TECHNOMAGIA: G.U.I. - TIME SPANNER

PAGE ONE
PANEL ONE
The Chronomancer enters the saloon. It’s like the cantina scene from Star Wars. Different races and classes and cultures from within the Technomagia universe are represented and cavorting with each other. Our view is from behind the Chronomancer, and we can clearly see his guild emblem on the back of his cape. With a crimson cape, it probably stands out in gold; I’m thinking it’s a combination of a cog, a clock, and a magical symbol.

PANEL TWO
An over-the-shoulder shot: the Chronomancer looks to one side of the saloon.

PANEL THREE
An over-the-shoulder shot, reverse angle: the Chronomancer looks at the other side of the room. One person has shifted in his chair to turn and look at him.

PANEL FOUR
A close-up of that guy-- the Chronomancer’s target. He just looks sketchy, you know? Something about the Chronomancer has already set this guy on edge.

PANEL FIVE
The Chronomancer has approached the bar, and is holding up a picture to hold to the bartender. The Chronomancer keeps his poise and posture; he’s here on official guild business, serious business. The bartender’s probably drying off a stein, trying to multitask.

CHRONOMANCER: I’m here on behalf of the Chronomancer Guild. This man has been caught selling Chronomancer technology to Arzzandal’s forces. Any chance you’ve seen him?
BARTENDER: A Meta-lover, eh?

PAGE TWO
PANEL ONE
From behind the Chronomancer’s target, we can see the bartender point the man out. The bartender has probably shifted his rag and stein to the same hand, wrapping the rag around the handle.

BARTENDER: That’s the one.

PANEL TWO
Switch angles to look at the target head-on. Outrage is clearly visible. It looks like he stood up so fast his chair fell behind him, and he’s in the process of flipping the table. He’s either pissed at the bartender or simply trying to cause an uproar for distraction.

PANEL THREE
It’s almost like the Heisman pose-- someone is in the target’s way, and is forcibly being removed.

PANEL FOUR
And by the time he’s hit door, he’s already left plenty of destruction in his wake.

PANEL FIVE
The protagonist has bolted for the door...

PANEL SIX
… And with a touch of the forefinger to the brooch, or whatever the ornate thing is that holds his cape together, the cape itself begins to dissolve into crimson binary. I dunno, I figure it’d look majestic or something during the intro, but wouldn’t be practical for “making chase.”

PAGE THREE
PANEL ONE
The Chronomancer does a bit of a standing baseball slide to the center of the dirt and rock road. Ahead, on the same path, his target is making a ninety degree turn from the main path to another. The setting is probably sparsely-forested mountains, so there’s a bit of an upwards angle toward the target’s turn.

PANEL TWO
The Chronomancer hits the next path. The target is way ahead. Unlike the dirt road, which is actually made for travel, this path is less designed for typical travel. There are highs and lows and large rocks in the path which make it less habitable.

PANEL THREE
As if in some jumping-turning maneuver typical of a video game (and fittingly so), the target has spun mid-air to cast a summoning spell. His left hand grips his glowing right. The ground below him glows as well, possibly in a circle or in a symbolically magic arrangement.

PANEL FOUR
From the glowing ground, the front half of the dragonhound has arisen, and is basically pulling itself in this space from whatever space it had previously occupied.

PANEL FIVE
While the dragonhound pulls the rest of itself up out of the glowing circle, the Chronomancer’s target has turned to flee.

TARGET: That should hold you for a bit!

PAGE FOUR
PANEL ONE
Not to draw too many Star Wars references here, but the Time Spanner looks like a high-tech wrench that’s attached to his belt like a light saber hilt. At any rate, the Chronomancer pulls it from his belt in preparation...

PANEL TWO
…Then quickly moves to avoid the giant snapping jaws of the dragonhound.

PANEL THREE
The Time Spanner grows to the length of, oh, say, a wizard’s staff. That’s appropriate enough, as that it essentially the parallel it is meant to draw. In retreating from the attack, and with the resized Spanner in his hands,  the Chronomancer casts a spell, shooting the dragonhound with some form of energy.

