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15th Jun2017

Up The Game: How To Write Powerful Comic Scripts

by PamHarrison

Pam Harrison is one of the first and best known CGI artists in Independent Comics. Her work with the historical fiction series House of the Muses earned her the 2008 Prism Comics Queer Press Grant for Outstanding Series, and she continues her storytelling in a gripping sci-fi space opera adventure, A Deviant Mind, that far transcends its original LGBT audience. Her work has also appeared in ALPHABET Anthology, Dark Mischief horror anthology, Voices Against Bullying and more. 2008 Prism Comics Press Grant Award winner Pam Harrison has been credited by Comic Book Resources’ Brian Cronin and veteran comic legend Sergio Aragonés as “THE best CGI comic artist EVER”.


I’ve been writing for literally 40 years now. My creative influences came to birth in 1977, the year that Star Wars burst onto the scene, firing into existence my love and passion for Space Opera and the dream of creating a saga of my very own. There was plenty more going on in 1977 but Star Wars overshadowed most everything. I would go on to create a number of stories over the years from the award-winning House of the Muses, which is shortly about to re-debut in a larger graphic novel format, to my current science fiction space opera series, A Deviant Mind, which was created back in 1980 but waited 30 years for its independent comics  debut. So if you’re worried that it’s too late to jump into the game, you’re wrong. It’s never too late. Grab a pen or a tablet or jump on your computer and start writing. When you’re creating a story, the first challenge is collecting that one big idea in your head and laying it down in a format people can follow. When you’re working with other artists, they have to be able to take your pages and your direction and lay the art in a clear linear fashion that not only tells your story to the readers, but excites, inspires, and leaves them wanting more.
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Not every writer creates their stories the same. Some of us doodle in notebooks or notepads. I lay out my stories in blocks on Dramatica Pro 4.0, but I’ve been using that program for years. I freewheel quite a bit. Other writers like clear outlines and templates to lay out their story from start to finish. In comics and movies, stories are first laid out in storyboard format. This gives all the creators involved a clear idea of the story ahead, what it’s expected to look like, outline visual cues for the artists, and lay the groundwork for the epic. The idea in your head is the prologue for the story you want to tell. Always have a clear idea of your intro, your start, your story and your finish. If you need to visualize your script in storyboard to get a good grasp of how to tighten that up, I have some suggestions. I’m going to enclose some templates to give you a solid roadmap on how to write a tight script. Explore all of these and use the final script template for your finished product, and let me know how it goes. Go forth and be awesome.

Scene from A Deviant Mind #19: When All You Once Knew Is Gone

If you need storyboards to start fleshing out your story, grab this template, along with several other script writing templates, from http://www.storyguide.net/gear/script.html

Storyboard Template– View PDF
Download Storyboard Template
This document is best used by printing multiple copies for roughing out visual concepts.

The most time-honored way to increase your expertise in writing is to pick your favorite writer, study what they do, how they do it, and write, write, write. You are only going to get better with practice.

Don’t forget to grab all the info you can from this article by veteran comic writer Fred Van Lente. Have more questions? Use the Comments section on this page and we’ll turn this resource into a seminar panel.

bio

Fred Van Lente is the #1 New York Times bestselling, award-winning writer of comics like Archer & Armstrong (Harvey Award nominee, Best Series), Action Philosophers! (American Library Association Best Graphic Novel for Teens), and Cowboys & Aliens (with Andrew Foley), the basis for the feature film.

His many other titles include Weird Detective, The Comic Book History of Comics, The Incredible Hercules (with Greg Pak), Taskmaster, Marvel Zombies and The Amazing Spider-Man.

He lives in Brooklyn with his wife, the playwright Crystal Skillman, and some mostly ungrateful cats.

Writers Store

how to format a comics script

I’ve been very flattered over the years to be complimented on the way I format my comics scripts. I started developing this style when I was a teenager and discovered an unpublished Howard the Duck script that one of my heroes, Steve Gerber, had uploaded to CompuServe — this very script in fact, that a reader tracked down for me. I modified Gerber’s format considerably, particularly under the guidance of Lee Nordling, my supportive editor at Platinum Studios, when we did Cowboys & Aliens together. There have been a few tweaks since then, helped, if I remember correctly, by Nate Cosby while he was an editor at Marvel.

I was inspired to add this page to my site by lettering maestro Nate Piekos, who wrote a great article for his personal site talking about why he likes my format and the logic behind its layout.

So — keeping in mind there is no “right” or “standard” way to format a comics script — here’s templates on how I do it. This is what I think is the easiest-to-read and the most efficient format for the pencillers, inkers, colorists, letterers and editors to get the information they need to complete an issue.

