PRINTED: A COMIC BOOK SCRIPT
By
DAVID WALLACE MARIOTTE
A Thesis Submitted to The Honors College
In Partial Fulfillment of the Bachelors degree With Honors in
Journalism
THE UNIVERSITY OF ARIZONA
APRIL 2016
Approved by:
_____________
Professor Nancy Sharkey
Department of Journalism
Mariotte 2
Abstract:
Printed is a script for a short graphic novel about what would happen if a college student
3-D printed a superhero costume. The book mixes comedy and drama, tackling issues around
sexual assault and mental illness while also cracking jokes. The world of Printed is somewhat
grounded in reality and the personal experiences of the author.
Chris Clines is a nerdy college student who plays Dungeons and Dragons and has always
dreamed of being a hero. When the opportunity arrives, Chris jumps into action. As “The Printed
Man,” he becomes the vigilante crime-fighter he always hoped to be. However, as the threats he
faces become more serious – and as his relationships become more strained – Chris must
question who he’s really trying to help: his friends or himself.
Presented is the annotated script, which is written as one-half of a collaborative effort
with an artist and is not a complete comic. Additionally, materials including reference pictures,
author layouts, some rough sketches, a playlist and a creative statement are included.
Mariotte 3
PRINTED
AComicbyDavidMariotte
TRIGGERWARNING
Warning:Thisbookfeaturesdepictionsofsexualassaultandofmentalillnessinstigatedbytrauma.
Theeventswithinmaybedifficulttoreadorwitness.Thoughthethemesrunthroughout,ifyouneedto
skipsomepages,itisthethirdandfourththatmostgraphicallyshowtheassault.Eventhen,the
majoritytakesplaceoff-panel.
Iamnotasurvivor.I’vebeeninthissituation.I’macis,hetero,whitemanandamremovedfromsome
ofthethingsItalkaboutinthisbook.Iknowthattheassaultasdepictedisanextremerarityofhow
sexualassaulthappens.Idon’twishtopropagatethefalseassumptionsthatthemajorityofrapes
happenfromsomemanhidinginthebushes.Theydon’t.
Butforanythingelse,well,I’mnotsureIcoulddoitjustice.
Manywomenalreadygowithoutjusticefortheirassaults.Theyarenotbelieved.Theyarenot
supportedbythelegalsystem.Theyareblamedandtheirtruthisquestioned.Particularlyincomics,
theyarevictimizedandnotgiventhechancetotelltheirownstoryorallowedtorecover.Ifanassault
doesn’thappeninapublicplace,withwitnessesbeyondthepartiesinvolved,itissomuchlesslikelyto
berecognized.
IcanonlyhopethatI’mdoingyoujusticenow.
ACKNOWLEDGEMENTS
Mariotte 4
Thisone’sforallthepeoplewhohavehelpedmealongtheway.Particularlymyparents,Jeffand
Maryelizabeth;mysister,Holly;mythesisadvisor,Nancy;myfriendsSantino,Gordon,LouandNatasha;
andmyheroesandcolleaguesinthecomicindustryincludingWhilcePortacio,PaulLevitz,DaveBaker
andsomanymore.
Tothosewhohavebeenstudents,tothosewhohavedreamedofdoingsomethingbiggerthan
themselves,tothosewhohavesufferedandgonethroughhardships,tothosewhohaven’talwaysbeen
strong,tothosewhohavesurviveddespitetheworldaroundyouoryourownmindtellingyounotto,
thisstory’sforyou.
“Causenomatterwhereyougo…Thereyouare,”BuckarooBanzai.
CREDITS
Storyby:DavidMariotte
Accompanyingconceptualillustrationsandphotosby:DavidMariotte
PAGEONE
PanelOne
VivianRosing1,ayoungblackwomanwalksacrossacollegecampus2alone.Sheiswearingafluffyblack
jacketandsweatpants.Shewalkspastamid-sizedbrickbuilding.Onlythebackhalfofthenamecanbe
seen“-ALOGY.”Toherleftandslightlyaheadofherisatree-linedwalkway,litonlybythestreetlightat
theend.
1.Caption:AdamsUniversity3.Now.
PanelTwo
Ahandismanipulatingacomputermousetomakeafigureonacomputerscreen.Thefigurelookslikea
dwarfholdingabooktriumphantlyoverhishead4.
PanelThree
Thewomanstopsinfrontoftheunlitwalkway.Shepeersdownit.Herbreathrises.
PanelFour
Adialoguewindowhaspoppedupoverthefigure.Itsays“Print?”Belowit,twoclickableoptionsread
“Print”and“Cancel.”Thedigitalmouseispressingthe“Print”button.
PanelFive
Thewomanbeginstowalkdowntheunlitwalkway.
PanelSix
A3Dprinteraboutthesizeofamicrowavechugsalong,workingonbringingthefiguretolife.
Mariotte 5
PanelSeven
Abouthalfwaydownthewalkway,anarmreachesout,grabbingthewoman.Thebacklighting
silhouettesthem.
PanelEight
Ahandreachesdowntocollectthesmalldwarvenfigure,freshlyprintedinallwhite.
PanelNine
Asolidblackpanel.
PAGETWO
PanelOne
Backpackslumpedoverhisshoulder,ChrisClines5walksoutofthecollegelibrary.Chrisisatalland
lankywhiteguyinhisearlytwenties,withmid-lengthdirtyblondhairandDavidBowieeyes6.Hisusual
sortofdress,includingnow,isaslimsingle-colordressshirt,apairofslimjeans,Converseandalight
jacket7.Thejacketisblack,butoldenoughthatthecolorhasstartedtofade.Therightbreasthasafew
buttonsonitandapatchisontheleftarm.Hehasonapairofheadphones.
1. Chris:I’msearchingforthatman.IneedonetobetheJokertomyBatman8.
PanelTwo
Chriscrosses(heh)thecampusmallfromlefttoright.Aroundhim,groupsofsororitygirlsintight
dressesflocktogether;twoboysholdhandswhilewalkingtheirdog;adaddeckedoutinAdamsgear
takesaphotoofhisdaughter(withtheflash,ofcourse),sheepishlygrinninginfrontofastatueofthe
AdamsAntelope-theschoolmascot.Chrisisoblivioustowhatishappeningaroundhim.
2. Chris:I’mnowhiring.Inquirewithin.-sigh-Man,wouldn’titbenicetogetasuperherojoboff
Craigslist.
PanelThree
Chrisroundsacorner,turnedtobealmostheadontothereader.Heswingshisrightfistoutinfrontof
him.Afewmorestudentsandfacultyarearound,manyseeminglyheadedfortheparkinggarage
behindChris,butthisareaisalreadymuchquieterthanthemall.Chrisremainsoblivious.
3. Chris:Pow!TakethatMen’sRightsActivists!Bam!Takethatxenophobicpresidential
candidates9!Biff!Eatfist,badguy!
PanelFour
Chrisisfinallyturnedtobewalkingrighttoleft.Heisaloneonthestreet.Heispassingabrickbuilding
marked“EarthSciences.”Infrontofhim,distinctlyinthepanel,isthetree-linedwalkway.Selfawarenessseemstohavefinallytakenaholdandheisremovinghisheadphones.
4.Chris:-sigh-WhatIwouldn’tgivetodosomethinglikethat?
5.Vivian(fromthetrees):Hllffhllff10!
Mariotte 6
PAGETHREE
PanelOne
Chrisrunsintothewalkwaytoinvestigate.Thereisnothingandnooneimmediatelyvisible.
1. Chris:Huh?Uhh…Who’sthere?
2. Chris(thought):Pleasebeaweird-soundingbird.
PanelTwo
Anindistinctshapecausesarustlingofbranches.
3. SFX:Chrrks
4. Chris(off-panel):Hello?
PanelThree
Suddenly,Vivian’srighthandcomesburstingthroughthetrees.Herhandisbadlyscratched,mostlyby
branches.Afewsplinterscanbeseeninherfingers.Inthecenterofherpalmisadeepcut.Thefakenail
onhermiddlefingerhasbrokenoff.
5.Chris(off-panel):Gahh!Shit!
PanelFour
TherestofVivian’sbodycomescrashingthroughthetrees.Christriestocatchher,awkwardlygrabbing
forherarmpits.She’sbeatenup.Herlipisfatandhernoseisbleeding.Hersweatpantsandunderwear
arecaughtatherknees11.
6.Vivian:Help,please.
7.Chris:Ohgod!
PanelFive
Fromfurtherdownthewalkway,aman,almostfeaturelessinthebadlighting,burstsoutofthetrees.
Hebooksittowardtheexitwiththestreetlamp.Notmuchcanbetoldabouthimexceptthathe’sa
shorterman(about5’3”)andhe’sdressedindarkcolors.Heholdsabloodyknifeinhislefthand.His
nameisRicky,thoughthatwon’tbeknownuntilmuchlater.
8.SFX:Thokthokthok12
PAGEFOUR
PanelOne
ChrislooksbetweenthebloodiedVivianinhisarmsandthemysteriousfigurerunningaway.He’storn
betweencaringforherandchasingtheman.Theangleofthispanelshouldroughlybereplicatedfor
panelstwo,fourandfive.
1. Chris:Umm…Fuck.
PanelTwo
ChriseasesViviantothegroundandpursuesthefigure,whoisroundinghiswayoutofthewalkway.
Mariotte 7
2. Chris(toVivian):You’llbeokay…
3. Chris(yelling):Stoprightthere,n-ne’er-do-well!
PanelThree
Underthestreetlamp,thefigurelooksback.Heiswearingablackbandanaoverhismouthandablack
beanie,butthetopofhisheadisvisible.Hehasblackhair,smallgoldearrings,asmatteringoffreckles
andasmallcutunderhislefteye.
PanelFour
Chrisisstopped,onlyafewfeetfromwherehestartedrunning.Vivianstilllaysbehindhim.Oneofher
handsreachestowardherpants.
PanelFive
Chrisleansdownandhelpsherpullherpantsbackup.Recognitioncrosseshisface.
4. Chris:Areyoualri--Okay.Dumbquestion.
5. Vivian:No.God.No.Please.Just…Please.
6. Chris(thought):Hey,Iknowher,right?Vivorsomething-fromastronomy.
PanelSix
Vivianiscrying13.Onehandcovershermouth.
7. Vivian:Please.Just.Callthepolice.Nonono.
PAGEFIVE
PanelOne
Thepolicehavearrived.Redandbluelightsflashdownthestreet.VivianandChrisaresittingonthe
sidewalkoutsideoftheMineralogyBuilding,speakingtoacampuspoliceofficer.Vivianhasablanket
drapedaroundhershoulders.Policetapeblocksoffthetree-linedwalkwayonbothends.Another
officerinspectsthearea.
1. Caption:Afewminuteslater…
2. Chris:Andthat’swhenIcalledyou.Ihelpedhersitupandwewaited.Nothingelsehappened.
3. Officer1:Thankyouforyourstatement,sir.We’llbebackwithyoushortly.
PanelTwo
VivandChrisareleftalone.Theysitinaheavysilence.
PanelThree
Thetwoofficersconferbythepolicetape.OneofthemkeepsawatchfuleyeonVivandChris.
