing, I'd love to know what those three men are talking about down below, but then again, those oranges are calling my name...

1 - A man sits at a dining table, writing with quill and ink by candlelight (the actual candle is off-panel).  He is focused on his writing.

NO COPY

2 - The man continues to write, but the light has gotten dimmer.  He squints to see his words.

NO COPY

3 - The light is dimmer still, to the point that it's getting hard to see.  The man looks up towards his light source, an exasperated look on his face.

MAN: Franklin...

4 - On a turtle walking along the table top with a lit candle on its back.  The turtle has walked down the length of the table to a bowl of oranges, having already taken a bite out of one.  Pausing mid-bite, the turtle looks up and back towards the man.

MAN (off-panel): Can you not wait five minutes?

Think of a City - Interrobang

Hot damn.  I don't know that Mulele Jarvis' 011 needs any of my words distracting from the actual artwork, so let's skip that part:

This type of page would likely benefit from a liberal application of speed lines.

1 - A hoverbike whips down a city street, heading directly for what looks to be a head-on collision with the ground floor of an all-window office skyscraper.  Exhaust spews from the bike's rear engine.  The bike's front is raised in what could be considered a "wheelie" (recognize the fact that as a hoverbike, there are no wheels).  People and traffic do their best to get out of the way.  The biker doesn't have much in the way of gear - a basic helmet, goggles, and some punkish clothing.

CAPTION: There's a lot you should know about handling a bike, but of that, only three words really matter.

2 - The bike has transitioned from the road to the side of the building and is driving straight up.  The exhaust trail continues to follow the bike.

CAPTION: "Never."

3 - The biker careens sideways in a manner not dissimilar to Mulele Jarvis' artwork.  The exhaust trail swerves accordingly.

CAPTION: "Let."

4 - Close on the bike as it clears the edge of the building, flying out into the open sky.

CAPTION: "Go."

Think of a City - The Waiting Game

Ten entries in, I still find myself working to wrap my head around the beautiful way imagery and colour keeps what's come before in mind while also going off into completely new and different tangents.  I think André Lima Araújo's 010 is a perfect demonstration of this, as the colour-scheme is nearly identical to the previous piece, while it would be difficult for the actual cityscape to be more different.  I know I'm verging on repeating myself the way I belabour this point, but it still amazes me.

1 - On a group of soldiers on watch in a little watchtower in the evening.  Looking through the tower window, the three soldiers are more or less goofing off.  Two are playing cards at a table (SOLDIER ONE and TWO), while the third sits to the side reading a book (SOLDIER THREE).  A small radio plays music with a little "♫" emerging from its speaker.  The soldiers' rifles are leaned up against tables and walls.

RADIO: ♫

2 - On the same group of soldiers, but they look up from their distractions in surprise / suspicion when a sound is heard from off-panel.

SFX (off-panel): snap!

SOLDIER THREE: What was that?

3 - Reverse angle to be behind the soldiers as they look out the window into the nighttime city streets.  Soldier three stands with their rifle now at the ready; the other two merely look.  Before them, the street is empty.

SOLDIER ONE: Huh.

4 - Return to the original angle.  Soldiers one and two are relaxing again, putting their guns back and returning to their card game.  Soldier three continues to look out into the night, suspicious.  A young woman hides just below the watchtower window, bracing herself against some outcroppings to stay put.  She holds a piece of piping that she has accidentally snapped off while climbing, looking a little sheepish about the whole thing.

SOLDIER ONE: ...probably nothing.

Think of a City - Dawn

009 by Pete Toms is an excellent example of why Think of a City resonates so strongly with me.  This piece is pretty radically different from what eight previous entries (no bikes, far more unrest than we've seen before, caterpillar-men), but the connections are still there for those willing to look - the blue bursting from the boombox, that silly smiley face on the man's partial t-shirt.  I'm completely enamoured with the ongoing combination of old and new that is so pivotal to this project and I just don't know how one could grow tired of it.

1 - A woman stands before a large crowd on what looks to be an enormous platform of stone.  The woman has a bandage / blindfold covering her eyes, but she stands confidently.  She and the assembled group are wearing what would amount to lower-class / peasant clothing and sport the appearance of having come out of a conflict (cuts, bruises, rips in clothing, etc).  There are various large pieces of debris and stone littering the area.

