Guys, I can't really describe how important this company and this show (and the community that has formed around it) have become for me. It's a home I can always come back to. It's a sense of continuity no matter where I go. It's been an example and an inspiration for me in my writing and the things dedicated people can create.
So instead of rambling in that vein I'll continue to show you a small thing that I've created in thanks and response to Rooster Teeth and Red vs Blue. I haven't only been sitting on Issue 1 for a while. I plan on finishing the scripts (two more is the most likely scenario) soon, but the back-to-back release of the first half is what I've come up with as my original contribution to the celebration. Who knows what kinds of fun I'll jump into tomorrow with what you all have to offer.
As always your feedback is appreciated.
This is a treatment for a mini-series of comics set around a story of RvB. It is based largely around what I think happened but set in a way trying hard not to confuse continuity. It’s a little hard. This is very informal in that I do not know if it will ever go far beyond this computer. It is a fan work done as an exercise and in appreciation of Rooster Teeth. All comments in note sections are meant to be casual and entertaining. Though a frame story is present it covers the beginning of Agent Washington’s career in the Recovery Program and ends around the same instance that began the BGC and Wash’s full time as RecoveryOne.
Since this is based off of a web-series filmed in Halo, the actual look of things is pretty obvious. It’s Halo (specifically things will all (unless otherwise noted) be Halo 2 style things as that is the armor Freelancers had up until the events of Recovery One where Wash and South were able to get Halo 3 armor from PF or other military sources (and all of the Sim Troopers upgraded around that time too).
If I was doing the art it would be fully and accurately colored people with backgrounds largely shades of one or two colors and important objects being fully colored too. Also I’m thinking heavy lines in a Jack Kirby style or like Lichtenstein. The reason for this pop-art approach is because it hasn’t been done in RvB before, I love it, and I imagine Wash would be a fan. This is his story.
The following notes are present because I don’t know if everyone knows how a comic script works. I certainly didn’t when I first read one (highschool).
I think it would be best if odd pages were on the right, starting with page one on its own, and even pages were on the left. The reveals and paired pages have been designed in this format.
Though I’ll lay out what I plan on panels looking like most of the time, the standard will be a two across and three down grid. Things like how wide or narrow a certain panel is in my mind will be addressed in the Panel Discription. Also, for quick reference I will label panels like this 1-2-1 for page one, panel 2, row 1. That panel would, in the six grid, be in the top right corner. The panel in the bottom left would be labled 1-5-3. This is a spec script, I understand things would change. Speaking with the artist about layouts would determine their final placings.
The phrase “bubble break” means that the dialog is in two seperate comments in connected bubbles but not interrupted by a second speaker.
More Formatting notes:
-Bold things are present to help locate important information.
-Italics will be author notes.
-Things in [Brackets] will be panel or art discriptions.
-Character lines will be presented with the character name above otherwise marked text. If it is a narration box that will be implied after the colon (:). All lines in the panel will be presented in the order they are said/probably should appear in a left-right up-down manner and if a character has multiple lines in a panel, that means multiple bubbles seperted as they have been in the script is intended.
-Bold, italics, or any other format IN a character line is meant to be reflected in the speech bubble.
I see each character as having unique speaking/narration/saying-things-off-page boxes. Here they are, and unless noted for one reason or another I see AI’s having techy-looking font and people having more organic looking ones (like Courier and Times New Roman but other pairs are fine). Also Characters (especially AI) having colors in their speech bubbles is something I’d be fine with but it’s more work and ink than is “necessary.” This list is presented as Text Color on Box Color.
WASH: Yellow on Gray (Perhaps differentiate Past Wash with this and “Present” Wash with Yellow on Light Blue)
INTERVIEWER: White on Olive
DIRECTOR: Light Blue on Black
COUNCILOR: Black on Light Gray (Perhaps a Smoother font)
ALPHA: Light Blue on White (AI)
EPSILON: White on Light Blue (AI)
47-9ER: Gray-Blue on White (I realize there’s a lot of blues here but that’s half the show)
FLORIDA/FLOWERS: Black on Cyan/Aqua
FILSS: Blue on Black (AI)
WYOMING: Black on White (with a “British” font (Copperplate Gothic Light?))