PANEL FOUR
I picture this as being a borderless panel, just the growling dragonhound. It should be scaled to make it look big, bulky, but the features of it have changed to reflect its time-reversed younger form.

DRAGONHOUND (no bubble): GRR ARF! ARF!

PANEL FIVE
The Chronomancer is seen now standing much taller over the dragonhound pup. He’s wagging a stern finger down at the pup, shaming him for his aggressive behavior.  

CHRONOMANCER: No! Bad boy!


PAGE FIVE
PANEL ONE
The Chronomancer kneels down towards the pup, his Time Spanner (still enlongated) in his left hand and a little bone-shaped puppy treat in his hand. I refuse to disclose which orifice this puppy treat was pulled from.

PANEL TWO
The Chronomancer commands the pup.

CHRONOMANCER: Speak!
DRAGONHOUND: Ruff!

PANEL THREE
The pup is somewhere in the process of rolling over. This could be one of those time lapse panels with a transparent illustrations of the pup’s movement. It could be something more simple than that.

CHRONOMANCER: Roll over!

PANEL FOUR
The pup is standing on his hind quarters.

CHRONOMANCER: Stand!

PANEL FIVE
The Chronomancer gives the pup the treat.

CHRONOMANCER: Play dead!

PANEL SIX
A close-up of the pup, laying on his back with his legs straight up, as the Chronomancer rubs his belly.

CHRONOMANCER: Good boy!

PAGE SIX
PANEL ONE
The Chronomancer’s target is now much further along on the coarse path; from the perspective shown, we can see him from behind as he’s running.

PANEL TWO
From the opposite angle, looking at the target head-on as he sort of peeks behind him.

SFX: WUB WUB WUB WUB

PANEL THREE
The target has stopped and turn. From over his shoulder, we can see the target’s expression of fear as he sees the Chronomancer riding the back of the flying (and again fully grown) dragonhound.

PANEL FOUR
A close-up on the head of the dragonhound. Its mouth is opened, baring its teeth and gullet as a fireball forms from within its throat.

PANEL FIVE
Exasperated, the target turns in an attempt to scramble away from the fireball, which is seen in the background, large and mid-approach.

END

Pentacle Program - Two Page Script

Simple grid frame, three rows by three columns.

PENTACLE PROGRAM

PAGE ONE

PANEL ONE - THE PROTAGONIST UNLOCKS THE DOOR TO HIS APARTMENT COMPLEX BUILDING IN THE RAIN.
There's a light over the exterior door shining down on the guy. It's late at night; the guy is dressed in a long coat, but having no hood leaves his head unprotected.

PANEL TWO - THE PROTAGONIST PULLS A CD-ROM OUT OF HIS MAILBOX.
The mailbox is one in a locker-style row of many. The guy's keys are still hanging from the mailbox door. The CD-ROM is packaged somewhat discretely. The locker bank is in the complex foyer, which also has the stairs to the second floor. Our guy is soaked in his long coat. He probably won't show much over receiving something in the mail he actually sent for.

PANEL THREE - THE PROTAGONIST CLIMBS STAIRS.
With the mailbox closed and locked, our guy has begun to trudge up to the second floor-- his floor-- leaving sloppy, wet footprints in his wake.

PANEL FOUR - THE PROTAGONIST OPENS THE DOOR TO HIS DARK APARTMENT.
We're looking at the guy from inside the studio apartment. The hallway light is bright, and we can see little more of the guy than his silhouette. The only thing on in his small studio is his computer screen; its light, combined with the hallway light, illuminates just a bit of the mess his apartment is.

PANEL FIVE - THE PROTAGONIST SHUTS THE DOOR BEHIND HIM.
That extra light from the hallway is gone; the light from the computer screen is thus accentuated. The guy's silhouette (and the glimmer of the LCD light off his spectacles) is further into the apartment, probably closing in on his almighty throne.