WOMAN (1): Some may think that our struggle is over.

WOMAN (2): They could not be more wrong.

2 - A pile of armor, shields, and various weapons sits in front of the woman's platform.  A lineup of former soldiers stands at the ready, removing their equipment and adding it to the pile.

WOMAN: We have thrown off the weight of the tyrant's yoke.

3 - Close on the woman, holding a bandage - like the one covering her eyes but clean and bright white - above her head.

WOMAN (1): But now we take on the far heavier burden of healing the leftover wounds.

WOMAN (2): Of creating something new.

4 - On the crowd listening intently.  Various members also have bandages - held in their hands, wrapped around forearms like armbands, around their eyes, and so forth.

WOMAN (off-panel) (1): We stand before a very real crossroads.

WOMAN (off-panel) (2): And the path we take will define us.

WOMAN (off-panel) (3): More importantly, it will define our future.

5 - Pull further out to a point where it becomes clear that the platform the woman is standing on and the surrounding rocks and debris surrounding are part of an enourmous statue that has been toppled.  The pieces are rather smashed and broken, but the snarling face of a man can still be made out from the mess.

WOMAN (tailless): Let us choose wisely.

Think of a City - Clean Break

I love the ebb and flow of the various Think of a City entries, the way they can wander and meander from one topic to the next, occasionally doubling back on something we've encountered before but bringing a different perspective or interpretation to it.  Case in point is Vanesa del Rey's electricfying 008 which of course reflects the immediate predecessor, but also hearkens back to some of the first few images of hoverbikes.  But I digress.

1 - A run down motel.  The only vehicle in the parking lot is a well-used motorcycle.  Austin peeks through the Venetian blinds of the room the motorcycle is parked in front of - there should be an inset panel (1A) around Austin peeking out to emphasize his position.  There may be some skid marks leading to where the bike is parked.

AUSTIN: Do you think we should have ditched the bike?

2 - Inset panel.  Repeat the image of Austin peeking through the blinds from outside from 1A, but much closer in.  If possible, connect the two panels as if panel 2 is magnifying the image of 1A.

AUSTIN: I think we probably should have ditched the bike.

3 - Inside the room.  In the foreground, Veera stands next to a bed that has a couple of guns, a small pile of money, and a ruined bag lying on top of it.  She angerly moves the money into a new bag.  In the background, Austin continues to look out through the blinds (looking away from the reader).

VEERA: Honey, if you could've shut up about that thing for one second and helped me with this, we would already be gone and it would not matter.

AUSTIN: You're right.  I'm sorry.

4 - Reverse angle so that Austin is in the foreground and Veera is in the background.  Austin turns away from the window (and reader), but he continues to stand next to it.  Veera is zipping up the bag, most of the money now within it.  A backdoor is visible behind her.

NO COPY

5 - Revert back to the panel 3 angle.  Austin is back at the window, peeking out again.  Veera is walking off-panel with the bag and guns.

AUSTIN (1): I'll just pop out and quickly ditch the bike.

AUSTIN (2): Be right back, dear.

6 - Return to the panel 4 angle.  Austin looks back from the window into the room to see that the backdoor is open and Veera is gone.

AUSTIN: Dear?

Think of a City - Good Talk

I will freely admit to being unfamiliar with Will Kirkby, but if 007 is anything to go by, he is one mad talented artist.  I mean, how do you possibly cram so much, so many details, into one single image?  There's far more than one story to be gleaned from the cacophony of colour and image we've got going on here, but we'll have to make do.

1 - Close on a sci fi pistol.  Its end (barrel?) seems to be charging up with energy, a light cyan crackling out from it.

LANA: You've got a lot of never showing your face around here.

CAPTION (ABIGAIL): I've had worse receptions at The Hole.

2 - Pull back to reveal three figures - Lana, Abigail, and Quentin - standing in a science fiction equivalent of a dive bar.  Lana holds the charging gun (now crackling a bright purple), pointing it at Abigail.  Abigail attempts to calm Lana down, while also attempt to prevent a rather angry Quentin from responding to Lana's threat.  Quentin should have some obvious bangs (maybe a devil lock if that's not too tacky?) or other distinguishing features around his face (for the next panel).