HARGROVE: Dark Gray on White
TEX: White on Black (AI (Wash knows so why not?))
OMEGA: Purple on Gray (AI)
DELTA: Light Green on Dark Green (AI)
GAMMA: Light Green on Light Blue (AI (maybe even more computer (pixely)))
SIGMA: Red on Orange (AI)
THETA: Red Pink on Blue Purple (AI)
ETA: Aqua on Yellow (AI)
IOTA: Yellow on Aqua (AI)
MAINE: Brown on White
YORK: Silver on Gold
CAROLINA: Silver on Aqua
NORTH: Green on Violet
SOUTH: Lime on Lavender
CONNIE: Light Gray on Brown
VIRGINIA: Tan on Navy
WEST: Brown on Navy
INDIGNAT MECHANIC: Rose Pink on White
RECOVERY FORCES: Their Accent Color on Dark Gray
PROJECT FREELANCER TROOPERS: Standard Black on White (they’re not really all that important)
And that, roughly two pages in, should cover what I’d like to. Now we can get to the actual script. Yay!
This issue is about a few departures and how Wash was left in the middle of things (and a few other things about loneliness and being left behind) so what I imagine as the cover is a large white background with Wash (Gray suit) standing in the center (looking down?) with Alpha (as just light blue outlines over white) as his shadow off to the left (Wash’s right) and Wyoming to the right (Wash’s left) and they both are facing away from him.
Obviously if the artist or others involved reads the issue and has a cool idea, we can work with that too,
As with the last issue this page starts on the first right page after the cover and something (a recap maybe or a cool thematic image) on the left inside of the cover So all pages are odds on the right, evens on the left. If there’s ads, just put them around non-splashpages or so they don’t ruin a reveal if they don’t have to.
[Page 1 is like the last first page, focusing on the conversation happening “now” between the INTERVIEWER and WASH (Blue suit and obscured face if his helmet is off (and I’m more leaning towards this option for a “twist” in the final panel of the final issue)).
Remember the room is a simple interview room from the USNC (I don’t know why but I always envision red-ish lighting but as long as it’s military I’m cool). On the single table is a bunch of space future equivalents of tape recorders and casefiles. There is a two-way mirror in a spot where (theoretically) someone could watch Wash but we don’t get any angles where we see his reflection (because of the twist).]
[This panel is the top third of the page and WASH should be looking just a bit bored (twiddling his thumbs or messing with the documents.]
The next major recording of note is a little later and I believe it indicates things settled rather quickly, especially when it came to putting the Alpha into his safe location. Would you agree?
I can’t be too helpful here. The Alpha was always kept in the dark, but after the break-in they put him in isolation. Apparently he was lethargic after brief contact with Tex-
[Interrupting WASH] Agent Texas was able to make contact with the Alpha during the break-in? Why didn’t she take him?
Only The Alpha and Texas fully understand each other. If she left him alone then the reason was good, I assure you.
Panels 2 and 3 split what remains of the page in half (vertically).
[This narrow panel is over the shoulder of the INTERVIEWER]
And yet, she went to Blood Gulch…
[Flip shot over WASH’s shoulder]
You’re getting ahead of yourself. A lot of things changed between the break-in and Blood Gulch.
[Another montage page. As the Director and Councilor talk, a scene of ALPHA running through a maze occurs where he once again slowly turns into EPSILON (becoming more light-blue and white than white and light blue). His movements are purposeful, but he seems scared as well.]
When will he be ready?
He is still preparing and we are running tests to make sure he even will be ready.
The timeline is murky. At the moment there are just too many possible avenues to pin it down.
We need him moved soon.
As soon as we can be sure things will go as planned, he will.
[EPSILON turns around a corner and the shot switches to a front-on of WASH coming around a corner of a concrete wall in snow only to duck back immediately because of gunfire.]
I think I’m pinned down.