4.Officer1:Yeah,hewascoveringhisface.Betweenthatandthedarkness,thegirlisn’tsureshe
canidentifyhim.
5.Officer2:Alright.I’veseenabouteverythingthereistoseehere.Weneedtogethertothe
medicalcenterandrunarapekit.
Mariotte 8
PanelFour
Chrisrummagesthroughhisbackpackasthefirstofficerstartstoheadbackover.Vivianstillsitsin
silence.
PanelFive
Chrispullsoutapieceofscrappaperandapenastheofficerstopstospeakwiththemagain.
6.Officer1:Alright,Vivian,we’regoingtotakeyoutothehospital.They’llbeabletotreatyour
woundsandit’llhelpusgatherevidence.Okay?
7.Vivian(softly):Yeah.
8.Officer1:Doyouhaveanyonewhocanmeetyouthere?Maybebringyouachangeofclothes,
makesureyougethome?
9.Vivian:Mhmm.Myfriend,Olivia14.
PAGESIX
PanelOne
Vivianstandsuptoleave.ShelooksatChris,whoisscrawlingsomethingonthepaper.
1. Vivian:Thankyou.
2. Chris:Yeah.
PanelTwo
Chris,stillsitting,handsVivianthescrapofpaperhe’sbeenwritingon.
3.Chris:Umm…Beforeyougo,takethis.Mygirlfriendisanadvocateandcanhelpyouthroughthe
processorfindresourcesor…Yeah.Andfeelfreetocallmeifyouneedanything.
PanelThree
AtraceofasmilecrossesVivian’sface.She’slargelynumb,butappreciatesChris’soffer.
4.Vivian:Thankyou.Really.
PanelFour
TheofficerstartstoleadVivianawaytohiswaitingcar.HespeakstoChrisashestartstogo.
5.Officer1:Thankyou,sir.You’refreetogo.We’llcontactyouwhenweneedanythingelse.
6.Chris(softly):Bye.
PanelFive
Chrisputshishandsinatriangleshapeoverhisnoseandmouth.He’stryingnottocryorhyperventilate.
PAGESEVEN
PanelOne
Mariotte 9
Kali,Raina,ThadandChasesitaroundtheboys’livingroom.RainaandThadsitonthecouchwhilethe
othertwositonthefloor.They’reseatedsowecanseeacrossthecoffeetable15betweenthemtothe
frontdoor.Onthetableisgaminggear-pencils,papers,afewminiatures,dice,etc.KaliandThadare
talking.
KaliDawson16isabout5’4”,160lbs,withjetblackhairusuallyworninaloosebun,browneyes,anda
septumpiercing.Herhairmakesiteasytotellherearsaren’tpierced.Herbackgroundisnativeand
Pacificislander.Generallyshewearscroptopsandshortstobeattheheat.Shehasasmallfemale
symboltattooedjustbelowtheleftsideofhercollarbone.
RainaThatchertendstowearbillowytopsandcolorfulleggings.Shealwayshasherleatherjacketwith
her,thoughitseemsasifshe’sneverwornit.Herbrownhairiskeptshortwithafadeonthesideanda
singlestreakofblondinthefront.She’sabout5’10”andgangly,makingherbillowytopsseemthat
muchmorebillowy.
ThadSummers17isalmostalwayshalf-hiddenbyhishair.Hisshaggymopreachesdowntoalmosthis
nosethoughhetriestokeepitoutofhiseyes.Thepartsofhisfacethatcanbeseenareverynarrow
andverylean,givinghimjustalittlebitofroomforhiswispysoulpatch.He’ssolidlyputtogetherat5’8”
-alittlebitmuscular,butwithapudgeofabelly.Hetendstowearcargoshortsandpoppunkbandtshirtsunderaplaidshirt.He’salsoastoner,sohiseyesareoftenredandhekeepshispipeatleastinhis
shorts.
ChaseBarnesisalittlebittallerthanChris.He’safatman,weighinginatabout250lbs.,butseems
happyandhealthywithhisweight.Hekeepshishaircroppedshortinamilitarystyleandhasablond
chinstrap.Beingoverlybusyworkingonhisfinalclasses,histhesisandgradschoolapplications,heoften
dressesinanAdamsUniversityhoodieandsweatpants.
1. Kali:Butthat’sjustit,innit,Thad?Thereasonsomanysuperheroesarejournalists18isbecause
theyhavearesponsibilitytominimizeharm.
2. Thad:Ithinkyou’remisinterpreting,Kali.Itseemsveryutilitarian,butatwhatpointistheactof
lyinganddisruptionofobjectivityagainstthegreatergood?
3. Kali:Superman’sobjectivelygood,despitehissecrets.Darkseid,however,isobjectivelydictator
ofaplanetcalledApokolips19…
4. SFX:Click
PanelTwo
Thefrontdooropensandaverybedraggled,tired-lookingChrisarrives.Ashewalksin,theconversation
suddenlystopsleavingaverypregnantpause.
PanelThree
Stillwithoutsayingaword,Chrisplunksthedwarvenminiatureheprintedearlierdownonthecenterof
thetable.
Mariotte 10
PanelFour
Chriswalksaway,leavingtheroom.Everyonestaresafterhim.
5.Raina:Whatthefuck20?
PAGEEIGHT
PanelOne
Chrisflopsontohisbed.Thegesturewouldalmostlookcasualifitwasn’tsoheavy.Hiswallsarecovered
inbookcasesandart.Thebookcasesarefullofbooks,butalsosomesmalltoys.Thoughwemaynotsee
itallinthispanel,itisworthmentioninghehasaclosetononesideofhisroom,adresser,adeskwitha
nicelookingPC,andaprivatebathroom.
PanelTwo
Kalisticksherheadintotheroomwithoutknocking.
1. Kali:Chris,sweetie,areyouokay?Thatwasaweirdthingyoujustdid.Andwherehaveyou
been?
PanelThree
Chrisliescurleduponhisbed,notquiteinthefetalposition.Kalisitsnexttohim.
2.Chris:Umm…God.HowdoI…Iwasatthelibrary,makinglittleMerlefortonight.Istarted
walkinghome,pretendingIwasahero.ThenIhadachanceandIblewit.
PanelFour
Kalirestsherhandonhisarm,comfortingly.Chrisbeginstocry.
3.Chris:Agirl-thisgirlfrommyastronomyclass-wasbeingassaultedinthetreesnextto
Mineralogy.Imighthavehelpedstopit,butthebadguygotawayandshewasjustsohurtand...
PanelFive
Chris-incloseup-isreallycryingnow.
4.Chris:Itjustfeelssowrong,y’know?ItfeelswrongbeingasupsetasIamwhentheworstdidn’t
evenhappentome.Itjustfeelssoself-centered.
PanelSix
KaliholdsChriseversogentlywithonehandwhilewipinghistearswiththeother.
5.Kali:Iknowthisishard,baby.Youdon’tneedtofeelbadabout,well,feelingbad.ButI
understandwhereyou’recomingfrom.JusttellmemoreaboutwhathappenedandI’llhelpyouany
wayIcan.
PAGENINE
PanelOne
Mariotte 11
Switchingbacktothelivingroom,Chase,ThadandRainaarestillsittingaround.Thadhaspulledouthis
bong.
1. Thad:So,aslongaswe’rewaitingonwhateverthey’redoing,eitherofyouwantsomeofDruid21
Bartheny’sSweetGreenRemedy?Chase?Raina?
PanelTwo
Chaserollshiseyesexaggeratedly.
2.Chase:Ican’tbelieveyoujustmadeaweedD&Djoke.But,no.Rememberthatwholeallergic
thing?
PanelThree
ThadlooksplayfullyindignantasRainagrabshisarmtoleadhimaway.
3.Thad:Lame!
4.Raina:I’llcomesmokewithyou.Let’sjustgotothecarportsowedon’tkillChase.
5.Thad:Fine.Later,straightedge!
PanelFour
Leftbyhimself,Chasesighs.
6.Chase:-sigh-Igetonenighttohavefunaweekanditendsuplikethis.
PanelFive
Chasepicksupaminiaturefromthetableandholdsitinfrontofhim.Theminiatureisofabighulkofa
man,withbulgingmusclesandadim-expressiononhissmallface.Hehasarapierinonehandanda
shieldonhisotherarm.He’sflexing.
7.Chase(pretendingtobetheminiature):*Lettheadventurebegin!*
8.Chase:YouknowI’dliketoTyrone22,butthere’snooneelsehere.Again.
PAGETEN
PanelOne
BacktoChrisandKali,Chrisissittingup,holdinghislegsclosetohischest.Kalihasherarmaroundhim,
comfortinghim.
1. Chris:So,that’sit.
2. Kali:Yeah?Thankyoufortellingme.Itsoundslikeyoudidalotofgood.
3. Chris:DidI?
PanelTwo
Kali,upclose.
4.Kali:Yes,Chris.Iknowyoufeellikeyoudidn’tdoenough,butyougotherthehelpsheneeded.
Youstayedwithher.Honestly,givenhowviolentandunusualthiswasbeinginapublicplace,you
mayhavesavedherlife.
PanelThree
Mariotte 12
ChrisleanshisheadagainstKali’sshoulder.
5.Chris:Itwasjustsurreal.Iknowitdoesn’thappenlikethisandyet,itdid.But,thankyou.
PanelFour
KalileansherheadbackagainstChris’s.Shehugshimclose.
6.Kali:Ofcourse.So,yougaveherourinfo?Ifsheneedsanadvocatetohelpherthroughthe
process,I’mhappytobethereforher.AndI’llbehereforyouwhenyouneedme.Webothknow
howlowyourlowscanbe.
PanelFive
Theykiss.
PanelSix
Theylookateachother.There’sabitoftensionintheairastheirheadspullawaywhiletheirbodies
remainsoclose.
7.Kali:Speakingof,well,whatdoyouwanttodotonight?Doyouwanttobe...?
8.Chris:Alone?
PAGEELEVEN
PanelOne
Chrislookshesitantandsighs.
1. Chris:-sigh-Ithinkthat’dbebest.Idon’tentirelywanttobealone,butIthinkIneedtobe.I’m
sorry.
PanelTwo
Kaligiveshimasmallsmile.
2.Kali:It’sokay.Iunderstand.I’llgetRainaandtelltheguystoleaveyoube.Andcallmeifyou’re
feelingdepressed,okay?
PanelThree
Kalicrossestheroomandholdsupatthedoor,lookingbackatChris.
3.Chris:Thankyou.
4.Kali:Iloveyou.
5.Chris:Iloveyoutoo.
PanelFour
KalireturnstothelivingroomtofindonlyChase.
6.Kali:Where’sRaina?
7.Chase:Carport.SheandThadwenttoenjoythe4:20inthe520.
PanelFive
Mariotte 13
KaliworksongatheringherandRaina’sstuff.
8.Kali:Well,Chrishadabignight.He’sreallydown.Anythingyoucandotohelphimthenextlittle
whilewouldbegreat.
9.Chase:Whathappened?
10.Kali:It’sprobablybestifhetellsyou.
