What has been the most difficult thing in adapting to writing scripts for comics as opposed to films?
GREG PAK: Every once in a while when I’m writing a comic book, I find myself imagining a soundtrack that could instantly set the tone and establish the pace of a scene. But that’s extremely difficult to convey on a comics page. I pulled it off once in “Incredible Hulk” #95 (also available in the “Planet Hulk” hardcover) by using percussion—as the Hulk and his gladiator allies head into the Great Arena, soldiers pound out a tocsin on great drums. Since it’s percussion, sound effects like “TONG T-TONG TONG!” could carry the scene. But I’m still trying to figure out how to convey a melody on the comics page. Someday, I’d like to create a soundtrack that folks could listen to online while reading the comic. Clearly a bit too complicated for people to do on a regular basis, but it would be a great experiment. MICHAEL KANG: I would imagine that the lack of limitations in production value is great, but do you find it harder to get some of the subtler character traits across in a 2-D medium? G