47-9’er: [over the radio]
[I see this panel as wider than the following one in the row. A wide shot of Sidewinder full of troops, vehicles, and cover, like the opening of Reconstruction. In the back you can just see WASH peeking out from behind a piece of the cover. A tank is aiming at WASH.]
FILSS: [over PA]
Tank Lambda-zero-zero-eight firing main cannon.
[WASH is engulfed in a tank-round sized glob of the pink paint from the training sessions in season 9]
Son of a bitch.
[The remainder of the page is a less-far-out shot of everyone abandoning their equipment and filing inside the MoI.]
FILSS: [Still over PA (in a text box in the top left corner)]
The simulation is now over, please proceed to your next duties.
[TITLES AND CREDITS are in the center or bottom left corner]
FILSS: [bottom right corner]
Will someone please help Agent Washington out of the paint?
[Back to the six-grid (sort of) and the first panel is of WASH in a room with a screen preferably. I want this to feel like the flashback from Recovery One where Wash and the Councilor talked through the glass wall. He’s alone and flicking off some of the paint.]
I hate that stuff…
[The sound of a radio going off and the COUNCILOR come on the screen. WASH acknowledges this but does not exactly stand at attention either.]
Agent Washington, how are you doing with your special training?
I am doing fine. It’s an adjustment.
[A shot of the screen with the COUNCILOR obviously probing, WASH’s line comes from the POV]
Would you say it is difficult to work on your own after all of the time with the team?
Not exactly. I don’t think having a team would have changed much out there.
[A side-long shot where the COUNCILOR and WASH can be seen]
Do you still feel like you have trouble communicating after the Epsilon incident?
Not so much.
[Just a shot of the COUNCILOR again with a furrowed brow]
[Same shot but he’s talking]
Than what would your “adjustment” be?
[WASH looking at the mirror/screen]
Wash: [Drawn out]
It’s really. Fucking. Cold.
[The DIRECTOR’s voice comes through the mirror/screen, shocking WASH slightly]
I would say the same thing, Agent Washington. It is a shame Agents Texas and York did not decide to crash our ship over the warmer simulation bases.
[Still WASH in the room]
Director, I would not encourage this sort of behav-
[Interrupting] I believe this is just Agent Washington trying to reclaim some of his old spirits. I would not begrudge him of that.
[A silent shot of the room again]
I want this moment to have something about Tex in it, or just to be hollow showing how in tune Wash and the Director have become. His comment was meant to be probing. If this was in machinima, a head tilt is all that would be needed. Hopefully a mute panel will suffice.
[(Over WASH’s shoulder?) The COUNCILOR is on the screen, shuffling his notes]
I- believe I have all I need to know for now. You will run the equipment recovery simulation again tomorrow. You are dismissed for the day. And don’t forget to tell us if you remember any more of the break-in or what happened to you during the Epsilon Incident.
It’s just the same for now.
Very well, Agent Washington.
[Same shot. The screen goes off with a click]
[Cut to a wide full top third panel shot of the training room. WASH is in the center and facing away from the control room. He’s in a training program like Carolina’s martial arts floaty circle one, but at more distance. All the spinning targets are red. WASH still holding his magnum out and “firing”.]
[A face-on of WASH, still aiming. FILSS’s voice is coming through the PA, coming from off panel.
Agent Washington, you have successfully gone through several full cycles of this marksmanship test and your handgun’s clip. Would you like me to vary its speed or change the rotation?
No thank you FILSS.
[A wider shot of WASH from the side, still poised to fire.]
It has been found that mastery of a specific course can become damaging to a soldier’s ability to improvise.
I am not doing this to get better at shooting.
Do you find this process therapeutic?
[WASH lowers his gun and turns to face the control room.]
You sound like the Councilor.
I am sorry.
You don’t need to be.
[WASH lets his gun go down to his side. He’s not as tense anymore.]
FILSS, do you have any knife training programs?
[A wide shot of the training room again, but this time there’s mechanical noises as hard human-shaped targets come out of the floor on tracks to replace the glowing targets.]