PAGETWELVE
PanelOne
Chrisbrusheshisteeth,whichwe’reseeinginamirror.There’sastickynotethatsays“Don’tforgetto
takeyourbrainmeds.”
PanelTwo
Christurnsoffhislight.
PanelThree
Throughthecurtainofdarkness(notactuallythatdark),Chriscallsintobedandlooksathisphone.
PanelFour
Chrisreadstextsinhisphone.Thetextsaredisplayedonthetopofthepanel.
OneisfromKali:Iloveyou.Textmeifyouneed...
OneisfromChase:I’llkeepThadquiet.Ifyoune…
OneisfromThad:Sorrybro.Hopeyoufeelbett…
OneisfromVivian,butsinceChriswouldn’thavehernumberyet,itsays(555)554-172623:Thankyou.
PAGETHIRTEEN
PanelOne
Christurnshisphoneoffandsetsitonabedsidetable.
PanelTwo
Christriestosleep.
PanelThree
Chrisisstilltryingtosleep,butisinatotallydifferentposition.
PanelFour
Chrisisclearlytossingandturning,buttryingtofakesleep.
PanelFive
Chrissitsup.Sleepisn’thappening.
Mariotte 14
PanelSix
Chrissitsinfrontofhiscomputerandturnsiton.
PAGEFOURTEEN
PanelsOnethroughFour
Atthetopofthepage,relativelysmall,arefourwebsites.They’reimpliedtobewhatChrisislookingat
onthecomputerandthisimagerywillbemirroredatthebottomofthepage.ThefirstpanelisanImgur
page(http://imgur.com/gallery/57Ypa)displayingCADmodelsforD&Dminiatures.Thesecondisalink
toanon-descriptgeekwebsite(thinkio9,Gizmodo,ComicBookResources)withanarticle
(http://gizmodo.com/this-fantastic-batman-armour-is-entirely-3d-printed-1676987879)about3D
printingsuperherocostumes.Thethirdpanelisa3Dmodelbatarang
(http://www.thingiverse.com/thing:701175).ThefinalpanelisanOnionarticletitled“AreaManDresses
asBat,FightsCrime,TurnsOutFine”
PanelFive
Chrishasanotepadandpencilnexttohiskeyboard.Hishandisonthemouseashescrollsthroughthe
internet.Hisdeskisrelativelyclean.
1. Chris:Seriously?Thisissocool.
PanelSix
Chrisscribblesfranticallyonhisnotepad,lookingawayfromthecomputeropenedtoatextheavysite.
Hisdesklooksslightlymoremessy,withafewextrapiecesofpaper-somecrumpled,somenot-strewn
aroundandacanofRedBull.
2.Chris:SohowheavywoulditbeifIprinteditthisthick?
PanelSeven
ChrishasaCADprogramuponhiscomputerandseemstobeplayingwithagreyblockonthescreen.
Onehandisonhismousewhiletheotherlookslikehe’sholdinghisheadupwithapencil.Hisdeskis
evenmoreclutteredwithpaperscoveredinequationsanddrawings,stickynotes,andthreecansofRed
Bull.
PanelEight
Chrishasmanagedtogenerateenoughpapersandmiscellaniatohavecompletelycoveredhis
keyboard.Heusesapileofthestuffonhisdeskasapillow.Hiscomputerscreenhasshutoff.He’s
finallyasleep24,whichmakesitmoreappropriatethatsunlightisstartingtoilluminatehissleepingface.
PanelsNinethroughTwelve
Likeatthetop,thisisfourpanelsofcomputerdisplays.However,insteadofwebsites,theseareallCAD
models.Thefirstisalongishrectangularshapewithalargeindentinthecenter-thinkforearmarmor.
Thesecondisapairoffairlysimplejoints.Theylookliketheycouldworkwithalotofthings.Very
modular.Thethirdlookslikeaglove-alargerhandpiece(http://3dprint.com/wp-
Mariotte 15
content/uploads/2015/01/digital-fabrication.jpg)withcoveringonboththebackofhandandpalm
attachedtosmallerpiecesthatcoverthefingerbonesbutnotthejoints.Thefinalpieceisadomino
mask.
PAGEFIFTEEN
PanelOne
Chriswakesup.Astickynotewithasketchofadominomask-labeled“coolfacedisguise”-has
attacheditselftohisforehead.HisdeskisstillclutteredandtherearebagsunderChris’seyes.
1. Chris:Guh.Myneckhurts.Desknogoodpillow.
PanelTwo
Sittingup,Chrisopensuphiscomputerscreen.He’slookingaroundhisdesk,tryingtounderstandhis
scribblingsandscrawlings.Thestickynoteisstillonhisforehead.
2.Chris(thought):Didmypapersreproduce?Idon’trememberthisbeingsomessy.Computer,
baby,canyouelaboratewhatallthisis?
PanelThree
LotsoffilesandpagesareopenonChris’scomputer-websites,CADmodels,spreadsheets,anda
calculator.AsChrislooksatthem,hefinallybrushesthestickynoteoffhishead.
3.Chris(thought):Wow!Ididalotinmy…shockandBullhaze.Anyway,thisisfor“ThePrinted
Man.”Hmm…Alotofthisactuallylooksprettygood.
PanelFour
Chrisgetsupfromhisdeskandstretches.
4.Chris(thought):Well,Ialreadymissedmyfirsttwoclasses.Mightaswellstayhereandlookthis
stuffover.Butfirst,phoneandpee.
PanelFive
Chrislooksathisphonewhilesittinginwhatwecanassumeishisbathroom25.Wecan’tseemuchbut
plainwhitewallsandatowelholderbehindhim,withtwohandtowelsonit.Likebefore,muchofthe
toppartofthepanelistextsandemailnotifications
ThefirstoneisfromKali:Heybaby.Thinkingofyou.Lunchlater?
Thesecondisanemail:Yourfundshavedistributed.
ThethirdisfromThad:Studentloan$$$dropped.Tonitewefeast!
ThefourthjustsaysMom:Hihoney!Haven’theardfromyou.How…
PAGESIXTEEN
PanelOne
Chrisispacingaroundhisroom,lookingforanewsetofclothes.
Mariotte 16
1. Chris(thought):Welldamn.Igotalotofextrastudentloanmoney.Maybethiscrazyideaisn’t
socrazy.MaybeIcouldbeasuperhero-oratleasttrytocatchthatguyfromlastnight.
PanelTwo
Chrissitsdownonhisbed,clothesinhand.Helooksverysuddenlyhaunted.
2.Chris(thought):Lastnight.Damn.Ialmostforgotforaminute.IhopeViv’salright.Well,asalright
asshecanbe.Thatwascrazy.Andthatguy’sstilloutthere.Whatifithappensagain?
PanelThree
Chrislooksverysuddenlydetermined.
3.Chris:Itwon’thappenagain!NotifthePrintedManhasanythingtosayaboutit!
PanelFour
Chrissheepishlylooksaroundhisroom.
4.Chris:Thereisnoonehereformetobeannouncing26thisto.
PanelFive
Chrisgoesbacktohiscomputerandplugsinaportableharddrive.
5.Chris(thought):Well,notimelikethepresent.Goingtotransferthisstuff,thenofftothelibrary.
God.I’mgiddywithexcitement.
PanelSix
Chris,havingdownloadedeverythingontohisharddriveinrecordtime,throwsitinhisbackpackashe
goesouthisdoor.He’sstillwearingthesameclothesasthedaybefore,havingforgottentohave
changed.
6.Chris:Lettheadventurebegin!
PAGESEVENTEEN
PanelOne
Afullpagesplash.InthecenterwehaveChrisfullydressedasthePrintedMan.Thecostumeismade
outofblocky(butnotunwieldy)piecesofplastic.ItalmostlooksliketheG1TransformerIronhide-lots
ofsimplepolygonsputontopofeachother.ItalsobaresresemblancetoIronMan’ssecondseason
armorfromthe90’scartoon.Itisn’tassleekorroundedasaBatmancostumeorIronMansuitwouldbe
though.Healsoleavesmoreexposed.Otherthanhisdominomask,hisheadisexposedfromtheneck
up.Thearmorislighteraroundhisjoints,givingthemmoreflexibilityandallowinghiscompressionshirt
underneathtobeseen.Itlookssecureenoughtoworkforagoodcosplay,atleast.Muchofthecostume
isprintedinblack,withthecompressionshirtbeingcyanandmostofthehighlightsofthearmorbeing
outlinedinyellowandmagenta27.Thetwocolorsshouldparticularlybearoundplaceswherethearmor
attachestogivetheideathatonemagentapieceshouldattachtooneyellowpiece.
Inthebackgroundofthepanel,wehaveglimpsesoftheprocesstogettothispoint.Thisincludes
Mariotte 17
imagesofChrisworkingonthelibrarycomputer,the3Dprinterprintingthemask,Christryingtheglove
oninthemirror,Chrisdevelopingtools-batarangtypethrowingobjects,boleadoraweightsandapair
ofescrimasticks.There’sadaycalendarmarkedwithXs,givingtheimpressionthatthiswasafew
weeksofworth.Chris’sbankaccountissteadilydropping.Heworksonassemblingpiecestogetherat
home.Hepaintsthem.Chris’sfriendscheckonhimoccasionallywithworryashehideshisprojectfrom
them.
Sufficetosay,there’salotgoingoninthispage.
PAGEEIGHTTEEN
PanelOne
Inalong,scene-settingpanel,twoyoungwomenarewalkinginfrontofaparkinggarage,chatting.
Creepingupbehindthemisamandressedinadarkfedorahatandtrenchcoat.He’ssostereotypicallya
creep28,healmostseemslikethesuspiciouscharacterfromaneighborhoodwatchsigncometolife.It’s
abouttwilight,sothere’sstillsomesun,butgettingdarkandthestreetseemsotherwiseempty.
1. Caption:Afewweekslater…
2. Girl1:CanyousendMichelleatexttellingherparkingwasridiculous?What’sevenupwith
that?
3. Girl2:Suresure.
PanelTwo
Thegirlscometoatemporaryhaltastheonegirltextstheirfriend.Thecreepgetsmuchcloser.This
panelisframedlikethefirst.
4.Girl2:Whyaren’tyoutextingMichelleagain?
5.Girl1:Becausemyphone’satlike10percent.
PanelThree
Thecreep,nowmaybeayardandahalfbehindthegirlsgrabsathistrenchcoat.Helooksaboutready
totearitopen.
6.Creep:Excuseme,ladies,butdoyouwanttoseesomethingwonderful?Iswear,it’llbethetime
ofyourlife.
PanelFour
Thegirls,withoutresponding,starttowalkmuchfaster.Theonewiththedyingphonebreaksitout,
readyforanything.Thecreeptrailsbehindthem.
7.Creep:C’mon,don’tgo.It’llonlytakeoneminutetoseewhatIgot.
PAGENINETEEN
PanelOne
Mariotte 18
Thegirlwhotextedstops.Carefully,herheadstartstoturnaroundtolook.Themanstartstoopenhis
trenchcoat.