QUENTIN: Lana!

ABIGAIL: It's fine, Quentin.  Present circumstances notwithstanding, I'm sure we can talk this out like rational being.

3 - On Quentin's face, which is outlined in a deep, dark red light coming from off-panel.  Quentin looks on in horror and shock at what he's seeing.

LANA (off-panel): No.

CAPTION (ABIGAIL): Then again--

4 - Abigail now sits / lies on the ground, nursing a lasergun wound in her side.  There's some blood and stuff, but it's probably mostly cauterized.  Quentin kneels next to her, doing what he can to help.  Lana has already turned her back and is walking away, the gun at her side, dissipating red as it cools off.

LANA: We can't

CAPTION (ABIGAIL): ...I've had better.

Think of a City - Clocking In

I can't help but feel excited seeing the slow development from one Think of a City piece to the next.  Trying to recreate the thought process that took us from yesterday's warm and cheery image to this dark, foreboding 006 by David Lafuente sets my mind on fire with the possibilities.

1 - On a steam whistle blowing, steam bursting out to show the intensity.

CAPTION: They said there were too many leisure hours

2 - A group of workers stand at a row of classic time clock machines, punching their time cards to start work.  A row of workers wait behind them to do the same.  Workers should be similar in dress - to the point where it's hard to distinguish one from the next.

CAPTION: That they would fix the clocks

3 - On one worker, looking up at something off-panel.  They wear a grimace; their eyes are sad.

CAPTION: We laughed

4 - On the clock he's looking at (you could potentially have the back of the worker's head visible if you deemed it necessary): it only has 10 hours.

CAPTION: No one's laughing now.

Think of a City - It Takes Two

Patrick Crotty's 005 is painfully adorable.  I can't look at the bright blues and pastel pinks and not feel a certain sense of "d'aww!", as they say.  More than that, I love how it follows up that endearing veneer with a surprisingly deep and detailed underlayer of neighbourhood and life.  Lots to love about this.

1 - Establishing shot of a street corner in the downtown of a bustling sci fi metropolis - lots of bright, neon colours all about.  Main thing to note is that a kaju-esque monster is wrecking some havoc at this street corner.  Thankfully the thing is only a few stories tall, but it's still getting some noticeable damage in there.  A sort of biplane flies above the scene.  They obviously can't be seen in this panel, but Jet and Radio are in the plane.

RADIO (in plane): We gotta get down there!

2 - On the plane.  Closer in, we can see it has all kind of random sci fi elements that probably aren't terribly practical - an open top, visible electricity arcing out of its engines, and the like.  Radio is flying the thing, but she's looking behind her to see that Jet has already popped out of his seat and is hopping off the side of the plane into the open air.  The two are (of course!) wearing flight goggles along with equally ostentatious outfits - for example, Jet has a sword strapped to his back.

JET: On it!

RADIO: Jet--!

3 - On Jet as he plummets through the air, arms and legs splayed as a skydiver to catch some of the wind as it whips by.  The plane is visible in the background behind Jet - Radio looks over the side and yells after her friend.

RADIO: Wait!

JET (quietly): gotta time this just

4 - Back on the city street.  Jet crashes into the ground, sending up a huge puff of dust and debris.  The force of the impact radiates outwards, smashing windows, overturning nearby objects, and putting the kaju off-balance.
ART / LETTERING NOTE: Jet's dialogue here could be tied into the puff of dust / debris (you know, making the puff read out "right!" instead of having him say it.  Just a thought.).

JET: --right!

5 - On the kaju, which looks in surprise towards Jet's shout from off-panel.

JET (off-panel): Hey, ugly!

6 - On Jet, standing with sword drawn, ready to throw down.

JET: Let's dance!

Think of a City - Play Ball

The winter nights grow ever colder here, it's getting harder to think of warmer times (funny how fast that happens considering the first snow didn't fall until, like, a week ago), but looking at Carla Berrocal's 004, I can't help thinking of those endless summer days where friends and I would be out playing games of our own.

We're going slightly more direct today, taking the characters and situation as depicted in the image and giving a little scene out of that.  For the purposes of the script, the bigger character in the background will be Ronan and the smaller character in the foreground will be Charlie.

