I can't draw stick figures, let alone illustrate this! So I am definitely in the market for an artist to collaborate with me on this project. (Please send me a message from this site you are interested!) I've never used the graphic novel format before, and it was difficult for me to get used to writing for the audience with the captions and dialogue, and for the artists in the panels. But I downloaded a free writing program called Celtx and it formats the pages so all I have to do is figure out what goes where on the page. Anyone who thinks writing graphic novels or comics is easy seriously needs brain washing! It's far more challenging than my day job, which is writing for online news sites. I've done journalism for years, and I can write a lead in my sleep. I've even written plays that were produced and short stories that were published. None of those experiences come close to the difficulties I have trying to keep the very different format elements straight in my head while working on this story.
Page 1
Chapter 1 Miyuki after death
Panel 1 In the unseen world that exists between the living and the dead, a powerfully built, middle-aged Japanese man dressed in the robes of nobility approaches a beauteous, kimono-clad young Japanese woman whose hair is not tied up in a traditional bun, but flows gloriously down to the small of her back. She appears to be in her mid-20s. Her head is bowed in polite deference to the gentleman.
Caption 1 The great feudal lord Takeda doesn't know how he came to this place. It was as if he were a mere feather, and a powerful wind picked him up with dizzying speed, then gently set him down on what appeared to be clouds. Although his face appears calm, he is irritated with the force that brought him here. But years of experience with espionage and battle tactics have taught him to be patient, and the reason for his current situation would reveal itself. With that thought as a comfort, he cautiously watches the very appealing young lady approaching him with tolerable deference. It wouldn’t be the first time that an enemy tried to distract him with a woman.
Miyuki
(In Japanese) Grandfather.
Panel 2 The nobleman's expression moves from astonishment to outrage.
Caption 2 In his day, women never addressed men of his class, even when they were on their knees. They spoke only when they were ordered to do so.
TAKEDA*
You are NOT of my blood! You dare...!
Panel 3 He raises his right hand to give her a resounding slap, but he's surprised when it returns to his side as if it had been stricken with a sudden paralysis. He struggles to raise it again, then tries his left hand. It stops suddenly mid-air; he stares in disbelief. Miyuki watches calmly.
Caption 3 Roles have changed in the intervening four centuries between the time Takeda inhabited a body and Miyuki was born forty years ago (in the material world’s concept of time) in a suburb of Tokyo.
TAKEDA
What manner of evil enchantment...? Release me, witch!
*Takeda Shingen, a ruling feudal lord who lived in Japan from 1521 – 1573.
Panel 4 Close-up of Miyuki looking directly at him, smiling.
MIYUKI
I am not a witch, nor do I have the power to release you. I am your daughter, born of your noble and praiseworthy lineage over 400 years after your unfortunate demise. You are here with me because your descendants, in Japan and in a place called the United States of America, have prayed to the Lord of all worlds for the progress of your soul, along with the souls of those before and after you.
TAKEDA
(Face strained with rage.) I will NOT be treated as a mere trifle! How dare you speak to me as an equal! Who is this "lord" you serve?
Panel 5 Miyuki has a bemused expression on her face as she speaks. Meanwhile, a sparkling, translucent veil appears behind her.
MIYUKI
We are all His servants, even if we have no knowledge of this.
TAKEDA
I demand to see him! Have him face me as a brave and honorable man should, instead of sending an impertinent girl to do his job! Tell me his name; I will seek him myself!
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Panel 6 Miyuki turns and pulls aside the veil.
Caption 4 The only life Takeda has known was the well-ordered one he had when he occupied a physical form. He knows of nothing else and wishes for nothing more. Everything around him in the afterlife reflects this wish.
Panel 7 A flashback of 16th century Japan--Takeda is a wealthy, powerful feudal lord with a large army of samurai at his command.
Caption 5 Now, the security of his orderly life has been upended by the madness of a strange, disrespectful girl who spoke of a lord who, apparently, lacked the courage and honor of a nobleman to challenge his opponents directly.
Panel 8 Miyuki holds the veil while beckoning a frowning and reluctant Takeda to walk through.
MIYUKI
"Through Thy name, O my God, all created things were stirred up, and the heavens were spread, and the earth was established, and the clouds were raised and made to rain upon the earth."* There is so much more here in the afterlife for both of us, Grandfather. We have been brought together to assist someone who is still among those who dwell on Earth--my daughter, Hitomi
Panel 9 Across three intersecting panels, Miyuki and Takeda become smaller until they dissipate into vapors.
Caption 6 The life Takeda has known and loved will soon be no more than indistinct memories shrouded by mists.
Page 3
Panel 10 Miyuki and Takeda have appeared in front of the veil and into the bedroom of Miyuki's 27 year old daughter Hitomi's apartment. They are at the foot of her bed, looking at her. Hitomi is sleeping, curled into a fetal position. Her long, wavy black hair is tousled over her face; her bedding covers her body from the neck down. The room an eclectic mix of African, Asian and modern furniture, artifacts and pictures. Over the headboard of Hitomi's bed is a huge poster of the R&B/funk group, Parliament/Funkadelic.
Caption 7 There is nothing familiar to Takeda here: the odd furnishings, the bizarre lights and sounds emanating from peculiar machines make him uneasy. He is accustomed to being wholly in control of people and events; it perturbs him that he has neither.
