![]() ![]() ![]() ![]() Marvel, of course, would not pay for those unused pages.Īnother issue is how much plot that the artist is given. The biggest drawback in this method is that if the artist didn't do a good enough of a job on the pages, the editor (in the case of Marvel, the editor was also the scripter of the issue) would have the artist redo pages until the story was "right." Joe Orlando once famously noted that he would often have to draw 25-30 pages to get the 20 pages for the story. After the pages are drawn, the scripter then adds dialogue to the drawn pages. The plot is typically derived via a story conference between the scripter and the artist. The Marvel Method, on the other hand, leaves the layout of the pages to the discretion of the artists, who are working from a more general plot. ![]() The artist then draws the pages based on the script. Likely the most common one (and, ironically enough, is the way that most Marvel Comics are written nowadays) is that the writer writes a script that explains what is going on on each page, along with the dialogue. Let us take a look!Īs a refresher, let's recap what we mean when we refer to the "Marvel Method." There are two notable ways to write a comic book. After first showing up in an the first Amazing Spider-Man Annual, the 19 annuals had a series of back-up stories in four different annuals that depicted the "Marvel Method" in action. However, the biggest time that the topic was addressed was in back-ups in Marvel Annuals in the 1960s. ![]()
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