1 - On Ronan holding the ball, ready to toss it.

RONAN: Ready?

2 - On Charlie, nodding enthusiastically.

NO COPY

3 - On Ronan, throwing the ball.

RONAN: Go long!

4 - On Charlie running across the rooftop, the ball arcing above him.  Charlie's arms are outstretched and he is looking back and up to keep an eye on the ball.  Maybe have some speed lines or dotted lines to show the arc of the ball.  Ideally, this panel would go the width of the page to give a sense of scale in how much Charlie is running.

5 and 6 should make up one entire image, with a gutter dividing it horizontally.

5 - On Charlie, diving through the air to catch the ball.  The ground should not be visible in this panel.

CHARLIE: I got it!

6 - The ground (or rooftop) is visible here, but it's only on the edge of the panel as Charlie has dived off the side of the building to make the catch.  You could feature Charlie falling through the air here or you could leave it empty to emphasize the gap.

NO COPY

7 - Inset panel.  Ronan's hand grabs Charlie's ankle.

NO COPY

8 - Ronan holds Charlie by the ankle as the younger child dangles off the edge of the building.  They smile at each other in relief.
LETTERING NOTE: Ronan and Charlie say the same thing, so they should share the word balloon.

RONAN / CHARLIE (both): Nice catch.

Think of a City - Need of the Many

While it might not make for the most scintillating of introductions, I quite like how Think of a City simply uses numbers to title each entry.  Just by looking at the name, you get a quick sense of where you are in the project and its history.  It's why I also like that they use three-digit numbers - it tells you the scope of the endeavour, that they're in it for the long haul.  Anyways, today's delightful piece of inspiration comes courtesy of Morgan Jeske and is ever appropriately titled 003.

In keeping with the image, we're going for a sci fi bent to today's page for the biker, elder, and villagers. We will be switching between a stark desert scene in the odd panels and a warm, small town village meal in the even panels – you could roll different colour palettes between to emphasize the difference in location and time, but that's only one way to illustrate that difference and I'd be open to others.

1 – The desert. Evidence of a crash of some nature – skid marks in the sand, some pieces of wrecked metal – litter the ground, but there isn't enough on panel to understand what's happened.

CAPTION (ELDER): “Thank you.”

2 – A group of kind of pitiful looking villagers sit around a table filled with food. While their clothing is shabby, their faces are warm and bright, uplifted by the spoils before them. Two figures, a village elder and a biker, stand in the background, looking at the scene (although they are not the focus for this panel).

ELDER: Words cannot express our gratitude.

3 – The desert. More of the crash is now visible. A hoverbike has crashed into a boulder, sending parts and wreckage spilling everywhere. Towards the side of the panel, part of a body (that of the biker) is visible – perhaps their boot or body.

CAPTION (ELDER): “Stay a while, won't you?”

4 – The village. On the elder and biker. The elder looks in thanks towards the biker; the biker continues to look towards the (off-panel) eating villagers. The biker looks tired, but satisfied, their goggles hanging around their neck.

ELDER: Rest.

5 – The desert. On the biker's face, which is horizontal across the panel because they are lying flat on the ground. The biker's goggles have been broken by the crash, barely hanging around their eyes. The biker looks dazed, attempting to focus on something off-panel. Obviously, they should have cuts and bruises and the like in keeping with a bad crash.

BIKER (weakly): ...gotta keep moving...

6 – The village. Focus on the elder pressing a care package into the biker's hands, including a bright coloured orange.

ELDER: I thought you would answer as much.

7 – The desert. The biker's cut and contused hand reaches for the orange, which lies just out of reach.

CAPTION (ELDER): “Then take this with you.”

8 – The village. The biker is on their hoverbike, preparing to drive off into the wilderness / desert.

CAPTION (ELDER): “We appreciate your ongoing concern.”

9 – The desert. A bird's eye view of the crash, enabling the entire painful scene to be seen at once. The biker lies still, their outstretched arm failing to have reached the orange. If possible, layout this panel so that the biker, crash, and everything looks small against the immense landscape.

CAPTION (ELDER): “But please don't forget to look after yourself.”