1. PrintedMan(off-panel):Heyyou...scofflaw29,stop!
PanelTwo
EveryonelooksinastonishmentasthePrintedManburstsforthfrombetweenthetwogirls,runningfull
speedatthecreep.Thecreep’sjacketisopenononeside,butfromwherePM’sbodyis,wecan’tsee
whathe’sexposing.
2.Girl2:What?
3.Girl1:Iamsocallingthecopsrightnow.
PanelThree
PrintedMantacklesthecreepandwatchesflyfromthecreep’scoat.AlmostlikeHobbes30pouncingon
Calvin.
4.PM:Pow!
5.SFX:Whumph!
PanelFour
PrintedManandthecreeptumbletotheground.PMstaysontopandholdsthecreepdownwithhis
knees.
6.PM:I’vegotyounow,villain.
PanelFive
Thegirlisonthephonewithcampuspolice,staringatPMandthecreep.
7.Girl1:AcrazyguyinacostumejustleaptonadudewhoIthoughtwasaflasherbutwasaback
alleywatchsalesmenandpleasesendhelp.
8.PM(callingtothegirls):Areyouokay?Callingforhelp?Probablygoodforsomeonetocomebook
thisguy!
PanelSix
PrintedManlooksdownatthecreepunderneathhim.Thecreepisn’tputtingupafightandlooks
dazed.
9.PM:Youaresellingthesewatchesillegally,right?
10.Creep:What?Yeah,Iguess.Whoareyou?
11.PM:I’mthePrintedMan.I’masuperhero.Andyou’reaguywhothinkssellingwatchesfroma
trenchcoatisagoodidea.
PAGETWENTY
PanelOne
Girl2istakingcellphonepicturesandvideoofPMonthecreep.Girl1isstillonthephonewiththe
police.
Mariotte 19
1. Girl1:Yeah,theoneinthecostumeisjustpinningtheotherguy.…TheCranberryGarageat
CranberryandRosemont,yes.
PanelTwo
Policelightsflashdownthestreet,illuminatingPMandthecreepinredandblue.PMhasaziptieinhis
handsandstartsrollingthecreepoverunderneathhim.
2.Creep:Whatareyoudoing?
3.PM:Cuffingyou.
PanelThree
PMpullstheziptieclosed,leavingthecreepwithhishandssecuredbehindhisback.Heplacesanoteon
theman’sback
PanelFour
Thoughwefocusonthemanstillontheground,lightsstillflashing,weseePM’sfeetashetakesoffinto
thenight.
PanelFive
ThefrontpageofTheAdamsCollider31,theschoolnewspaper,featurestheheadline“Vigilantestrikes
oncampus”andthesubhead“AUPDinvestigating‘PrintedMan’.”Abovethefoldphotosincludeoneof
thecellphonephotosofPMonthecreepandareprintingofPM’snote,“Anothercriminalcaughtby
yourfriendlycampusPrintedMan.”Thenoteisprinted,nothandwritten.
PAGETWENTY-ONE
PanelOne
Thissamenewspaperisbeingpluckedfromthefrontofanewspaperbox.
PanelTwo
ChrisiswalkingacrossthecampuswithThad,havingjustpickedupthepaperandshownittohisfriend
androommate.
1. Chris:So,whatdoyouthinkofthisvigilantesuperhero?
2. Thad:Bro,youjustpickedthatpaperup.Ihavenoideaotherthantheheadline.
PanelThree
ChrismakesafaceatThad.
3.Chris:Okay,generallythenandwiththecaveatthatyoucanchangeyourmindafterreading.
PanelFour
Thadholdshischinthoughtfully.Theboysseemtohavepaused.
4.Thad:Generally…Hmm…Someonewhoisworkingtohelppeopleandcanbeasymbolforsafety
whilebeingoutsidethetraditionalstructuresofauthorityisprobablyagoodthing.But,withoutthe
Mariotte 20
checks-limitedastheymaysometimesbe-ofoversightfromagoverningbody,Iworryabout
overreachandactingonhisownmoralsratherthanwrittenlaw.Alternatively,hemayalsooverreact
andpunishanyonehedisagreeswithmoreseverelythanwouldbelegallyjust.
PanelFive
Chrislooksabittakenaback,butistryingtocoverit.
5.Chris:Ithoughtitwascool.But,yeah,you’reright.That’s,uh,kindofastonishinglyinsightful.
PanelSix
ThadlooksbackatChrishavingtakennooffense.
6.Thad:Thanks,bro.Ijustdon’twanttoseesomepunkgettheshitkickedoutofhimbysome
vigilanteforsmokingsomeherb.
PAGETWENTY-TWO
PanelOne
Awidepanelestablishingthescene.Twoyoungblackwomen,onerecognizableasVivian,arewalking
andtalkingheadedinthesamedirectionandtotheleftofChrisandThad.ChrisseesVivianandThad
seessomeoneheknowstotheright,off-panel.Inthebackground,towardwhereVivandherfriendare
walking,isamanwithasmallcrowdgatheredaroundhim.Themanisholdingasignthatsays“Leviticus
18:22.”
1. Chris(thought):Viv!
2. Chris:Heyman,IseesomeoneIneedtotalkto.I’llcatchyouathome,okay?
3. Thad:Righton.Iseesomeonetoo.Hey,yo,Ricky!
PanelTwo
ChrisistryingtocatchuptoVivandherfriend.
4.Viv’sfriend(Olivia):I’mjustsaying,wouldn’tithavebeenbetterifFormationhadn’tjustbeena
bitchingBlackfeministanthem,butalsoBey’sentranceintothepresidentialrace?
5.Chris:HeyVivian!
PanelThree
Vivandherfriendpause.Chriswalksover.
6.Viv:HiChris.Umm…Chris,thisismyfriendOlivia.Olivia,thisisChris.
7.Chris:Hi,nicetomeetyou,Olivia.
8.Olivia:Nicetomeetyoutoo.
PanelFour
OliviastaresatChrisforasecond.
9.Olivia:Youweretheguyfromtheothernight,right?
10.Chris:Yeah.
Mariotte 21
PanelFive
ChrislooksatViv.He’snottryingtoignoreOlivia,buthe’sclearlyuncomfortable.
11.Chris:Howareyou?
12.Viv:Umm…Olivia,couldyougiveusaminute?
13.Olivia:Sure.Ihavetogettoclassanyway.[toChris]Thankyouforbeingthereforher.
PAGETWENTY-THREE
PanelOne
VivlooksawayfromChrisinthedirectionshewasoriginallywalking.
1. Viv:Hey,doyoumindwalkingandtalking?It’llbelikeTheWestWing.
2. Chris:Sure.
PanelTwo
VivandChriswalktogether,towardthepreacherandhiscrowd.
3.Viv:Toansweryourquestion,Iknowthepolicearestilllookingfortheguy,whichkeepsmeupat
nightsometimes.But,I’mseeingatherapistandshe’shelping.She’sdonealotofthiscounseling
before.
4.Chris:I’mgladshe’shelping.
5.Viv:Metoo.
PanelThree
VivandChriswalkinawkwardsilence.Bothlookalmostembarrassed.
PanelFour
VivandChriskeepwalking.They’regettingprettyclosetothepreachernow.
6.Viv:Look,Iappreciateyoucheckingonme.Iappreciateeverythingyou’vedone.You’reasuper
niceguy,butIbarelyknowyou.It’shardtotalkaboutthiswithpeopleI’veknownmywholelife,
muchlesssomeonewho’spracticallyastranger.
PanelFive
Chrisnods.
7.Chris:Okay.Igetthat.Just,y’know,ifyouendupneedingsomeoneelsetotalkto,youknowhow
togetaholdofme.
8.Viv(off-panel):Yeah.Thankyou.
PanelSix
Interruptingtheirmomentisapreacher32witharaggedybeardshovinghisfacefairlyclosetoViv’s.
9.Preacher:Slutsandwhores!That’swhatwomenlikeyouare!Slutsandwhores!ItwasEvewho
committedtheoriginalsinandnowherdaughters-collegeJezebels-aretemptingmeninto
wickedness.Andwhenyoufeeldirtyfromyoursin,youcondemnthemanbycalling“rape!”
Mariotte 22
PAGETWENTY-FOUR
PanelOne
Thenextfewpanelshavemoreroundededges,suggestingthisisadreamsequence.Thecolorsarealso
slightlydifferent.Chris,inhisPrintedMancostumeisperchedonthebranchofatree.It’snight.
PanelTwo
Thepreacher,signinhand,iswalkingalong,uptowardatree.Helookslikehe’sgoinghomeforthe
night.
PanelThree
PrintedMandropsfromhisperch,whilestillholdingthetreebranch.Thoughsurprising,itlooksmore
likeakittenina“Hanginthere”posterthanadramaticdropoutfromthetree.
1. PM:Boo!
PanelFour
Thepreacherdropshissign,takingastepback.He’sleaningbackhardandappearstobesmaller,
especiallycomparedtothelarge,loomingPrintedManinfrontofhim.
2.PM:Icomewithamessage.Stopharassingwomenandqueerfolks.Traumatizingandtriggering
peopleisnotthepathtoGod.It’sthepathto,well…
PanelFive
Thegroundbeneaththepreacheropensupintoafieryinferno.PrintedMancontinuesloominglarge.
Thisisthelastpanelinthedreamsequence.
3.PM:Hell!
PanelFiveandaHalf
Chris’sheadandshouldersarepictured.He’simaginingtherestofthepage.
PAGETWENTY-FIVE
PanelOne
AsChris’sfistscurlintoballsfromrage,Vivjustlooksthepreacherdeadintheeye.
1. Viv:I’veneverseenasinglepersonconvincedbythevilehateyou’respewing.You’regross.
You’reharmful.You’reastainonthiscampus.You’renotworthmytime.
PanelTwo
Vivwalksaway.Thepreacherlookslikehe’sreadytotrytoengagehermore,butastraycallfromthe
crowddrawshimback.Chrislooksondumbfounded.
2.Personincrowd:Ha!Yougotowned.Fuckin’stainboy!Youdon’tknowshitaboutChrist.
PanelThree
Mariotte 23
ChriscatchesuptoViv.
3.Chris:Thatwas…kindofamazing?
4.Viv:What?Notgivingatoxicpersonspaceinmylife?
5.Chris:Yeah.
PanelFour
Thetwoofthempause.
6.Viv:Look,therearebadpeopleoutthere.Peoplewhoaretoxic.Peoplewhojustwanttodragyou
downtothedregsandhurtyouforthecrimeofyourveryexistence.So,whatdoyoudoaboutit?
PanelFive
Chrislooksdownathisfists,stillballedup.
7.Viv(off-panel):Ifyouhadpunchedhimthatwouldhavejustbeenmorepeoplegettinghurt.It
wouldn’thavesolvedanything.
PanelSix
ChrislooksbackupatViv.
8.Viv:Idon’tneedprotectingorsavingoranythinglikethat.Ineedsupport.Ineedcare.I’ve
neededthesethingssincelongbeforeIknewyouandI’llneedthemtherestofmylife.Idon’tneed
toxicmasculinityorvengeanceintheplaceofjusticeorwhatever.Ineedsupportfrommyfriends
andfamilyandlovedonesandthestructuresthat,asaBlackwoman,I’mfrequentlynotsupported
by.Idon’tneedaskinnywhitemanswinginghisfists.