Certianly. Melee combat is something the Director encourages all of his soldiers to become proficient in.
[A case rises out of the floor next to WASH accompanied by mechanical sounds. It is covered with knives.]
Would you like me to run the tutorial program?
[Wash POV as he picks out a knife]
[A bottom-third panel that’s a silhouette of WASH, the knife being thrown, and a target.]
Page 8 and Page 9
[Show the target with a knife straight through the heart.]
I’d rather improvise.
[The rest of page 8 and all but the lower right corner of page 9 are a big splash page back in the “present” interview room. This follows the same pattern in this room and is up to the artist. WASH and the INTERVIEWER are on either side of the table. Show the records on the table. Don’t show WASH in the two-way mirror.]
It would seem you were being kept in isolation too.
Well, yes, but that was just as much about me as the simulations. Those of us on the leaderboard that were still alive were given missions while the lower forty were completely moved to simulation duty.
The scattering of assets.
Our records for each dispatched Freelancer are detailed except for Wyoming. We only have that he was the last to leave of the higher ranking agents.
And a note that his departure caused an “un-explained outburst in Agent Washington” that is later attributed to your Post-Epsilon paranoia.
[This panel is WASH staring into the middle distance]
Can you tell me about Agent Wyoming’s departure?
[A similar shot of Past WASH in his quarters (sparse like the last one, he just moved in). This WASH is also lost in thought.]
[WYOMING leans in through the door.]
[We’re in a “memory” now, the same fuzzy AI-scape from the parts at the beginning of each issue. ALPHA is banging on a closed door with a Gamma computer panel nearby.]
I need to get through… I need to get through…
[Similar to previous. Gamma’s dialog comes from “nowhere” it’s still a dialog balloon, but not with any directional indication.]
[ALPHA stops trying to open the door and looks around]
Hello? (Bubble Break) Who’s there?
[ALPHA looks around more, panicked. I imagine a closer shot.]
Who’s there? I need to get in!
Page 11 is four quarter-page panels.
[A new, more manic angle on ALPHA turning in front of the door.]
Please! Who’s there? They’re on the other side!
My friends are in trouble!
[ALPHA leans against the door, holding his head in his hands.]
Please, I need in!
[ALPHA slides down the door to a sitting position.]
It’s not funny! She’s- They’re on the other side!
[ALPHA is now in the fetal position. His body and dialog formatting is now “glitching” into that of THETA. Surrounding him and more a part of the background than actual dialog are Gamma’s “Knock, knock” and “HA-HA” bubbles.]
Please… Help… Who’s there? Who’s there? Who’s there…
[Out in the MoI hallway, WASH has pinned WYOMING up against the wall. WASH is breathing heavily.]
[WYOMING raises his hands.]
Woah, there mate… I was just stopping by on my way out.
[PF TROOPERS run into view. They have weapons ready but not yet pointed at WASH]
[A pulled out shot showing WASH letting WYOMING down.]
I- I wasn’t expecting anyone.
[WASH raises his hands, WYOMING dusts himself off, and the PF TROOPERS lower their guns.]
Nothing to worry about here, gentlemen. David is just reacting to my natural stealth.
[WYOMING faces WASH directly.]
An AI can really can really mess with your head.
[Back to the Interview Room. WASH has turned to face the INTERVIEWER.]
I’ll tell you what I told the Councilor, in case you don’t have that. Wyoming snuck up on me while I was sorting through the Epsilon incident in my head. It caught me off guard and I became defensive.
And is there anything else to add?
[Shot of WASH]
I never liked Wyoming and Gamma’s knock-knock jokes. They brought back bad memories I wasn’t in a state to handle.
[Full middle third shot of them both across each other at the table]
Memories from your missions together?
The punchlines were never good and he wasn’t as clever as he thought he was.
And his lack of wit upset you?
It only ever made a bad situation worse.
[Silence at the table]
[Same as previous.]
Should we move on to the next file?