Think of a City - The Way

We're up next with Ian MacEwan's 002.  I'm all about this image, but I won't waste your time describing it when you can give it a gander for yourself:

1 - A beautiful young woman sits on a balcony looking over the city as evening turns to night.  Hearing the front door, she looks back into the apartment towards the sound and turns off the device she's holding - resulting in a brilliant blue swirl as it powers down.

SFX (from off-panel): slam!

WOMAN: You stop all the bad guys?

2 - An athletic and similarly aged man walks out onto the balcony and kisses the woman on the top of her head, smiling.  The man wears a policeman's uniform.  It, like him, is rugged and worn.  Beyond the balcony railing, a ruckus rises from the street below.
LETTERING NOTE: The shout should come from the bottom of the panel, trailing up and appearing beside the balcony edge, connoting its origin down below.

MAN: Some of them.

SFX (kiss): smek!

WOMAN: Tell me you'll stay a while before going back out this time.

SHOUT (from off-panel): Hey!

3 - The man and woman look down over the balcony edge, seeing a group of hoverbike-riding ruffians hassling some of the street vendors below.  The leading figure has one of the vendors by the front of their shirt.  The other ruffians look on, keeping others away.  A stall has been knocked over, spilling squid all over the street.

LEADER RUFFIAN: I thought we taught you how the way of things last week.

4 - On the man up at the balcony railing.  He looks down, a grimace on his face.  His hand reaches for his weapon at his hip.
LETTERING NOTE: The woman's word balloon should come from at the same level as the man.  As in panel 2, the ruffian's balloon should come from the bottom of the panel, connoting its origin at street level.

WOMAN (from off-panel):  Honey...

LEADER RUFFIAN (from off-panel): Guess some folk learn slow.

5 - The woman puts her hand on the man's arm, concern in her eyes.  The man returns her gaze, relenting.

WOMAN: You've done more than enough.

MAN: Maybe you're right...

6 - The ruffians drive off into the falling evening on their hoverbikes, brandishing bags (presumably) filled with loot.  Behind them, the bystanders approach the vendor's prone and bloodied form.
LETTERING NOTE: The word balloon should be tailless.  It should be left ambiguous who is speaking.

WORD BALLOON (tailless): It's someone else's turn.

Think of a City - White Rabbit

I've always been a proponent of starting at the beginning, so let's do just that.  Here we have Alison Sampson's inaugural entry to the project, the aptly named 001 (click through for larger size and original site).

1 - On a puddle next to a curb.  It's the type where a little stream is running along, searching for a gutter.

NO COPY

2 - A bright red high-heeled shoe splashes down in the puddle as a woman runs through.

CAPTION (WOMAN): I'm late.

3 - Still focused on that puddle stream, the lower body of the woman can be seen in the background as she runs on.

NO COPY

4 - On the woman as she runs through the city street.  Water continues to stream along the curb as far as the eye can see.  The woman looks up towards the sky, ignoring the water and expecting something else.

CAPTION (WOMAN): I'm not sure for what.

5 - A large, circular portal floats at street-level in the wall of the city buildings.  Through the portal is an underwater ocean scene - specifically a bright red squid floating through the depths.  Water seeps out of the portal, creating that puddle stream we've seen thus far.  The woman has run past the portal, missing it as she looks behind her and off to the side.

CAPTION (WOMAN): But I've a feeling I'll know when I see it.

Think of a City

Happy New Year, friends.

I'm a big fan of Alison Sampson and Ian MacEwan's Think of a City project.

I mean, I don't really know much about it beyond that they are the people who are said to manage it and that the basic premise seems to be that all types of talented artists contribute their own single image to continually provide the next aspect of the "city", creating a continuously growing and changing whole of their individual pieces.  Okay, when I think of it that way, I guess I do seem to have a decent handle on what the whole thing is about.  Maybe there's more to it.  Maybe there's less.  Either way, the contributes they've had have created some incredibly beautiful imagery.

Therefore, instead of the longer form stories that I've been writing up here the past three months, in my ongoing quest to continue making new comic script, my plan for January is to return to my always treasured one-page scripts, taking the different Think of a City entries as my point of inspiration.

I hope they don't mind if I play in their sandbox for a while.  And I hope you'll enjoy the results.