Writing to an Artist, Not Just a Style
As a writer early in your comics career, you can’t always write a script with a specific artist in mind. A style, yes. But writing for a particular artist — their specific strengths, their instincts, their visual language — is harder when you’re new to the game.
Dark Waters was the first time I did this deliberately.
How It Started
I connected with Hus Ozkan online and immediately noticed his work — specifically his use of darkness and heavy blacks. The contrast, the weight, the way shadow became a storytelling tool. I knew I wanted to collaborate with him.
When The 4th Monkey anthology came together, I had my opportunity.
Building the Story Around the Artist
Dark Waters is about ocean pollution — specifically illegal offshore dumping, the decimation of fish populations, and the destruction of fishing villages. There are thousands of ways to tell a story like this.
I chose the angle I chose specifically because of Hus.
The story let me write scenes built around strong contrast:
- Oily black sludge mixing into crystal-clear water
- The bright white moon against a dark sky
- Its reflection fracturing in the dark water below
These weren’t just visual choices — they were invitations for Hus to do what he does best.
Black and White vs. Color
I actually considered keeping the story entirely in black and white. But after talking with Hus and seeing what he did with color on the first page, the decision made itself. His colors start warm and shift cold as the story darkens — the palette does narrative work that no dialogue could.
The Lesson
Writing for a specific artist changes how you write. You’re not just describing scenes — you’re creating space for someone’s particular vision. The best collaborations feel like the writer and artist were thinking about the same story from the beginning.
Find artists whose work makes you want to write differently. That’s when the best comics happen.
