EDITOR'S NOTE: I'm going to post several articles related to my experience at Baltimore Comic-Con 2025 September 17-19. Day One was a mix of visiting the vendor/artist area on the big exhibit floor and attending a few panels of interest, as noted below . . . . . .
BCC PROGRAM: THE ART OF RE-INVENTION - - - "Storytelling is the goal, but how does the medium affect the story or the process?"
Host Bob Harrison moderated a panel of Brian K. Vaughan (Y: The Last Man, Saga), Derek Kirk Kim (The Last Mermaid, The Eternal Smile), and Tom King (Batman, Helen of Wyndhorn) to discuss their experience in telling stories in comics film, and other media.
The question was asked: how are writing comics and writing screenplays similar and/or different?
Brian K Vaughan (pictured on right) says "writing is just writing. You make up lies that sound authentic". Vaughan is the most prolific screenwriter on the panel, having written between 20-25 screenplays - although he says that not a single one has been produced. Tom King says it is like using a different program or app for the writing, with different rules. He finds that comic writing requires the author to think visually first and then add the dialogue. For film, there is less visualization and much more dialogue. King finds that in comics he is writing a script just for the artist. With screenplays that are seen by some 200 people, it is much more formatted.
Derek Kirk Kim commented that the biggest difference is healthcare - - it's better in the film industry. He finds that writing for film differs in that there is no worrying about cramming word balloons into small panels. While he prefers writing for comics and considers it more of an individual effort/creation compared to working on an animated show where it feels more like a family effort and there is support.
Question: Is fan reaction different in the two mediums?
Vaughan: Writing for comic creates the deepest and most profound reactions. With film and television, viewers are more passes. He believes that regular comics readers end up being collaborators on the story and make the characters come to life for themselves, and respond sometimes as if they consider how they would react in the character's place.
Contrast writing for a film property that is not your work versus adapting your own comics work for the screen . . . .
King (pictured on left) says that the regular Hollywood expectation is that you will change it while his inclination is "I don't want to change anything." Another expectation is that Hollywood would like to see the comic done first, making it easier to sell the property. They fail to realize that is just isn't that simple. It takes six months or more to write the comic, then a year before it is finally published. "Hollywood thinks you can turn these over in a couple months."Vaughan has worked with legendary author Stephen King on an un-named adaptation of his work. King gave Vaughan his blessing and complete control, comparing it to Elvis saying "it's your baby - - you rock it." Vaughan tries to take the same approach when others adapt his work - - "It's not a sacrament. Make it your own."
Referring to his earlier track record with zero screenplays produced, Vaughan said that "comics will break your heart" but writing film punishes you every day and is really hard with 1 in 100 or more odds of ever making it to the screen. "I made more money writing screenplays that my father ever did; and that no one ever sees any of this seems obscene."
Vaughan also said that he is against turning any of his unused scripts into comics, despite his agent's persuasions. "I'm like a segregationist when it comes to this. I separate the two."
Kim (pictured on left) mentioned working on an adaptation of GREEN EGGS AND HAM, which is a short, limited page storybook and needing to add more things out of necessity to meet a desired run time.The discussion also focused on things that you can do in comics that can't be done in other mediums. While creativity has no limits the advances in CGI make it easier to create visuals on screen. One difference that Vaughan noted by hypothetical example was a story that contained a mass shooting. Film makers shy away from this, feeling that as soon as they release it there will be an actual mass shooting and they will be considered insensitive. In comics, he finds there is less of a barrier to entry.
Kim also mentioned another taboo subject - - you can't include Middle Eastern themes in the stories because of potential backlash.
Vaughan added some comments regarding screenwriting when he was working in the writer's room for the LOST television series versus writing for television today. On LOST it was more seat-of-the-pants, and writers were often told to hurry up and adjust the script based on viewer reactions whereas today entire series are produced and finished completely before they are seen by the public. By contrast, Vaughan said he was gratified to see young actors embracing his characters in the PAPER GIRLS streaming series and depicting them so well.
What upcoming works are you excited about that you are able to share?
Kim is working on a new graphic novel for Image Comics (June 2026) with a new artist that he is excited about. It concerns two telepathically-connected brothers working some poker games that get in trouble.
Vaughan announced that SAGA will be coming back next year.
King is working on an indie series with artist Gabriel Walta that he is excited about, as well ask scripting shows for an upcoming MISTER MIRACLE television series.
