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PostPosted: Fri Apr 25, 2014 3:04 pm 
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... really, really, really fucking far behind! But believe it or not, it HAS been creeping along for a long while now. I hope to have it ready by the end of the year, sooner if possible. Good assortment of stories in various stages of progress, but I've been so swamped with paying with it has been a lot harder than I expected to whip this project into shape.

Here is a quick preview of one of the finished stories:

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PostPosted: Fri Apr 25, 2014 3:12 pm 
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Some good news is, I may have recently gotten a pro artist friend of mine on board to do a wild mindfuck of a piece with me. He has done a lot of (dark) straightforward stuff, some slasher comics, lots of covers -- his work is awesome, here's a fan page of his work on Pinterest -- but the style of his that most inspires me is this one:

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http://www.nerdsraging.com/2011/09/28/m ... tt-timson/

Don't know if our collab will work out. He and I have been talking about doing something for YEARS now but nothing has ever materialized. Just a life thing. Did write something really fun with him in mind about five years ago, though, and out of the blue he recently said he's thinking about drawing it, so that's awesome.

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PostPosted: Fri Apr 25, 2014 3:28 pm 
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Brief bit o' text from the comic(ish) project he and I might work on together:

You don’t expect a simple robbery to go this way. I mean, sure, sometimes someone gets hurt. It’s part of the job. You don’t WANT it to happen – we’re not Roboticon, after all – but it happens. You can’t tangle with criminals all day and NOT have a run-in or two go too far.

But I still can’t get the image of Troll pounding on that guy out of my mind. Fist to face, fist to face, his underpants spattering with clots of blood, and the poor schmuck’s face being turned into uncooked roast beef.

It frightened me.

And I’ve got to be honest. It aroused me, too.


The whole piece is meant to be satire of over-the-top, "gritty" comics and heroes. It eventually gets pretty fucking silly, but in, I hope, the best way possible.

And no, it's not anything like Kick-Ass. This writing pre-dates it, actually, and I thought that book (and movie) was kind of obvious and not at all as weird and goofy and whatever as something like that could be. Kick-Ass was like, "Look, we're violent and 'realistic.' Satire!" This is not that, despite what this early preview text suggests.

It's also not meant to be a normal comic, so if we do it, the presentation isn't going to be very traditional, either. More like a series of increasingly crazed snapshots of a psychopathic superhero's career.

Like, literal snapshots.

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PostPosted: Sat Apr 26, 2014 8:33 am 
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This sounds great! Looking forward to it!

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PostPosted: Sun Feb 28, 2016 7:52 pm 
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So Shoe, how do you get a good team-up with an artist? And are you just collaborative and whatever money you get, great? Or do you "hire" an artist?


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PostPosted: Mon Feb 29, 2016 7:28 am 
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So Shoe, how do you get a good team-up with an artist?

I've mostly dealt with people I know, folks I've "met" through message boards like this one or know in offline life. The rare times I've ventured outside that have been a bust. Artists are flakey. Hard to get reliability unless you're dealing with a professional, and a professional costs. Therefore, I deal with friends I know to be reliable and who want to collaborate with me.

Because I have a track record of actually producing work, I've been lucky enough to find people who are willing to work with me, knowing I'll actually see a project through to the end. That's pretty important. LOOOOOOOTTTTSS of people out there talk about doing this or that, but it's rare to see a project actually happen.

If you don't have people you know to tap into, a decent source of artists is Deviant Art. Good mix of ameteur, semi-pro, and a few pro. Some will work for free, some you have to negotiate with. Many, however, are flakey, so it's likely you'll run into a few walls here and there.

And are you just collaborative and whatever money you get, great? Or do you "hire" an artist?

Both. In some cases it has been the former, usually with the implicit understanding that nothing much will come of what we do outside of having created material for promotional purposes, i.e. portfolio material. Provided there is that understanding, that's usually fine. If we're co-creating something, we do establish a semi-formal ownership agreement first (which is usually just a simple email saying "we'll own this 50/50).

In others I've hired the artist, either for a straight up fee, for a percentage of sales, or for a percentage of sales up to a certain amount. Because I've mostly dealt with friends, these have been handshake agreements, outlined in email but not with a formal contract.

I also have the luxury of bartering work, so in at least one case an artist agreed to do X for me and I did Y in return.

Have a project in mind?

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PostPosted: Mon Feb 29, 2016 5:18 pm 
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I am one of those people that talks about wanting to do xyz but probably won't.

