 film into comics Dune and 2010 Space Odyssey. Special preview look at the Marvel Comics adaptation of this season's two most eagerly anticipated science fiction films. That's thing right there, our Conan. Beautiful artwork by Bill Svinsky? Svinsky? The Sun is not cooperating. A sand rider. Look at that. Herbs over Rockets. Teaser. Dune is a trademark of Dino de Laurentes Corporation, a light and licensed by Merchandise Incorporation of America Incorporated. Copyright 1984. Dino de Laurentes Corporation all writes reserved. 2010 is copyright 1984 MGM UA Universal Artist Entertainment Corporation. A sand rider. Outside with the shields down. Arraking is vulnerable to the Harkonnen ships carrying the Emperor's Sartucar Legion to adapt such highly successful novels as Frank Herbert's Dune and Arthur C. Clarke's 2010 Space Odyssey. Two filmmakers had to deal not only with satisfying the expectations of a previously established audience, but with discovering visual translations for the depth and scope allowed in a work of prose. To convert the films into comics Marvel's creative team faced similar problems. They had to convey the experience and feel of each movie and at the same time create line art equivalent in a limited number of pages for several several hours of moving speaking visual images. This involves writers, editors and artists boiling the script down to key scenes and passages, condensing and bridging, dialogue and perhaps most important finding the right illustrative style to suit the given film. Though the final adaptations will be printed in full color, we thought it might be interesting to demonstrate this sense of style by showing the art as it is originally done before color is added. My plan, the plan to crush the Atreides. I will have Arrakis back for myself. He who controls the spice, controls the universe and we have controlled control of someone who is very close to the Duke Lito. This person, this traitor, would be worth more to us than 10 legions of our Sarducar. I won't tell you who the traitor is or when we will attack, but the Duke will die before these eyes and know it is Baron Valdemir Harkonnen who orchestrated his doom as they explode everything in their path. Let's see if we can get the, in the cause of Muadib forward, death to the Harkonnens. It was also so very easy, the traitor your husband searched for in vain was Dr. Hugh. He was someone who trusted, you trusted completely, thus it was a simple matter for him to drug the food and drink of your, you and your young son making your capture a simple matter and then he, he shut down the force field generators in the castle opening it to attack. I, of course, followed after the palace had been subdued and that brings us to the present. Goodbye Jessica and goodbye to your sweet young son. Where's Jessica? Benny Jezret and Boris son. Located in the distant future, light years away from our own world, the environments of doom are solidly logically created by greatly alien, but greatly alien to what most of us know through convincing accumulation of detail in costumes and settings, through carefully achieved special effects, the film captures this, this, this reinforcing it with this constant secession of images. With the far fewer number of images a comics adaptation provides, Bill Sikwenski, Sik... Sik... Sik... Sikwin... Sin, with twitchy-skip, worked boldly and expressly building emotionally the movie's unique universe To portray the impact and intensity of what might be whole scenes and sequences, he employed deliberate exaggeration, reaching beyond what the actual makeup and effects might indicate. And drawing upon an acute sense of design, he fully utilized mass and negative space to suggest Dune's incredible landscape, which, with the story's underlying sense of ecology, share almost the same importance as the characters which move within them. Southeast over the shield wall, that's where I told your sandmaster to concentrate his spice harvesting. There's the mining facility below, where there is spice and spice mining, there are always worms, Paul. To protect their territory, vibrations attract them. Dr. Kynes, will we see a worm? Paul asks, why do they come? So the conversation should be, I should read these in order. There's the mining facility below. Dr. Kynes, will we see a worm? Where there is spice and spice mining, there are always worms, Paul. Why do they come? Paul asks. To protect their territory, vibrations attract them. Important to read these in order. And then, that's the last page, teaser for Dune, and then we get into 2010 Space Odyssey. Beautiful artwork. There's the monolith, right? What is it? One of the astronauts asks. Not even astronauts, space folk, I guess, or astronauts. 200 kilometers, I am getting no radar echo. 190 kilometers later. Different considerations enter into the stylistic approach to 2010. As with its predecessor, 2001, the story unfolds in a time which seems less far removed each moment. The science and technology are reasonable extensions of what already exists, and even much that doesn't, doesn't, is already established in our minds from what we saw in the previous film. All of this indicates a much more straightforward literal interpretation. There's grand grand grander and cosmic significance in 2010, but they are built up carefully to make them all the more believable when they come. In the layouts of the Joe Barney and Larry Hama, and in the elaborate finishes and accomplishments accomplished in some Tom Palmer, there is the constant consideration of realistic detail and logical progression to accompany and enhance the scenes designed to stir and create wonder. Make sure this white thing doesn't well over. Let's do this. 2010. I've left 60 messages for Chris. Play a tape every week for him. I will transmit the first day I am awakened. Please, don't forget. I couldn't forget. She says. Beautiful artwork. Look at the line work on here, the inks. More so than 2001, human drama and emotions play a greater role in 2010. This gives Palmer's illustrative pen and brushwork further opportunity to make full play with lighting as well as with humanizing what might otherwise have become sterile photographic likeliness in the characters. As with the filmmakers, the creative teams on Dune in 2010 have sought to find their own way of successfully expressing the experience of one medium in the form, forms and format of another, defining it with their own individual style and hopefully making it something that along with reflecting the original offers a unique enjoyment on its own. This month along with being able to see the films, you'll have a chance to find just how well these efforts turned out as well. The adaptation of Dune is written by Ralph Macchi, art by Bill Sikwinski, coloring by Christy Shield and lettering by Joe Rosen. The adaptation of 2010 is written by J. M. Dematis, layouts are by Joe Barney and Larry Hama, finishes inks and coloring are by Tom Palmer and lettering by Rick Parker. Both projects are edited by Bob Budinski and Jim Shooter is editor-in-chief.