Remember, save them to the “My Templates” folder in your Office Library or they won’t show up in Microsoft Word’s Project Gallery.

For more information on writing comics — not to mention drawing, inking, coloring, lettering, editing, pitching, publishing, and marketing them — pick up Make Comics Like the Pros by Greg Pak and I.

downloadable templates

Click here for THE TEMPLATE WITH INSTRUCTIONS. (*.dotx)

Click here for a CLEAN TEMPLATE WITHOUT INSTRUCTIONS. (*.dotx)

Click here for a TEMPLATE FOR 1997-2004 MICROSOFT WORD. (*.dot)

UPDATES! The joy of open sourcing: Writers Michael Patrick McMullen and Rob Marland modified my template in useful ways. Michael made one for the Scrivener word processing program (which I highly recommend). Rob added fields to automatically add lettering and panel numbers. I am not a fan of auto-numbering but I also type about 90 words a minute (the joys of being an ex-temp) so manually adjusting the numbers is not a big deal for me. You, however, may feel differently, so here are his templates:

Click here to download MICHAEL PATRICK MCMULLEN’S SCRIVENER TEMPLATE. (*.scriv + related files)

Click here to download ROB MARLAND’S TEMPLATE WITH AUTO-NUMBERING FIELDS. (*.dotx)

Click here to download ROB’S AUTO-NUMBERING TEMPLATE WITH INSTRUCTIONS. (*.dotx)

Don’t email or tweet me for technical help. I’m not qualified to come to your aid. Fair warning!

script archive

Some completed scripts so you can see the format in action.

MARVEL ZOMBIES HALLOWEEN One-Shot Script / Copyright 2012 Marvel Comics / Read the completed comic here.

BRAIN BOY #1 Script / Copyright 2013 Dark Horse Comics / Read the completed comic here.

ARCHER & ARMSTRONG #1 Script / Copyright 2012 Valiant Comics / Read the completed comic here.

ACTION PHILOSOPHERS: “Immanuel Kant” Script / Copyright 2006 Ryan Dunlavey & Fred Van Lente / Read the completed comic here.

 

http://oscarwildecomics.blogspot.com/2013/10/comic-script-template.html

http://www.fredvanlente.com/comix.html

Online Writing Classes & Seminars at Writers Store

28th May2017

Comic Book Reviews!

by PamHarrison

Contact Pam Harrison if you are ready to be a Comic Review Editor, and you’ll get your own account here at ICC so you can create some magic. If you have any questions, any at all, contact me and we’ll get you rolling. Let’s get out there and Make ICC Rock!!!

Roll call! The buzz has been going around on ICC’s Facebook page for a few weeks now. This page has all the info you need to know to be as professional as possible. Let’s get those hands up for reviewers and editors! You are chomping at the bit to create a strong comic book review forum for ICC, so let’s get those submissions in. Everyone with Editor status will be encouraged to create their posts here on the ICC website first and then share their links to our Facebook page.
Also needed: Art and Artist Spotlights, ICC Presents: (Which will give members an opportunity to present their comic, tell us a little about it, promo artwork and more), Video podcasts, Comic Convention Coverage and Updates, Upcoming Projects, How-To articles. Have some great suggestions on how to run a Kickstarter campaign? Want to share your expertise with DAZ Studio CGI techniques, Wacom tablets, Photoshop or Manga Studio? You will find an audience to share your wisdom here. When we get our Editors set up, you will have a point of contact for each area to submit your ideas and writing to.All comic book reviews must follow a standard format for maximum impact, and if this is your first time stepping into the world of comic review, there are many resources for inspiration to be found. Artwork, Photography, Video, Music, Poetry, Movie Making, Design, Cosplay. Whatever you enjoy doing, SHOW us. Tell us. This is a group dedicated and focusing on people as Individual Creators. The Talent is out there, we all have it. Let’s share it and also you can visit us on the web at http://www.independentcreatorsconnection.com/ Be sure to also visit our YouTube channel. Same rules apply as in the Independent Creators Connection Facebook group: If it’s a bad review, keep it constructive and polite. No bashing, no hate speech either in the review or the comments sections.
Why Review? To InformTo draw attention to good books — especially if they’re not as well-known as they should be — and to warn people away from bad ones. Although writing a bad review is easier than writing a good one, the best reviewers spend more time talking about good books than bad. It’s more productive in the long run, too.To Educate – To analyze the craft of creating a comic. To dissect how a good comic works or explain why a bad one doesn’t. To teach readers what lettering adds to a comic, or how panel layouts help or hinder the story, or any of a myriad other skills necessary to build a good comic book.To CommunicateTo start discussion or provide an alternative point of view. Beware, though, this may work against writing a good review, if the reviewer winds up discussing plot and characters too fannishly just to get responses. Also, reviewers shouldn’t cop an attitude just to get noticed. Attitude is cheap; content is rare.