PanelSeven
Vivturnsaroundandwalksaway.
9.Viv:Seeyoulater.
PAGETWENTY-SIX
PanelOne
Chrisissuitingupintohiscostumeathomethatnight.Hehasoneofhislowwindowsopen,readyto
sneakout.Sofar,he’swearinghisblackUnderArmourpantsandshirtandmostofhislegandtorso
armor.Hismask,gloves,andsomeofhisarmarmorarelayingonhisbed.ElvisCostello’s“(What’sSo
Funny‘Bout)Peace,LoveandUnderstanding”isplayingfromhislaptop.
1. Caption:Laterthatnight.
2. Computer:Peace,loveandunderstanding?Oo-ho!What’ssofunny…
PanelTwo
Chris,pullingagloveon,walkstohiscomputerandpressesabutton.ElvisCostello’s“PumpItUp”starts
playing.
3.Chris:Nottherightmusicforgettingreadytogopatrol.
4.Computer:Untilyoucan’tfeelit33...
Mariotte 24
PanelThree
Chrisslidestherestofhisarmorontohisotherarm.He’snowfullyarmored,exceptgloveandmask.
5.Computer:Whenyoudon’treallyneedit...
6.Chris(thought):Ican’tstopthinkingaboutwhatVivsaidearlier.Iwanttosupporther.But,Ialso
wantpeoplelikeherrapisttofacejustice.Andherhavingadayincourtwouldbesupportingher,
right?
PanelFour
Chrisputshisdominomaskon.
7.Chris(thought):Idon’tneedtobeatupapreacher,evenanassholelikethatone.Ican’tkeep
thinkingaboutthis.Ihavetogetoutthere.Ihaveto…
8and9.ChrisandtheComputer:Pumpitup!
PAGETWENTY-SEVEN
PanelOne
Chrishasonelegoutthewindowwhensuddenlythere’saknockathisdoor.
1. SFX:Knokknok
2. Thad(outsidethedoor):Heybro,Kalitextedme.Shesaysyou’vebeenweirdanddistant.You
shouldtalktoheraboutthat.
PanelTwo
Thadstandsleaningagainsttheoutsideofthedoor.Inhishandisaplasticbagfullofjoints.
3.Chris(inside):Oh,uh,thanks.Iwill.
4.Thad:Good.I’dhateforyouguystofallapart.
PanelThree
Close-uponThad.Hiseyesarebloodshotandhehasagrinamilewide.
5.Thad:Youguysaretheparents.Andtherestofusdon’twanttochoosecustody.
PanelFour
Chrissitsonthewindowsillwithbothlegsinhisroom.
6.Chris:Kindaweird,butthanks,Thad.
PanelFive
Thadstandsupfromthedoor,readytowalkaway.Hetucksthebagofjointsinhispocketand
simultaneouslypullsouthisphonefromhisotherpocket.
7.Thad:Anytime.NowI’mofftomeetmyfriendRicky.Later!
PAGETWENTY-EIGHT
Mariotte 25
PanelOne
Chrisretreatsbackintohisroom.
1. Chris(thought):BetterwaitaminutesoThaddoesn’tseeme.
PanelTwo
Chrisarbitrarilysitsawayfromhiswindow.Hecheckshisphone.HehasatextfromKali.
Thetextreads:Thadsaidhe’dbeouttonite.Wantmetocomeover?I’llwearthesexxxy…
2.SFX:Ch-THOOM.
3.Thad(Off-panel,streaminginthroughthewindow):Nevergonnastop,giveitupfortheyounger
kind34…
PanelThree
Chrispocketshisphonewithoutresponding.Hewalkstothewindow.
4.Chris(thought):I’llneedtodealwiththissoon,butfornow,patrolling.
PanelFour
Chrislowershimselfoutthewindowcarefully.
PanelFive
Afigureobscuredbyshadow(Kali)seesChrissneakingoutofhiswindow.
5.Kali:What?
PAGETWENTY-NINE
PanelOne
PrintedManisstealthilymovingthroughbackalleys.He’ssearchingforcrimeandknowshecan’t
reasonablydothatfromrooftops.Healsoknowshedoesn’twanttobeseenbecauseheisavigilante.
Alsohethinkscrimehappensinbackalleys.HegetsanothertextfromKali,butdoesn’tcheckit.
Thetextreads:I’mreallystartingtoworryaboutyou.Pleasecallme-K.
PanelTwo
PMpeeksoutoveratrashcanatacoupleofhoodlumstaggingawall.Boththehoodlumsareshort,kind
ofpudgywhiteteens.Weseethisoverhisshoulder
PanelThree
Fromroughlythesameangle,weseePMhasstood.Thetrashcanlidfliesintothewalljustdownfrom
thekids.
1. PM:Freeze!
Mariotte 26
PanelFour
Thehoodlumsturnandstareinawe,surprise,fearandwell,alittleamusement.
2.PM:Putyourhandsagainstthewall.
PAGETHIRTY
PanelOne
Thehoodlumslookateachother.
PanelTwo
Thehoodlumsstarttorun.
PanelThree
PMrunsafterthem.
PanelFour
Fromaslotonhisforearm,PMpullsouttwoescrimasticks.Eachisblack,withbluetrimandabout8
incheslong.
PanelFive
PMputsoneineachhand.
PanelSix
PMtossestheoneinhisrighthandatthehoodluminthefrontright.
PanelSeven
Hemisses.Thehoodlumskeeprunning.
PanelEight
PMthrowshissecondescrimaright-handed.
PanelNine
Thestickhitsoneofthehoodlums,knockinghimintotheother.
PAGETHIRTY-ONE
PanelOne
PMstandsoverthetwohoodlums.Oneofthemlookslikehisnosejustgotbroken.Theotherhasacut
lip.They’reclearlyteenageboys.
1. PM:Putyourhandsupandout.
PanelTwo
Mariotte 27
Thehoodlumsoffertheirhands.PMgrabsacoupleofzipties.Thetriostandsunderastreetlight.
2.PM:Here,putyourhandsaroundthislamppost.
PanelThree
Thehoodlumshavetheirhandsboundaroundthelamppost.Theydon’tlooklikethey’regoingtogo
anywhere.Theylookreallyafraid.
3.Hoodlum1:What’reyougonnadotous?
4.Hoodlum2:Yeah.Weweren’thurtin’nobody.
5.PM:Eitherofyouhaveaphone?
PanelFour
Bothhoodlumsnod.
6.PM:Where?
7.Hoodlum1:Frontpocket.
8.Hoodlum2:Hoodiepocket.
PanelFive
PMpullsHoodlum2’sphoneoutofhishoodie.
PanelSix
PMisonthephone.
9.PM:Hello?Police.ThereareacoupleofgraffitiartiststiedupatthelamppostonAdamsand
O’Neil.
PAGETHIRTY-TWO
PanelOne
PrintedManwatchesfromtheshadowsofafireescapeacrossthestreetaspolicecomepickupthe
hoodlums.
1. PM(whisper):Thatkid’sbleedingalot.MaybeIwenttoohardonthem.
PanelTwo
PrintedManpopshisescrimasticksbackintotheircompartmentonhisleftarm.
2.PM(thought):ThisiswhatThadwastalkingabout.Avigilantetakingittoohardonacoupleof
kidswhoweredoingsomethingillegal,butnotthatdangerous.
PanelThree
PrintedMandescendsthefireescape,goingbackintotheshadowsofthealley.
3.PM(thought):Ineedtogetoutofhere.
PanelFour
Mariotte 28
Hewalksquickly,tryingtogetawayquietly,butthere’sanewfoundslumpofdisappointmentinhis
shoulders.There’ssadnessonhisface.
4.PM:Iassaultedthosetwokids…Fuckfuckfuckfuckfuck.
PAGETHIRTY-THREE
PanelOne
PMisdistractedstillbywhathe’sdone.Hestumblesoutontothestreet.
1. PM:I’mabadguy.Ihurtpeople.
PanelTwo
Hecontinuescrossingthestreet,totallyvisible.Acarisapproachinginthesecondlane.
2.SFX(Carhorn):Bbbbbbp!Bbbbbbp!
PanelThree
Realizingthere’sacarcomingtowardhim,PMmakesforthecurb,stumbling.Thecarswervestogo
aroundhim.
3.PM:FUCK!
4.Driver:Asshole!
PAGETHIRTY-FOUR
PanelOne
PMslumpsagainstthewallofthenextalleyhe’scrossedinto.
1. PM:Okay.That’sit.Ican’tdothis.Ineedtogohome.
PanelTwo
He’sstillwalkingslumped,butappearstobelessmanicashecontinuesdownthealleyway.Heusesa
wallforsupport.
2.PM:Inevershouldhavedonethis.I’mnotahero.I’mjust…Chris.
PanelThree
Heleansoveratrashcaninthealleyandpukes.Wecan’tseeanyoftheactualvomit,butitdoesn’t
seemlikehe’sactuallypukingmuchout-mostlywater.
PanelFour
Hewipeshismouthoffwithhissleeve35.
PanelFive
PMgoestoremovehismask.
3.PM:Thisisit.Thisisquits.Backtonormallife.
4.PM(thought):DoIreallywanttodramaticallythrowmymaskintomyownpuke?
Mariotte 29
PAGETHIRTY-FIVE
PanelOne
Holdinghismask,Chriswalkstowardtheotherendofthealleyway.
PanelTwo
Suddenly,walkingdownthesidewalk,crossinginfrontofthealleyway,Chrisseesaman.He’swearinga
blackbeanieoverhisblackhair,hassmallgoldearringsinhisvisibleear,andhassomefreckles.He’s
dressedinanAdamsUsweatshirtandsomeJNCOjeans36.Outofhisbackpocketisablackbandana.
PanelThree
Chrisstandsabsolutelystill,likehe’sseeingaT-Rexanddoesn’twanttobeseen.
PanelFour
ChrisflashesbacktotheimageofthemanwhorapedVivian.Heiswearingablackbandanaoverhis
mouthandablackbeanie,butthetopofhisheadisvisible.Hehasblackhair,smallgoldearrings,a
smatteringoffrecklesandasmallcutunderhislefteye.
PanelFive
Afocusonthebeanie.
PanelSix
Afocusontheearrings.
PanelSeven
Afocusonthebandana.
PAGETHIRTY-SIX
PanelOne
Rickywalkspastthealleywithoutlooking,disappearingoutofsight.
PanelTwo
Chrisremainsmotionless.He’sfrozenwithfear.
PanelThree
Chrisstartstremblingasheraiseshismaskbacktohisface.
1. PM(thought):That’shim.
2. PM:ForVivian.
PanelFour
Mariotte 30
PMsneakstothecorner,peekingaroundtolocateRicky.Wecanseehimwalkingdowntheotherwise
unoccupiedstreet.
3.PM(thought):Icatchhimanditallgetsbetter.