Panel 11 Intersecting panels show Takeda's face is a mixture of anger and confusion. He reaches for his sword, but to his bewilderment and frustration, it will not unsheathe.
TAKEDA
What sort of demonic habitation is this, girl?
Panel 12 View of Miyuki's head turned toward Takeda, who is still struggling to free his sword.
*(Baha'u'llah, Prayers and Meditations by Baha'u'llah, p. 235)
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Caption 8 In his previous life, Takeda would have ordered the “witch” and the odd, sleeping “creature” to be executed at once. Their offense--being at odds with the structure of his life--would have been sufficient to warrant their death. But there are no soldiers or servants to carry out his command. Moreover, it galled him that the “witch” remained unabashedly impertinent. Even his sword defied him.
MIYUKI
It is...the sleeping quarters of my beloved daughter Hitomi, Grandfather.
Panel 13 POV change to bedside, near Hitomi's head. Shows the pair standing together. Miyuki's face is filled with love, sadness and longing for her daughter. Takeda looks as if he is about to explode.
Caption 9 He has reached the last of his minuscule amount of patience. Terror is his remaining weapon.
TAKEDA
TAKE ME FROM THIS ACCURSED PLACE, WITCH, OR I SWEAR BY MY ANCESTORS I WILL RIP YOUR BODY TO MERE THREADS!!!
Panel 14 Very large shot of the two--Every vein and muscle in Takeda's face and neck in bulging in fury while Miyuki looks at him with detached amusement.
TAKEDA
SIMPLE-MINDED BITCH! YOU DARE LOOK ON ME IN JEST?
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Panel 15 POV changes to the space between Miyuki and Takeda--Hitomi has turned in her sleep, kicking the covers off. Her hair has moved partially away from her face. She is dressed in an over-sized tee-shirt revealing her flawless, sienna-colored bare arms and legs. It is clear that she is stunningly gorgeous young lady born of African-American and Japanese ancestry (picture R&B singer Amerie).
HITOMI
Mmmhhh....
Panel 16 Takeda's mouth opened in horror as he stares at Hitomi.
Caption 10 He had heard rumors, seen pictures of dark men from a distant land that the ruddy-faced, hairy men from Europe called "Africa". Those pale men, with their wheat or fire colored hair and strangely colored eyes, spoke of half-men who were more apes than human. Takeda thought the stories were nothing more than the uncouth ramblings of foolish drunken whites. There can be no such thing. It is against nature for a human to copulate with an ape or a monkey, an unconscionable act.
Panel 17 A close-up of Takeda. He is apoplectic.
Caption 11 Yet, before him...evidence that the dull-brained girl who claimed to be his descendant had committed the most heinous of acts.
TAKEDA
WITCH! WHAT UNSPEAKABLE VILENESS HAVE YOU COMMITTED? THAT IS NO HUMAN; IT IS A MONSTER!
Panel 18 A close up of Miyuki’s calm face.
MIYUKI
She is not only human, Grandfather, she is my precious, beautiful daughter. This is the 21st century; almost five hundred years has passed since you had a body. So much has changed since you walked upon the Earth. Whether you like it or not, she is of your lineage also. I married a man who descended from the people of Africa, although the country of his birth is now known as the United States of America.
Panel 19 Takeda stares at Miyuki, who continues to gaze lovingly at Hitomi.
MIYUKI
I know it is a rather old fashioned name for a girl her age, but I named her Hitomi, after my poor little sister. My sister was born with “special” talents, but without the emotional capacity to use them wisely. I had no idea that, to a lesser degree, the same would be true of my daughter. If I had, I would have given her an English name.
Page 6 Panel 20 Close up of Takeda's face. His eyes are narrowed as he contemplates another tactic of escape.
Caption 12 Years of warring has taught the feudal lord that there are thousands of ways to turn a negative situation into a favorable one. He needs only a suitable moment.
TAKEDA
Really, my granddaughter? Tell me of this place, Uni...what is its name again?
Panel 21 Miyuki looks at Takeda, smiling because she knows he is trying to find a way out of what must seem like intolerable bondage to him.
Caption 13 What Takeda does not know is that the history of his battlefield stratagems and preternatural cunning has been passed down through the generations. Her father told the stories to Miyuki's brothers. Her eldest brother, Hiromasa, loved to regal (and terrify) her with his dramatic interpretations of these tales.
Panel 22 Flashback of sixteen year old Hiromasa sitting cross-legged on the floor next to six year old Miyuki's tatami mat (circa 1967), enthusiastically telling her about the clever ruses employed by their ancestor, Takeda Shingen that often led to victory over his opponents. Miyuki is wide-eyed and enthralled.
Caption 14 Much has been written and debated about the effect the dead has upon the living. There is evidence that the stories left by the forebears and repeated by their descendants does form a sense of identity within a family, especially when the stories instruct and warn about the various trials of life. The more unfathomable effect the dead have on their progeny is not so apparent, or easily explained.
Page 7 Panel 23 Hitomi is thrashing about in bed.
Panel 24 She jerks awake, startled.
Caption 15 Much of what happens in Hitomi's life is not easily explained.
HITOMI
Mommy!
Panel 25 She looks about her room as if she expects to see her mother nearby.
Panel 26 She cries.
Panel 27 Shot of Takeda and Miyuki watching Hitomi. Takeda looks bewildered while Miyuki is despairing.
Panel 28 The glittering veil has appeared, and Miyuki backs into it as Takeda continues staring at Hitomi.
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