Foreward

"Venge is my dream of a hero and his quest for love. And in this dream I have to do things that scare me.

I am MidKnight, and these are my Knightmares. "

-Sunday, December 13, 2009


Tuesday, July 5, 2011

Violent Lessons

This Independence Day I had a realisation most distraught.
From an early age we are taught to appreciate things of a violent nature. A child will fascinate at the spectacle of lights displayed high above as a firework is ignited. But at the sudden boom of an explosion, a child will become afraid. A child instinctual knows that this sudden burst of energy is something to be feared. Yet we, as parents, instruct them to marvel at it, in celebration. We down play the destructive nature of the event with patronising Ooh's and Ah's.

Then we wonder why a child will do something against common sense. We wonder why our children do reckless or destructive things. I know I did.
I once put a screwdriver into a light socket to create fireworks. The sparking was fascinating. I even remember plugging the lamp into a different outlet because the first one had ran out (tripped it's breaker). It wasn't until after the second breaker was tripped, and the T.V. shut off, before I was made to realize.
An inability to sit comfortably and constant adult supervision led me to understand that light bulbs are the only things that belong in light sockets and the T.V. is to remain on except in the case of serious injury or death.

*         *         *

One of the men reaches for the shadow and is greeted with a swift kick to the side of his face. His head impacts with the metal table creating a resounding gong and knocking the man unconscious.
The shadowy form grapples with the second man as he brings his assault rifle up to fire. The shade strips the rifle from the mans hands, flips it around, and points it back at him.
Just then, the third man leaps over the table brandishing a crowbar. The butt of the rifle meets the third man squarely in the face. His eyes roll into the back of his head as blood streams from his nose. The shadow assailant sidesteps the third man's awkward dive as he hits the concrete flooring like a sack of potatoes. The crowbar falls, lazily from his hands and clangs onto the floor.
Pleased, the assaulter grabs the rifle by it's barrel and lines up a golf swing. The second man attempts to raise his hand in a sign of mercy as the shade swings his arms backward. The full, brutal force of the rifle butt catches the second man under the chin and whips his head up and back. His feet pitch forward as his body is carried into the air. The back of his skull meets the concrete with a "Tok!" and his body settles into motionlessness.
The orange warning lights high in the ceiling finish their rotation to illuminate the face of the shadowy assailant. The face is not human and resembles that of a skull. Wide eyes within the skull's eye sockets gleam with satisfaction. The apparition corrects his grip on the rifle, lines up the sights with each of the unconscious body, and pantomimes shooting while yelling, "Bang! Bang! Bang! You are all dead."
He discards the gun and retrieves the crowbar. He smashes it against the metal table with a sideswing. With each swing, a loud "Pang!" drowns out the sound of desperate footsteps and hurried commands.
"Ask not for whom the bell tolls..." The spectre yells out across the warehouse before throwing the crowbar into the second tier office window overlooking the warehouse floor, "... for it tolls for thee!"

Monday, July 4, 2011

Premises Broken

An Epic Story does not work well with Comic Books/Graphic Novels. The Epics were auditory in nature. They were, quite literally, told. Comics are primarily visual. The story is seen. Because of this, or perhaps in spite of this, my story can not follow the same structure. At least not without some modification.
Through the process of putting my story into a written format I have been able to observe a pacing error. I had a thought of just having Gregor the Observate narrate over an action scene. I would have him detail some semblance of back story while the action within the panels would be of a gruesome conflict. Neither narration nor action having a direct relation to the other. And while this was exciting to visualise it conflicted with the overall story idea.
Psychological, supernatural, love Epic.

Love - I think this has, and will further be defined in the overall telling.
Supernatural - The creatures and situations in and of themselves will detail this aspect.
Psychological - This I have only alluded at and towards. And, as such, is something that needs to become more central than it has been thus far.

Is Venge just crazy? Is this world that he exists in just imagined? Up to this point it has just been stated that it is all true. In doing so I have missed opportunities to cast doubt on behalf of the reader. Possibly, near the end of the chronicle, I will cast light on the truth.

So then, how to tell a visual story that may be falsely observed? How to tell an Epic visually? I find myself coming back to Gregor but not as a stater of facts as he was previously depicted. He shall instead rejoin with his actual purpose. The storyteller.

*         *         *

Foreword

My name is, Gregor. I have for you a tale of a remarkable man and his quest to be reunited with his true love. The details of this adventure have come to me through observation and from interviews I was able to get from those involved. Wherever the details have become conflicted I have chosen to use the point of view of this man. You may have already heard of him; The man called, Venge.

*         *         *

Book 1: Avenge
Chapter 1: A Load Off My Mind

In a forgotten harbor town on the west coast of North American, gunshots and laughter can be heard emanating from the warehouse district. While gunshots and laughter are not unheard of in this part of town around payday, today is not payday. Upon closer inspection, it would appear that warehouse 43 is very active tonight. Word has gotten around that the owner would be there in person to oversee something of importance. And while mob ties have never been proven in court, the presence of the additional goons running about lend some truth to Mario Rossi's being there. Or as most know him...
"Don Rossi," sings a hauntingly sinister voice from within the stacks of crates and containers, "where are your manners? My mistress has bid you to dance and your turn her down?!"
Bullets impact the walls of crates as a shadow streaks past.
"Instead you send these unworthy suitors?"
A running clothesline topples three men who had taken up position behind an overturned, metal table.
"Trust me, Mario, they will each have a turn, but tonight is your dance with Death!"