PAGETHIRTY-SEVEN
PanelOne
WeseeoverRicky’srightshoulder,revealingtherighthalfofhisface.Inthebackground,PMkeeps
closetoawallandfollows.Therestoftheblockislargelyclosedshopsandoneopensandwichplace
withalargecardboardcutoutofamaninachefoutfitwhohasaneggforahead,ahogieforanoseand
baconforamustache.Hehasadourexpressiononhisfaceandawordballoonthatreads“Sonny’s
Sandwiches:Thebestfoodtofixyourdisposition.”
PanelTwo
Rickypausesatacrosswalk.He’swaitingforthelighttochange,whichwecantellbytheDon’tWalk
handgrowingabovehishead(we’restillinthesamePOV).PMapproachesthecutout.It’shisonlyreal
coverotherthanstreetlamps,asmalltableandtwochairsetmadeofmetal,andatrashcan.
PanelThree
Rickylooksbackoverhisshoulder.Forthefirsttime,wecanseetheleftsideofhisfacewiththecut
underhiseye.He’salsopulledouthisswitchblade,thoughhehasn’tgottenthebladeout.PMis
nowheretobeseen.
PanelFour
Rickyshakeshishead,lookingforwardagain.PMpeeksoutfrombehindthecutout.Thelightabove
Rickyturnstothewalkingman.
1. Ricky:Probablyjustacatorsumptin.
PAGETHIRTY-EIGHT
PanelOne
FromPM’spointofviewasheemergesfrombehindthecutout.HewatchesRickycrossthestreetand
slowlycreepsouttofollow.
1. PM(thought):That’shim.I’malmostpositive.
PanelTwo
PMfollowstothecrosswalk,butinsteadofgoingimmediatelybehindRicky,hecrossesthestreettobe
oppositehim.WhereRicky’swalking,therearemorestorefronts,whilewherePMgoes,there’sasmall
cobblestonewallthathecansneakbehind.
2.PM(thought):Ijustneedtobe100%sure.C’mon.Dosomeothercrimes.
PanelThree
Mariotte 31
PMfollowsfromacrossthestreet.Ricky,havingreachedthenextcorner,startstocrosstowardPM.
PanelFour
PMcontinuestofollowRickyupthisnewdirection.
3.PM(thought):DoIknowhimfromsomewhereelse?
PanelFive
Rickystartscrossingthestreetonefinaltime,straightintothetree-linedwalkwaywhereheassaulted
Vivian.PMpauses,hiding.
4.PM(thought):Thisisit.
PAGETHIRTY-NINE
PanelOne
RickyandThadmeet-uponthewalkway.Theydothatverybro-ishhandshakehighfive.
1. Thad:Yo!What’sup?
2. Ricky:Nuttinmuch.Yougotthegoods?
PanelTwo
Thadtakesthebagofjointsoutofhispocket,holdingitouttoRicky.
3.Thad:Always,Rickster.ThoughbeforeIgivethemover,why’dyouwanttomeetouthere?
PanelThree
Rickysmiles.It’samean,uglycrocodilesmile.Heholdsuponefinger.
4.Ricky:Nopigspatroloverhere.
PanelFour
Rickyholdsuptwofingers.
5.Ricky:Meansneitherofushastoknowwheretheotheronelives.
PanelFive
Rickyholdsupthreefingers.
6.Ricky:AndIgotsomespecialmemorieshere.
PanelSix
Withonehandinhisjacketpocket,Rickyreachesouttheotherforthebagofjoints.
7.Ricky:Thatreasonnuffforya?
PAGEFORTY
PanelOne
Thadpullsthebagbackandwagshisfingerina“tuttut”way.
Mariotte 32
1. Thad:Nuh-uhcompadre.Youknowthescore.AmericanCapitalism,RickyMoranis37,youpayfor
yourgoodsandservices.
PanelTwo
Rickypullsoutasmallwadofcash,exchangingitwithThadforthebag.
2.Ricky:RickyMoranis?
3.Thad:Yougotaspecialrelationshipwiththegreen,man.
PanelThree
PMstepsoutfromhishidingspotacrossthestreetandyellsatThadandRicky.Totheside,weseehe’s
justgottenanewtextfromKali.
Thetextreads:I’mworriedaboutyou.
4.PM:STOP!
PAGEFORTY-ONE
PanelOne
BothThadandRickyjuststareatPM.
PanelTwo
PMchargesthem,screaming.
1. PM:AAAAAAARRRGGHH!
2. Ricky(off-panel):Shit!
PanelThree
PMflyingtacklesRicky.Thadmovesawayfromtheirtumble,unsureifheshouldrunorfight.
3.PM:Youbastard!
PanelFour
PMandRickyrollintoaheapontheground.PMhastheadvantagestill.HeholdsRicky’shandsagainst
thepavement,butonlyhasonelegpinned.
4.PM:Youraping,druggiebastard.
PanelFive
RickykneesPMinthestomachandrolls,flippingPMoffofhim.
5.Ricky:Whatthehell?Getoffme,fucker.
PAGEFORTY-TWO
PanelOne
Rickystartstopickhimselfup.Thadstillstandsfrozen.PMliesonhisback,temporarilydown.
1. Ricky:I’llfuckyouup.Attackingme!Fucker.
Mariotte 33
PanelTwo
RickywhipsouthisswitchbladeandkneesPMinthefaceashestartstositup.
2.Ricky:You’resodumbyoudidn’tevenprotectyourface.
PanelThree
RickykicksPMintheribs.BloodissteamingoutPM’snose.
3.Ricky:Andwhatisthis,plastic?Plasticbreaks,homie.
4.SFX:Kkik
PanelFour
Rickykicksagain.
5.SFX:Kkrak
PanelFive
Rickykicksathirdtime.
6.SFX:KRAK
PanelSix
RickyturnstofaceThad.
7.Ricky:Yougonnadoanythingorjuststandthere,pussy?
PAGEFORTY-THREE
PanelOne
PMtakesRicky’smomentarydistractiontopunchhim,hard,inthebackoftheknee.Hisfaceisstill
coveredinblood.
PanelTwo
Rickyfalls.
1. Ricky:Oof!
PanelThree
PMscramblesbackontohisfeet,keepinganeyeonRicky.Hisarmoriscrackedwherehe’sbeenkicked
andhisfaceisbloody.He’sfavoringtheribsthatwerekickedsotheydon’tgethurttoomuchmore.He
receivesanothertextthatweseeonthesideofthepanel.It’sfromKali.
Thetextreads:Pleasebecareful.Don’tdoanythingtogetyourselfhurt.
2.PM:Don’teitherofyoumove.
PanelFour
RickyslashesatPM’sleg.Heonlycutsplastic,whichisgoodbecauseifithadgonedeeper,he’dhavecut
theAchillestendon.
Mariotte 34
3.Ricky:Fuckyou,fuckface.
PAGEFORTY-FOUR
PanelOne
PMtakesastepbackfromRicky.HebreakstheEscrimasticksoutoftheircase.
HegetsanothertextfromKali:Haveyoubeentakingyourmedicine?I’mworriedyou’re…
PanelTwo
Rickypusheshimselfbackup,thoughhe’snotstandingyet.Thadstillstandspetrified.
1. Ricky(toThad):Heyasshole,yougonnahelpme?
PanelThree
AsRickystandshimselfup,PM’sphonerings.Itplays“HoldingOutforaHero”byBonnieTyler38.
RecognitionstartstocrossThad’sface.Amessageonthephonedisplay(offtothesidelikethetexts)
says“IncomingCallFromKaliDawson<3”PMhasshiftedonestickintoeachhand.
2.Phone:Wherehaveallthegoodmengoneandwhereareallthegods?
PanelFour
ThadlooksstraightatPM.Hismouthisagapeandrecognitionisinhiseyes.
3.Phone(off-panel):Where’sthestreetwiseHercules…
4.Thad(whisper):Chris?
PanelFive
PMlooksbackatThad.He’sangryandhurt.
5.Phone:Tofighttherisingodds?
PAGEFORTY-FIVE
PanelOne
Thadbooksit.
PanelTwo
SeeingPMfocusingonThad,Rickystartstorunintheoppositedirection.
PanelThree
PMstandsinthecenterofthesetworunningmen.
PanelFour
PM’sheadturnstolookafterRicky.TheEscrimastickdropsfromhisrighthand.
PAGEFORTY-SIX
Mariotte 35
PanelOne
PMtakesoffafterRicky.
PanelTwo
AsherunsafterRicky,hepassesmemoriesofearlier.HepasseshismemoryofVivemergingfromthe
treeline.
PanelThree
Herunsnexttoaghostlyversionofhimselffromearlier.Ashedoesso,hereachesforsomethingina
pouchonhisbelt.
PanelFour
Herunswellpastwherehestoppedearlier,leavinghismemoryinthedust.Hepullsoutapieceof
braidedparacordwiththreeballsonitsends.It’saboleadora.
PanelFive
HerunspastthememoryofRicky,whenhefirstsawhimfleeingunderthestreetlamp.Hewhipsthe
boleadoraonceinacirclearoundthesideofhisbody.
PAGEFORTY-SEVEN
PanelOne
TheboleadorawindsaroundRicky’slegs.
PanelTwo
Rickygoesdown,hard.Theknifegoesflyingfromhishand.
1. Ricky:Fuck!
PanelThree
PMrunsalittlepastRicky.Hekickstheknifewelloutofreach.
PanelFour
RickygrabsatPM’slegs,tryingtobringhimdown.
2.Ricky:Whatthefuck’syourproblem?Whyaren’tyougoingaftertheassholedealer?
PanelFive
PMsmacksRicky’sarmswithhisEscrima.
3.PM:Because,Ricky,you’rebothslime,butonlyoneofyourapedagirlrightthere.
PAGEFORTY-EIGHT
Mariotte 36
PanelOne
PMgrabsRicky’sarmsandstartstobindthem.
1. Ricky:Fuckyou.Andfuckthatbitch.
PanelTwo
PMstandsup.Ricky’spracticallyhogtied.
2.PM:Juststop,Ricky.
PanelThree
PMcarefullypicksupRicky’sknife,foldingit.
3.Ricky:Shewasacuntandacocktease.SoItookwhatwasmine.Ifitwasn’tforyou…
4.PM:Youwouldhavegottenawaywithit,too.
PanelFour
PMwalksovertoRickyandsitsonhisback.It’sclearRickyisn’tgoinganywhere.
5.PM:You’realreadyabadperson,Ricky.Noneedtobetritetoo.
6.Ricky:Howyouknowmyname?
PanelFive
PMpullsouthisphone.Hehits9(1-1).
7.PM:Idunno,RickyMoranis.
PanelSix
PMholdsthephonetohisear.
8.PM:Police.I’mthePrintedManandIhavetherapistofVivianRosing…
PAGEFORTY-NINE
PanelsOneandTwo
Viviansitsinawitnessbox.Shepoints(andherfingerbreakstheguttertopointinthenextpanel).She’s
intears-thisisclearlyhardforher.Inpaneltwo,weseeherfingerindicatingRicky.
1. Caption:Afewmonthslater...
2. Vivian:Yes,that’shim.That’sthemanwhorapedme.
PanelThree
Ayoung,blackwomandressedinabusinesssuitstandsnexttoVivianinthewitnessbox.
3.Lawyer:Thankyou,Vivian.That’sall,yourhonor.