PANEL SIX - THE PROTAGONIST IS SLUMPED IN THE CHAIR IN FRONT OF HIS COMPUTER.
He's got the slouch anal-retentive posture people warn you about. He's much more visible now that he's directly in front of the computer. His head is sort of hanging and his wet bangs are still dripping wet. His finger is by the external eject button of the computer's disk drive, which is now opened. (Alternatively, the guy would be pulling out a porn DVD from the now-opened disk drive.)

PANEL SEVEN - THE PROTAGONIST PUTS THE CD IN THE SLOT.
A close-up of his hand and the new CD, with his index finger through the hole and his thumb on the rim, careful to place the disk appropriately. The disk's label looks black with a large logo, the pentagram that is disintegrating into binary on the right side of the disk.

PANEL EIGHT - THE PROGRAM DISPLAYS THE WELCOME SCREEN.
It's basically a close-up of the computer screen. The same logo from the disk label is on the screen. The bottom of the screen has one of those boxes you have to click, saying one does agree to the terms of usage and/or assume full responsibility. The guy's arrow-style mouse pointer is probably somewhere between that box and the button marked "continue."

PANEL NINE - THE PROGRAM ASKS THE PROTAGONIST TO SELECT A BASE MODEL.
The program allows for the selecting of one base from many, and a color option that changes the color of the selected model's lines. The guy picks up a pentagram, double-encircled with smaller circles at each point of the star within the dual bands; the color option has "red" selected.

PAGE TWO

PANEL ONE - THE PROTAGONIST IS LOOKING AT HIS KEYBOARD.
This should probably be shot from over the guy's shoulder so as not to beat side-shots to death. From this angle, the reader might be able to see that he is putting letters in each of the five smallcircles around the star. (Hadn't planned for that until next panel, but if it can be worked in there, why not?)

PANEL TWO - LETTERS ARE FILLED INTO EACH ONE OF THE FIVE SMALLER ORBS.
Starting from the uppermost circle, the guy has put the letters J-N-T-h-N in the orbs.

PANEL THREE - THE PROTAGONIST CHANGES THE FONTS.
The guy has changed each letter from the English alphabet to other fonts/alphabets in the program. It will be something like J in Theban, N in Enochian, T in Ancient Greek, h in Furthark, and N in Magi. The guy may have right-clicked to pull up a menu, with the mouse hovering over "invert image."

PANEL FOUR - THE PENTACLE IS INVERTED.
The image is flipped upside down; even the letters, in their new positions, are upside-down.

PANEL FIVE - SYMBOLS ARE ADDED TO THE INVERTED PENTACLE.
The guy decorates his project with alchemic and planetary symbols from a drag-and-drop menu. He starts by putting the astrological symbol for Saturn in the pentagon at the center of the star.

PANEL SIX - THE PENTAGRAM IS COMPLETE.
Another over-the-shoulder view of the computer screen (the side opposite the view taken in page two/panel one) and the now finished pentagram. It now has the symbol for Saturn at the center of the star, the symbols for Uranus, Neptune, and Pluto in the higher three sections outside the star, and the alchemic symbols for fire and sulfur in the bottom two sections.

PANEL SEVEN - THE PROTAGONIST SNEEZES ON THE COMPUTER SCREEN.
The guy is in the full throws of a violent sneeze, and seems to blast the pentagram with sickly bodily fluids.

PROTAGONIST: Ahh-
PROTAGONIST: Ahh--
PROTAGONIST: Ahh-choo!!

PANEL EIGHT - THE PENTACLE TURNS INTO A HELLISH PORTAL.
The outer edge of the pentacle has collapsed inward into a portal. It looks fiery yet dark at the same time. A hand is reaching out from inside the portal, with demonic red skin and painted-black claws. The guy is recoilind in fear, if he can be seen in this panel.

PANEL NINE - THE PROTAGONIST IS PULLED INTO THE PORTAL.
The guy is already half-way gone, his precious chair kicked over and the lower half of his body sticking out of the screen. His legs are probably still kicking.

END CAPTION: Tough break, kid!