Page 14 has a panel in the top left that is the INTERVIEW ROOM and the rest I see as a very wide birds-eye shot of Freelancer City (Standoff (Halo 3)(with a gate that looks like Highground (as seen in Reconstruction)) It’s another roaming narration splash page.
[INTERVIEWER is sorting through the documents and recordings on the table.]
Yes- Why don’t we?
[The wide bird’s eye view of Freelancer City. There’s activity and a lot of crates and a large group (30-60) of Gray PF Troopers (Recovery Troopers) off in an acceptable location in front of a bunker (and a make-shift stage as well). All dialog is in narration boxes.]
At the point which we’ve determined as when the Alpha was relocated there is very little documentation, but it seems to be after Wyoming and Florida made their departures and just before the relocation to an old mass communication facility on the simulation planet where Blood Gulch was.
Around this time we believe the Recovery Force started in full. Is this correct?
WASH: (Future Blue Wash)
Yes, it is.
The next recording is from the Councilor, and one you might find very interesting.
Notes for the File of Agent Washington: Post-Epsilon Recording 57
Today we begin the next stage of reintegrating Washington into the Project. Though his current disposition makes him the perfect agent to recover the equipment of fallen agents, there are still so many variables.
Page 15 is a series of panels closing in on the group of Recovery Troops coupled a piece of COUNCILOR dialog each.
We are hoping that putting Washington into a position of leadership will either bring out his old personality traits or give us some idea of what the Epsilon fragment contained.
Even in the containment unit at the new facility, Epsilon itself is only a mess of thoughts similar to the Alpha’s at the time of fragmentation.
I believe that keeping Wash and Epsilon so close is a risk but the Director would like to see it out.
He also believes that at the very best Washington will rise to his position of leadership and at the worst things will continue as they are.
With the Alpha as well, it seems providing structured opportunities will be our modus operandi for a while.
[This panel is the last in the zoom in. The RECOVERY TROOPERS are in a few rows. In the 2nd row and not in the center of the group but in the center of the shot are three RECOVERY TROOPERS with TEAL, SALMON, and SAPHIRE (in this order in their row) accents (shoulder and helmet stripe (we’re in Halo 3 now for RECOVERY TROOPERS but WASH still has Halo 2 armor).]
Post-Epsilon Recording 58: I certainly did not expect this.
[A front view of RECOVERY TROOPER TEAL and RECOVERY TROOPER SALMON]
RECOVERY TROOPER SALMON:
I wonder if we’ll get new armor.
RECOVERY TROOPER TEAL:
[RECOVERY TROOPER SALMON and TEAL are now in a full conversation.]
RECOVERY TROOPER SALMON:
Didn’t you hear? Jimmy got a special promotion before we left that cold place. He got this tight set of cobalt armor!
RECOVERY TROOPER TEAL:
Sweet, I can’t wait to see what we get.
[Pull out to show RECOVERY TROOPER SAPPHIRE chiming in.]
RECOVERY TROOPER SAPPHIRE:
Guys, we just got new paint in this special ops dark gray. Why would they go to all the trouble of painting our old suits if they’re just gonna give us new ones?
RECOVERY TROOPER TEAL:
But he just said Jimmy-
RECOVERY TROOPER SAPPHIRE:
That’s one guy getting one set of armor for a secret promotion. No one has heard from Jimmy lately, after all. We’re several soldiers getting a new job together all at once after getting a new paint job.
[The three of them are silent.]
[RECOVERY TROOPER SALMON looks excited again.]
RECOVERY TROOPER SALMON:
Maybe we’ll get new equipment!
[RECOVERY TROOPER TEAL shares SALMON’S enthusiasm. SAPPHIRE does not.]
RECOVERY TROOPER TEAL:
Dude, that’d be awesome! I always hated the sights on my gun.
RECOVERY TROOPER SAPPHIRE:
[The RECOVERY TROOPERS are shocked to attention.]
[Pull out to an over-the-shoulder pov of WASH addressing the RECOVERY TROOPERS from the stage. He’s up higher than them. This panel is the remainder of the page and WASH’s speech is supposed to reminiscent of some of Church’s. Orient it around the panel as you see fit.]