PanelFour
WepulloutandseeKaliintheaudience.ShegivesVivalovingsmile.
PanelFive
Mariotte 37
Thejudgeconferswithhisbailiff.
4.Judge:Andwiththat,let’sadjournforlunch.
PAGEFIFTY
PanelOne
Viv,herlawyerandKaliwalkoutofthecourtroomtogether.
1. Lawyer:Youdidgreat,Vivian.
2. Kali:Mhmm.Therearealotofpeoplewhocan’tdowhatyoujustdid.
PanelTwo
Vivhugsthemboth.
3.Viv:Thankyou.Ijustwantthisnightmaretobeover.
PanelThree
KaliandVivlookateachother.
4.Kali:Iknow.Anothercoupleofdaysandthiswillberesolved.
PanelFour
Amiddle-agedBlackcouplewalksuptothegroup.
5.Viv’smom:Viv,honey,I’msoproudofyou.
6.Viv’sdad:Webothare.Weloveyouverymuch.
PAGEFIFTY-ONE
PanelOne
AnothercopyofTheAdamsCollider.Thisone’sheadlinereads“RickyRogersGuilty.”Anotherheadline
reads“RosingFoundationtodonate3Dprinterlab.”
PanelTwo
Chrisplacesthepaperonadeskinfrontofhim.Sunlightstreamsinfromanearbywindow.Thisisn’this
bedroom.It’stooclinical,morelikeahospital.Chasesitsonhisbed.
1. Chris:Thanksforbringingthis,Chase.
2. Chase:Surething.Thoughtyou’dwanttoknow.
PanelThree
Chasestandsupfromthebed.
3.Chase:Anyway,visitinghoursarealmostoverandsomeoneelsewantstoseeyou-privately.
4.Chris:Who?
5.Chase:You’llsee.AndI’llseeyoufirstthingnextweek,Chris.
PanelFour
Mariotte 38
Kalipeeksherheadintotheroom.
6.Kali:Hi.
7.Chris(off-panel):Hi.
PanelFive
Kalisheepishlyenterstheroom.
8.Kali:Howareyou?
PAGEFIFTY-TWO
PanelOne
Kalisitsonthebed.
1. Chris(off-panel):Better.
2. Kali:Yeah?
PanelTwo
Chrissitsnexttoher.
3.Chris:Yeah.
PanelThree
Takingupmostoftherestofthepage,almostasplash,ChrisandKaliholdhandsinthesunlight.
4.Chris:Vivgotthejusticeshesorightlydeserved.Ididn’tgettossedinjail,butRickydid.Igotthe
helpforthementalillnessIneed.
5.Kali:Allgoodthings.
6.Chris(continued):Mhmm.ItsucksthatThad’sgoneoffandiscompletelyincommunicado.
7.Kali(continued):Itdoes.Hewastoxicandkindofanasshole,buthewasourfriend.
8.Chris(continued):Hewas.ButnowIhavemyrealfriends.AndrightnowIhavethepersonwho
lovesmeandstillthinksI’maheroevenifIwasaPTSDandbipolarinducedvigilante.Andthat’sallI
need.
PanelFour
ChrisandKalismooch.
9.Caption:Fin.
Mariotte 39
Annotations
Page One - Panel One
1. Like many of the characters in the story, Vivian’s name is inspired by another piece of media I
love, the podcast My Brother, My Brother and Me. Her last name, “Rosing” is a reference to
Rachel Rosing, a frequent contributor on the show. Game recognize game.
2. The campus described in Printed is loosely modeled on the University of Arizona campus in
Tucson.
3. Adams University is named after Adams College, the fictional home of the titular nerds in the
1984 cult classic film, Revenge of the Nerds.
Page One - Panel Two
4. This Dungeons and Dragons miniature is modeled after Merle Highchurch, dwarven cleric of
The Adventure Zone podcast. Clint McElroy plays Merle. Chris, our hero, will later refer to the
miniature as “Merle.”
Page Two – Panel One
5. Chris’s last name comes from Peter Clines, author of the Ex-Heroes series. His first name,
Chris, has no origin beyond the fact that alliterative names in superhero fiction are a trope
Mariotte 40
inspired by early Stan Lee created Marvel Comics characters including Reed Richards, Peter
Parker, Bruce Banner and more.
6. I wrote the early part of this book in January 2016, the same month that David Bowie died. He
was on my mind a lot around this time. Having Chris have similar eyes seemed like the bare
minimum tribute to one of my favorite musicians.
7. Chris and I share a fashion sense. Though he and I are very different people in many ways, he
certainly acts as my stand-in and a way for me to reflect on my own college experiences in many
ways. His fashion sense is also influenced by the image of Quentin Coldwater from Lev
Grossman’s The Magicians trilogy.
8. Lyrics from Dr. Awkward's "Now Hiring" featuring Schaffer the Darklord. The song
chronicles the adventures of a superhero putting up a Craigslist ad to find his new archenemy.
Page Two – Panel Three
9. Definitely a stab at some of the 2016 Republican candidates.
Page Two – Panel Four
10. Fun fact: Experimenting with how things should sound, like muffled cries for help or gasps
or certain materials hitting other materials can make people around you very confused and
uncomfortable.
Page Three – Panel Four
11. Writing this scene was extremely difficult. From my research and experiences speaking to
survivors, I realize that public assaults are rare. Most sexual assaults happen in private. Similarly,
though all sexual assaults are act of violence, many do not have the additional physical violence
and battery included in this scene.
Mariotte 41
My reasoning for this depiction was partially certainly means of the plot. The story works better
if the assault is more public.
However, I also wanted to critique the way sexual assault is discussed. In some circles, due to a
culture of slut-shaming and victim-blaming, women are disbelieved when making accusations of
rape. There is a rhetoric suggesting that the only valid rapes are ones that happen in public and
with additional physical violence.
I hope my contribution by including a scene in a fantasy story that blurs the line between realism
and the often fantasy expectation that the majority of rape looks like this can help open the
conversation about rape on a college campus.
Page Three – Panel Five
12. On a much lighter note, this is what I think running sounds like.
Page Four – Panel Six
13. Something that was very important to me, and that I certainly tried to include, was Vivian
being a character in her own right.
Long-time comics writer Gail Simone coined the term “Women in Refrigerators” to refer to the
trope in superhero comics of depowering, raping or murdering female characters to give
motivation or inspiration to the hero. Alternatively, it was to put the heroic male figure through
some sort of torment, often overlooking the brutal trauma inflicted on the female character.
Examples of this include Barbara Gordon’s paralyzation and possible sexual assault at the hands
of the Joker in Batman: The Killing Joke, Sue Dinby in Identity Crisis and Alexandra DeWitt in
Green Lantern.
I hoped to turn this trope on its head by having Vivian be an essential part of the story with her
own arc and even go so far as to own her trauma and experience and specifically refute any
Mariotte 42
desire Chris has to become a superhero for her. Her trauma is not his instigating experience –
whatever he may think.
Page Five – Panel Five
14. Olivia is named after my friend Olivia Robertson. She was a fellow intern in Feminists
Organized to Resist, Create and Empower – the campus feminist group at the University of
Arizona. She is a wonderful friend and fellow feminist and her name came to mind when
thinking of a name for Vivian’s friend.
Page Seven – Panel One
15. This is very much the sort of set-up I tend to have when I have folks over to play Dungeons
and Dragons.
16. I have multiple friends who have variations of Cali/Callie as their name. I decided not to go
with a “C” simply because there are already too many characters in the story who have a name
that starts with a C. Her last name, Dawson, came from writer and friend, Delilah Dawson.
17. Thad is named after a friend from high school. Like this Thad, he also had his face frequently
hidden by all his hair. Unlike this Thad, we built robots together. His last name, Summers is a
reference to the Summers family from X-Men comics.
18. This sort of conversation is one I've had many times as a journalism major. At one point, I
considered the ethics of superheroics as a journalist for the subject of my thesis.
19. Superman, Darkseid, Apokolips, etc are all references to DC Comics characters and their
world.
Page Seven – Panel Four
20. Swearing is a tough decision in comics. The trope, of course, is to swear through Wingdings
type text. For this, though, I felt like keeping the swearing unedited lends an additional layer of
Mariotte 43
authenticity to the story. Also, as the story developed and some of the darker undertones became
clearer, I decided it was more appropriate to have uncensored swearing than to follow jokey
tropes.
Page Nine – Panel One
21. Druids, being the crunchiest of D&D classes, seem the most likely to have that herb. Or, to
put it in less ridiculous terms, Druids connection to nature makes them the most likely to have
and smoke magical marijuana.
Page Nine – Panel Five
22. Tyrone is based on my own main D&D player character, Tyrone the Thick.
Page Twelve – Panel Four
23. The phone number includes the classic fake area code of 555 and the last four digits are my
old high school robotics team’s number. We were FIRST team 1726, the Nifty Engineering
Robotics Design Squad (N.E.R.D.S.) out of Buena High School in Sierra Vista, Arizona.
Page Fourteen – Panel Eight
24. I'm assuming you can fall asleep from a sugar crash or something after drinking multiple Red
Bulls. I don't drink the stuff or pull all-nighters, so I wouldn't really know.
Page Fifteen – Panel Five
25. Superheroes never get to use the bathroom. I wanted to make sure Chris could while he still
had a chance.
Page Sixteen – Panel Four
26. I'd say this was based on my own behavior, but I have a dog so I can justify my exclamations
to no one in particular
Page Seventeen – Panel One
Mariotte 44
27. Black, cyan, yellow and magenta - the traditional colors of ink! He's one smart cookie to
make an additional printing goof in his outfit.
Page Eighteen – Panel One
28. He's also heavily influenced by Waylon Jeepers from the classic Kid's WB cartoon,
Freakazoid.
Page Nineteen – Panel One
29. One of the trademarks of Printed Man’s speech is to use older superhero slang. So of course
he’s calling people scofflaws and hoodlums. I think it also shows he thinks of himself as a more
classic 1960s style Spider-Man superhero instead of a post-1980s Batman style vigilante.
Page Nineteen – Panel Three
30. Of classic comic strip, Calvin and Hobbes by Bill Waterson.
Page Twenty – Panel Five
31. I wish The Adams Collider was a real newspaper.
Page Twenty-three – Panel Six
32. Based on real campus preachers seen at the UA.
Page Twenty-six – Panel Two
33. I wonder why Chris might not want to “feel it.” No, but I liked the contrast of Chris skipping
the rest of “Peace, Love and Understanding” for “Pump It Up” without really realizing what
either song was saying.
Page Twenty-eight – Panel Two
34. A song that everyone loves and loves to sing. But, as hinted, it ultimately has some creepy
connotations.
Page Thirty-four – Panel Four
Mariotte 45
35. Gross.
Page Thirty-five – Panel Two
36. JNCO jeans are making a comeback. Also, I find them endlessly entertaining.
Page Forty – Panel One
37. Thad is completely the type to make jokes about Little Shop of Horrors mid-drug deal. I also
like to imagine “Skid Row” from the Little Shop of Horrors soundtrack playing during this
exchange.
