The Reviews Are In! Plus Nomination News!

So THE BROADCAST has been out for nearly two months now and word is finally starting to spread. Here’s a glimpse at what people are saying…

“An intriguing character study.” — Publisher’s Weekly

“Hobbs’ brilliant, character-driven script weaves a tight psychological thriller that at once feels both intimate and epic. A deceptively simply, exquisitely crafted original graphic novel.” — Broken Frontier

“It is a Halloween tradition to replay Orson Welles’ WAR OF THE WORLDS broadcast. If a station near you doesn’t play it, try picking up this comic. It’s just as good.” — Ain’t It Cool News

“A powerful story.” — The Onion’s A.V. Club

“A mature, original, and deeply moving text, one that takes advantage of the unique affordances of the comics medium to tell a complex tale.”  – Gutter Geek

“It’s great to see a comic that is not only well told and interestingly illustrated, but also embraces the mythos of the American experience.” – The Outhousers

“Five stars!” — Las Vegas Weekly

And that’s just the tip of the iceberg. Reviews have been great across the board, and we just learned that THE BROADCAST is nominated to be on this years ALA/YALSA “Great Graphic Novels For Teens” list.

Noel and I are both extremely happy with the response to the book and hope you’ll give it a look if you haven’t already. You can pick it up pretty cheap on Amazon today.

In additional news, the colors on AWAKENINGS were finished last week so expect to hear about the huge collection we’re putting together for that soon.

Anatomy of a Scene: Part V

So we’ve gone through all the motions. Script, layouts, artwork, a new script. After all that, this is what the final result looks like:

For me this moment is always somewhat bittersweet.

There’s nothing better than seeing your story come together. At the same time, this is when I have to lock it in and move on to the next scene. No more scripting, no more notes for Noel. This is the point where I have to let go and be happy with the work we’ve done. Probably the most difficult step of all.

Anatomy of a Scene: Part IV

Once Noel’s finished his work on a scene it’s time for me to go in and give the dialogue one final polish (I’m something of a perfectionist). Sometimes I don’t need to make changes at all. Usually, however, I do.

For instance, this scene saw the addition of one or two panels on each page. Obviously this means I need to review the dialogue’s placement, making sure it’s still appropriate given the page’s new layout.

From there I want to make sure the dialogue compliments the art. Sometimes Noel’s work isn’t exactly what I pictured in my head. Sometimes it will say enough that I can delete some dialogue. Other times, I need to add a line or two for clarity.

This scene saw a few minor tweaks. The biggest came on page 66. You may remember that initially there was no dialogue in the first panel. When I saw it, however, I didn’t think reader’s would understand the old man was coming out of his desk because he was angry and felt the addition of a line or two was called for.

Once I’ve finished tweaking everything I send a “lettering script” to my letterer with the art. He takes it from there.

Here’s a look at what one of these shortened scripts looks like…

****

PAGE SIXTY-FIVE

PANEL THREE:

Dawson (standing): PLEASE, TIM. YOURS IS THE ONLY HOUSE WITH A STORM SHELTER FOR TWENTY MILES.

TOM (on left): THE CHURCH IN TOWN HAS A CELLAR.

JACOB (far right): AN’ IT’S FILLED TEN TIMES OVER BY NOW.

PANEL FOUR:

TOM: I UNDERSTAND WHAT YOU TWO WANT, I DO. BUT UNTIL MY DAUGHTER IS SAVE NONE OF THIS IS GOING TO BE OPEN FOR DISCUSSION.

PANEL FIVE:

JACOB: BUT MY DAUGHTER’S HERE.

TOM (off panel): I KNOW THAT, JACOB.

PANEL SIX:

DAWSON: CAN YOU LET US DOWN FOR NOW? AS SOON AS KIM SHOWS, WE’LL–

TOM (off panel): IT’S NOT GOING TO BE THAT EASY.

PANEL SEVEN:

JACOB: GODDAMNIT, SHARDER!

PAGE SIXTY-SIX

PANEL ONE:

TOM: YOU KNOW? I THINK I’VE HAD JUST ABOUT ENOUGH OF THIS!

PANEL TWO:

KIM (off panel): DAD!

PANEL THREE:

TOM (far right): OH, THANK GOD.

PANEL FOUR:

KIM: IF I’D KNOWN…

TOM: I KNOW, SWEETHEART.

PANEL SEVEN:

JACOB: YOU TWO JUST REMEMBER WHO WAS HERE FIRST.

Anatomy of a Scene: Part III

This one doesn’t require much explanation. Once Noel and I are both happy with the layouts, he goes to work. A few weeks later, I end up with something like this waiting in my inbox…

I know, I know. Someone shouldn’t get to work with an artist THIS talented on their first book. But hey, someone has to be the exception that proves the rule. Might as well be me.

Anatomy of a Scene: Part II

Yesterday I shared an excerpt from THE BROADCAST’s script, today I want to give you a look at the next step — layouts.

Essentially, Noel takes the script and does a very rough version of the illustrated page. It’s a vital step in the process because it gives us a chance to make sure the story is being told visually.

While you want the art to work hand-in-hand with the dialogue that will eventually be included, a good artist will tell the story without a word on the page. Just look at the first set of layouts…

Already, we know three men are meeting behind closed doors (see how Noel stuck that panel in — and rightfully so).

We know that two of these guys are here to see the old man, and we know they’re pressing him about something (see how one of them is leaning forward, hands on the desk?)

We know it isn’t going well. Just look at the body language in panel five. Even in these rough drawings you can see he is getting upset.

And finally, we know the situation reaches a boiling point when the young guy finally snaps and pounds a fist onto the desk.

You’ll notice Noel added two panels to the second page. The last panel is a particularly important addition.

I initially wrote this page to end with Jacob’s dirty look — but showing Gavin and Eli as they watch Jacob storm away is a far stronger moment to end with. After all, Gavin and Eli are two of our most important characters. Leaving this scene without showing their dumbfounded reaction would have been a huge mistake.