I bet you’re all wondering why you are here. I won’t waste any more of your time and tell you. You are here because after the Break-In on the Mother of Invention Project Freelancer has been going through changes. These changes have included increased threats on our operatives and assets and the confidential nature of this project. To combat these threats all of you have been selected to act as a safety net for those assets when necessary. You have been selected because of your dedication to the Project, your skills, and your discretion. I know this because I am Recovery One, and though we will be working for the same goals, we will not be seeing much of each other.
[This is a flip of the last shot (and a full page panel). We’re looking up from the group at WASH in the center of the stage and 47-9’ER is standing off to the side and back. WASH at one point mentions her so he’s probably gesturing to her as well.]
You all were there during the attack by Agents Texas and York. We were hit hard not only because they crashed our ship, but because we were attacked when we all were together. We lost Agent Carolina that day and Agent Maine is still MIA. So too are the traitors. We have to learn from this incident. If we were to continue to work as one our enemies can also take us out as one. But if each one of us does their job together with the rest of us doing their jobs, we might have a chance. Project Freelancer is spreading out to recover. We will be agents of that recovery. While Project Freelancer conducts its simulations in this system, we will be here to maintain those simulations. We will clean up messes, retrieve sensitive materials, and above all else we will keep the secrets of Project Freelancer. This [gesturing to 47-9’er] is the voice of Recovery Command. She will be giving you your numbered designations today and all of your missions from this point onward. Before I hand this meeting over to her I have one last piece of advice for you.
Trust yourself first. Know why you’re here and act on that.
[Back in the Interview Room, the page is similar panels of WASH and the INTERVIEWER]
And that was that?
That was that.
You didn’t get any reprimanding for that speech?
What could they have done? Demote me suddenly after introducing me to the Recovery Forces? Contradict my completely honest assessment of the Project and our role in it? Have someone other than 9’er babysit a Freelancer because he might be “unstable” at the same time we were being investigated?
They put me in a corner, I put them in one. Things went on with training from there. And unless you have questions I don’t know if there is much more to say about that point in time.
[The INTERVIEWER looks through his documents.]
No, there’s nothing more about your training I need clarification on, but in my research I came across another interesting instance without much documentation.
The first two recovery beacons came from two very different sources and shortly after one another. Agent Florida’s recovery beacon was sent out and your Recovery Corps were sent to deal with it but that was only after you went after the first Recovery Beacon to go off.]
[This panel takes up the middle third of the page and goes into the past. Wash is alone in his bunk room. It’s his down time and I’d figure he’s messing with a knife. Clearly lost in thought. A silent panel. With a dark/blue tone/pallate]
[Wash is shocked, giving a jump of fright. His knife goes flying. This panel has bright/red as the tone and palate. The sound effect should be dynamically placed.]
[As best as I can approximate the Morse Code-like sound of the Recovery Beacon.]
[This is a half-page panel of WASH loading up a HORNET with supplies in an Freelancer City hanger (it’s early morning). 47-9’ER is standing by, giving him instructions. She has a tablet to reference. It’s not necessary and should be very subtle but if we can see it, the tablet reads:
-Recovery Beacons ACTIVE for Agent Virginia and Agent West Virginia-
Mission Priority: Recovery of Agent Virginia and Agent West Virginia’s Equipment and Data Logs.]
They’re pretty isolated out there. The Hornet will get you through the mountains easier than a Pelican.. You shouldn’t have a hard time finding the place, but a storm’s coming, might make landing difficult.
[We’re pulling out from that shot to behind the Director and Councilor, who are watching from a catwalk.]
I’ll brief you on more of what we know in the air.
I guess I better get going then.
[Page 22 is a big splash page with a head-on view of WASH flying his Hornet away from the rising sun and Freelancer City. It’s the big “Cowboy heading off to the pass” kind of shot.]
INTERVIEWER: (Narration box)
I’d like to know about what happened when you went after Agents Virginia and West Virginia’s recovery beacon.
End of Issue 2