Page Forty-four – Panel Three
38. “Holding Out for a Hero” is the perfect blend of slightly romantic, slightly nerdy and slightly
self-satisfying to fit Chris.
Additional Notes:
•
The font Calibri and size 11 were chosen to mirror that of other comic scripts. Though
there is much variation within the script format, the ones I am familiar with tend to
follow those guidelines.
•
The annotations above were done after the style of Carla Speed McNeil’s Finder series
and the annotations therein.
Mariotte 46
Playlist
Below is a playlist – as inspired by the works of Kieron Gillen and Jaime McKelvie in their
Young Avengers and Wicked + the Divine series. The list is divided into two parts. The first part
features the songs directly referenced within Printed. The second part includes music I listened
to during the writing process and that thematically ties into the story.
Music of Printed
1. Now Hiring by Dr. Awkward featuring Schaffer the Darklord
2. What’s So Funny ‘Bout) Peace, Love and Understanding by Elvis Costello
3. Pump It Up by Elvis Costello
4. My Sharona by The Knack
5. Skid Row (Downtown) by Alan Menken and the Little Shop of Horrors cast
6. Holding out for a Hero by Bonnie Tyler
Music of the Printed creative process
1. Short Change Hero by The Heavy
2. Werewolf by Fiona Apple
3. No Diggity by Blackstreet
4. X Gon’ Give It To Ya by DMX
5. A Lot like Me by Schaffer the Darklord
6. The Cops by K. Flay
7. Geekquilibrium by Dr. Awkward
8. Dlshwks by Dr. Awkward
Mariotte 47
9. Rawr by Schaffer the Darklord
10. Hooked On A Feeling by Blue Swede
11. Don’t Stop (Color on the Walls) by Foster the People
12. Take Me Out by Franz Ferdinand
13. Extraordinary Machine by Fiona Apple
14. Daredevil by Fiona Apple
15. Werewolf by Fiona Apple
16. Get Gone by Fiona Apple
17. I’m Kind of a Big Deal by Tribe One
18. Kaiju (CrushKillDestroy) by Tribe One
19. Wolf Like Me by TV on the Radio
20. Toxic by Britney Spears
21. Kiss With a Fist by Florence + the Machine
22. Mr. Brightside by The Killers
23. Hit Me With Your Best Shot by Pat Benatar
24. Heimdalsgate Like A Promethean Curse by Of Montreal
25. Tom Sawyer by Rush
26. The Touch by Stan Bush
27. Ain’t No Rest for the Wicked by Cage the Elephant
28. Super Rad by the Aquabats!
29. March/Theme from Buckaroo Banzai by Joohyun Park
30. True Survivor by David Hasselhoff
31. Do Better by Say Anything
Mariotte 48
32. The Futile by Say Anything
33. The High Road by Broken Bells
34. Vaporize by Broken Bells
35. The Ghost Inside by Broken Bells
36. October by Broken Bells
37. Holding on for Life by Broken Bells
38. Heroes by David Bowie
39. Scary Monsters (And Super Creeps) by David Bowie
The playlist is available at
https://open.spotify.com/user/1242297286/playlist/3pAGKXmaksEGhFmnOYXarY
Mariotte 49
Sketches and Photo Reference
The following pages consist of images related to the final product of Printed. Among these are
photo references for locations in the story – taken on the University of Arizona campus sketches of characters and pages, pictures of 3D printed objects from the research portion and
additional 3D designs.
Location reference for the chase scene on Printed pages 37 and 38. Taken at the corner of North
Park Avenue and East University Boulevard in Tucson.
Location reference for the chase scene on page 38. Taken at the corner of North Park Avenue
and East University Boulevard.
Mariotte 50
Photo reference for the wall from the chase scene on page 38. Taken at on North Park Avenue in
Tucson.
Location reference for the wooded path seen at the beginning of Printed and at the end – pages 1
through 6 and 38 through 46. Taken on East Second St. in Tucson on the University of Arizona
campus.
Mariotte 51
Location reference for the wooded path seen at the beginning of Printed and at the end – pages 1
through 6 and 38 through 46. Taken on East Second St. in Tucson on the University of Arizona
campus.
Photo reference of a 3D printed miniature. Tyrone the Thick, Chase’s Dungeons and Dragons
character from page 9.
Mariotte 52
Original 3D model for Tyrone. Model created with software on HeroForge.com.
Additional 3D printed object for research purposes – a Green Lantern ring. Ring printed by Mark
Yturralde.
Original 3D model for Merle Highchurch for page 1. Model created with software on
HeroForge.com.
Mariotte 53
Original 3D model for Printed Man. Model created with software on HeroForge.com.
Concept sketches for pages 14, 17 and 24.
Mariotte 54
Mariotte 55
Mariotte 56
Mariotte 57
Color concept of Chris (and self-portrait)
Mariotte 58
Artist’s Statement
Printed is the culmination of my learning at the University of Arizona. The project
combines the storytelling skills learned in journalism with topics relevant to gender and women’s
studies and is told through a medium explored in general education and Honors classes.
Printed is a comic script. The story started its life as an idea on a quickly scribbled sticky
note my sophomore year. I had thought, what if a college student could become a superhero
using 3D printing technology and student loan money? I named the idea Printed and set it aside.
At that point in time, I was working on my script for the first issue of SLATE, an
upcoming comic mini-series from Visionary Comics co-written by Jeff Mariotte, my father, and
me. Though that project is still unfinished at this time, it is moving closer to being a reality with
the help of artist Sean Lee.
My post-graduation goal has always been to write comics. That’s why I went to
journalism school.
In my sophomore year, I was already learning how to use dialogue to move a story along
and add the important information and characterization that couldn’t be told through visuals or
text. I was learning brevity. I was learning how to use photos and text to tell stories. I was
conducting research on complicated subjects full of jargon and simplifying them to be accessible
to a broad audience.
Those were the skills I needed to write a comic.
Skipping forward to the end of my junior year, I was trying to come up with a thesis.
While running down my ideas with my advisor, I suggested following in the steps of Joe Sacco. I
could write, and perhaps illustrate, a journalistic story told through the medium of comics. Then I
was asked why not just do a fiction comic story that utilized journalism research techniques.
Mariotte 59
The result was submitting a prospectus for a story that had only existed in my notes for
over a year – Printed. I would finally get around to researching 3D printing, have another
complete comic script under my belt, research a bit into comics as an art form and try to find a
way to tie in gender and women’s studies.
The Why of it All
The original conceit for Printed was that it would be an action-comedy. It would spoof
other superhero books by relying on a real technology. It would be hyper-referential to other pop
culture.
If you have read it, obviously that is not how it turned out. Instead it was a drama that
dealt with the heavy subjects of mental health and sexual assault, while still engaging in the
antics of a twenty-something, Batman wannabe. It more closely reflected my actual experience
in college. There were plenty of goofs and references, but there was always something serious at
the core.
Early during the script writing process, I began figuring out if I could incorporate any of
my other thesis ideas into the story. A few ideas got through, including the ever so brief
discussion of the ethics of super journalists. One of those early thesis ideas had been to do a
thorough investigative story on sexual assault at the University of Arizona.
If I made one of the crimes my superhero dealt with rape, it would instantly change the
tone of the book. Yet, I felt that it was an important story to tell. When one in five college age
women experiences sexual assault or attempted sexual assault, how could I leave it out?
It hit me that part of the problem was the pre-existing rape problem in superhero comics.
Gail Simone, former writer of Batgirl, Birds of Prey and much more had gotten her start in the
Mariotte 60
field critiquing “Women in Refrigerators.” The trope, as coined by Simone, referred to the use of
depowering, rape and murder of female characters to drive and motivate male characters.
I wasn’t willing to dismember a girl and stuff her body in a refrigerator for her boyfriend,
Green Lantern, to find. I wasn’t willing to paralyze Batgirl and leave her – having just been
sexually assaulted – to focus on how that affected her father and her mentor.
Was I willing to have a fictional woman raped to make a point and turn a trope on its ear?
I decided I was. I would have a character who openly refused to let the “hero” justify his
motivations through her trauma. I’d have a character who had her own story arc of dealing with
her assault – in therapy, in court, with the help of her friends and family.
I would fictionalize it, but I would tell a real story. With that decision, Printed took on a
whole new life. It would be grounded. It would have a blend of light humor and the grimmer,
more serious side of life.
The door was opened. Suddenly this was a comic that had something to say about sexual
assault. It would have something to say about mental illness – about Post Traumatic Stress
Disorder and about Bipolar Disorder. It would critique the medium it was created in and embrace
the ways of storytelling that only work in the comic form.
Understanding Comics
In the first semester of my senior year, I was taking an Honors course called “Wording
Pictures.” The class started out reading Scott McCloud’s seminal Understanding Comics, a key
guide to understanding the medium and really any sequential art.
The class covered not only comics, but other forms of word and picture juxtapositions
from entertainment to history to academia to meditation. As part of the class, I was creating my
Mariotte 61
own comic strips. I was also combining the imagery of comics with my meditations and
reflections on my mental health.
It was an entirely new experience to me. I had always understood comics and how they
functioned – I have read all of McCloud’s books on comics and several of his actual comics. But
now I had the grounding of using comics images to tell stories that were somehow deeply
personal and completely removed.
Too bad Understanding Comics, and its sequel Making Comics couldn’t help me draw.
Still, a new way of thinking about my script entered my mind. I had already known how
to write a script from a practical point of view – Slate is all written in Calibri size 11 font and
structured much the same as Printed. My new way of thinking was trying to figure out if the
visuals were feasible. Could I draw a sketch of a page that seemed complicated? Could I find
references for the art?
The art and photographs in my thesis are not a major part. They have little bearing on the
story. Yet I wanted to include them to juxtapose them against the story and provide a fuller
picture of the vision of Printed. Simply put, a comic script is not a comic and for a comic to truly
be understood, it must have visuals.
Final Product
Ultimately, Printed was a personal project – a passion project.
I utilized the research techniques learned from journalism school to experiment with 3D
printing. I 3D printed my own Dungeons and Dragons miniature with help from the 3D modeling
engine on HeroForge. I watched 3D printers slowly pour layer upon layer of plastic to create an
object. I went into the practice of 3D printing and learned about the durability of different types
of plastics.
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Very little of that made it into the story.
I already knew many of the statistics around sexual assault. I knew the estimated figure of
one in five college women experiencing attempted or completed sexual assault. I knew that the
number reported to the University of Arizona Police Department was far below that. I knew that
rapes are underreported and that likely leads to the discrepancy. I learned about the fight, flight
or freeze response.
Only some of that made it into the story.
I am absolutely sure that Printed draws upon my skills learned in journalism school. It
deals with ethics. It was edited with an eye accustomed to reading for AP style. It was written in
a way that covered the important beats of the story and delved into the human experience and
human color without getting lost in the intricacies of how 3D printing technology works or
engaging in too much jargon.
Yet so much of that was invisible at the time of writing. The final product reflects exactly
what I have learned, but it is so ingrained into my thinking now that I can barely piece out what
parts are a direct result of anything.
I hope you enjoyed the story. I hope you enjoyed a fraction of the stories behind the
story. Thank you.
-30-
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