I've been reading tons of vintage horror comics. I want to do my homage/parody pulling from the tropes commonly found in pre-code horror comics, and how the stories were neutered once the "Comics Code" was put into place. A collected work of every issue of a horror magazine that never existed. It would work better to my sensibilities than to write out one large work - horror comics were anthology works with stories that were often 6 pages or under in length. I've got a list of stories i could tell, and would like to have one larger serialized story told over the course of many "issues." I'm no artist, and not even a writer, but hell, I want to give it a shot. Work in some faux comic book ads. I don't imagine anyone would read it, the reward would be in crafting it.

Would you plot out your writing for a comic by doing some rough storyboarding?

I do have artists in my life - the business I work at is filled with tons of people buried in debt for going to "art school." I imagine I'd have to have something to show before I could approach them for a project to be taken seriously.


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PostPosted: Mon Feb 29, 2016 8:12 pm 
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Your idea sound cool. Stuff like that has been done, complete with fake ads, but I don't recall seeing a whole anthology of it. I love the idea and would love to see what you pull together.

That said, know going into it that it's a big project. You'd be a manager. You're wrangling the work of a bunch of people, playing with schedules and timelines, and all that stuff. Then if you want to get it printed, you're formatting and making sure it's all to spec and blah blah blah (or if you put it online, all that is entailed there). It's a lot of work. It will be like having a part-time job for a few months.

VERY rewarding, though. Seeing your stories brought to life in that way is pretty amazing. If that's all you want out of it, do it.
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Would you plot out your writing for a comic by doing some rough storyboarding?

However you want. Between my two anthologies and stuff that hasn't seen the light of day I've done maybe 20 - 25 comic stories with people, and practically every one was done in a slightly different way. All depends on you and the artist and what works for you. Adjust based on the person you're working with, how they like to work / want to work, etc.

You can thumbnail out stuff if you like. It's a good idea if you have a very clear vision of how you want the story told. Some artists appreciate this, some find it insulting.

You can simply write full script, describing each panel but letting the artist bring it life based on your words. That's the most common way of doing comics now. (For the record, I hate full script and think it results in lifeless comics. I believe in letting the artist dictate the visual nature of the storytelling.)

My favorite is a middle ground between this and "Marvel style," where I describe the action on each page but leave the panels and page layout up to the artist. That allows you to control pacing, story beats, page "cliffhangers," etc., which still giving them artistic freedom. I don't dialogue until the art is finished, because you're going to write to what's on the page rather than have them draw to what you write.

Or you can do that, but rather than summarize each page you do your summaries a few pages at a time, i.e. "pages 4-6, Joe struggles to climb out of the well with the worm creature wrapping around his legs, is almost pulled back down, then hacks it off him with his spade. Last panel is him climbing free of the well."

You can even just do classic Marvel style: a brief story summary of a paragraph or two. That's it. The artist brings it to life however they see fit, then you dialogue it.

And a million other variations.

I gave one guy a prose short story and he visualized it, then I chopped up the story and used slices of it for the dialogue and captions.

For another, I wrote a conversation between two characters, nothing else, and the artist drew around that. I love how it turned out, but it wouldn't have worked with many artists. It was a matter of knowing this guy's sensibilities.

In other words, however you want.

Starting with some ideas thumbnailed out seems like a good idea to me. That shows the artists you're trying to get on board that you're serious and you have a vision. Just be ready to allow them to bring their own vision to the table.
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I do have artists in my life - the business I work at is filled with tons of people buried in debt for going to "art school." I imagine I'd have to have something to show before I could approach them for a project to be taken seriously.

Probably so. You'd be asking them to commit to a lot of work.

But if you know them and can work with them and think you'll pull through for them (and vice versa) and they'd be willing to do it, a project like this can be super fun.

Start with ONE dude who you know will do it. Finish a story together. That finished story because your sales pitch to everyone else. "Here's an example of what we'll be doing. Want in?"

I found that to be a good way to show people you are serious.

Good luck! :thumbs:

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PostPosted: Mon Feb 29, 2016 8:27 pm 
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Shoe wrote:
Start with ONE dude who you know will do it

Seconded. I sub-contract artists to create characters and background art (for animation), and can only rely on a handful of people. Many "artists" don't comprehend things like deadlines and project timelines (or will cave if you pressure them). And if there's no incentive (financial, or otherwise), you will hit a dead-end very quickly.

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PostPosted: Mon Feb 29, 2016 8:46 pm 
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Chris, if you're ever in need of another, let me know. A fella I've done lots of stuff with is a professional storyboard artist. Has also done TV commercials, design work, comics, etc. You have seen his work on TV, guaranteed.

He's ridiculously fast and very good at what he does. Professional through and through. I'd be happy to connect you guys if you ever need something. (He's a guy who can pound out big projects overnight.)

We did an eight page story together and I think he did all eight pages in two days, which is kind of obscene:

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PostPosted: Mon Feb 29, 2016 9:17 pm 
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sure, PM me his contact info (or website, linkedin thing, whatever).

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