Bounce! By Chuck DragonBlack Collins


To Develop Craft – To learn discipline and improve one’s writing and thinking.

To Get Free Stuff – If you’re good, and consistent, and build an audience, people may want to give you material in the hopes you will talk about it. However, it’s a mixed blessing: it’s great to get a chance to check out something you wouldn’t have bought for yourself, but review copies are a large responsibility, and the best material isn’t generally given away, so you’ll find a big range of quality in what you get (particularly if you’re starting out). For more on this topic, see How to Get Review Copies.

To Be Discovered – Please note that this is a bad idea, but some reviewers have this as a goal. Building a name for oneself cuts both ways; for everyone impressed by the comments (or opinions), there will be someone who takes it personally and holds a grudge. Plus, writing for comics is a different skill from writing about comics, so an aspiring creator had better be working on developing both abilities.
Comics journalism isn’t taken seriously in part because of this reason. It’s seen as a stepping stone instead of a craft in itself. Some professionals accuse critics of being jealous… and some critics are, but there are many more who aren’t. Many things are easier for competent writers to do instead of reviewing, and with most of them they’ll be better respected and maybe even paid. The medium needs intelligent criticism to continue growing and be taken more seriously.

Writing a Good Review: What to Cover

Ideally, reviews should be written of complete stories, chunks that provide a satisfying experience to a reader. Possibilities include graphic novels, trade paperbacks, complete miniseries, single-issue stories, and complete story arcs within a continuing series.

Reviewers covering monthly comics piecemeal should avoid assuming everyone read the previous issue. Coming up with something new to say about chapter 3 of 6 after reviewing parts 1 and 2 is challenging, but it can be done. Also, a reviewer might be criticized for not waiting until the end of the story to criticize it (especially if the comments are negative). It’s perfectly valid to review anything that’s offered for sale to the public, but it’s hard to evaluate the overall story without an ending.

Reviews should express an opinion about a work and say something interesting and unique. Online reviews should not go on longer than the reader wants to scroll. Also, short paragraphs are better; densely packed text can look daunting and unreadable on a computer screen.
What to Write

Pick a format and style and use them consistently. Include all the relevant pieces of information (creators, dates, titles) to identify the work being reviewed. Here’s one example:

COMIC TITLE: Subtitle (or #Issue Number(s))
Creator Credits, as printed in the work, one per line
US release date, if known, or cover date, or year of publication
Publisher, format (page count, binding, color or black-and-white, whether digital), price

[And don’t forget the website link to show people where to buy the comic. –Editor]

Tell readers something of what the comic is about, but keep it brief, and use spoilers as sparingly as possible. The plot of many standard-length comics can be summed up in a sentence or two. It may on occasion be impossible to discuss a story without revealing elements of it, but that should be a rare occurrence. Recommendations for or against a work should be based on the reviewer’s opinions and criteria, not the events of the story. A reader should be given enough information to determine whether or not she would find the comic interesting without her reading experience being ruined.

In the main body of the review, a reviewer should discuss what she liked and what she didn’t in regards to writing, art, plot, character representation, storytelling, and entertainment value. Comments should be balanced; there is always at least one thing in any comic that was well-done, and one thing that could be improved. Give examples. The reader should understand the basis for the reviewer’s opinions. I shouldn’t need to say this, but avoid personal remarks. Discuss the work, not the creator.

All comic reviews should contain art criticism; one doesn’t have to be an artist to describe what one sees and give opinions on it. Do items and characters look like what they’re supposed to be? Do the panels flow smoothly, supporting the story? Is the reader’s eye led in the right direction by the layout? Do the word balloons fit into the composition? Think about how the words and pictures work together to create the story. A reviewer who doesn’t cover both art and text is reviewing a plot, not a comic.

The tone should be informed and intelligent, but not superior. Readers may be ignorant of the work, but they aren’t stupid. Keep it friendly and entertaining. Readers are interested in the reviewer’s reactions and opinions, and some personal information may be necessary to understand the reviewer’s perspective (if she’s never read a comic in that genre before, for example, or if she previously worked with the writer), but reviews are not about name-dropping or unrelated life anecdotes.

Ratings are not mandatory. Some critics sum up their reviews with one, but other people find them unnecessarily simplistic. Regardless, they should match the comments given. The reader shouldn’t be left wondering why the rating is higher or lower than the rest of the review suggests. The scale should also be obvious and understandable, and the rankings should be consistent across reviews.

Try hard to get an overview of the entire medium. While it’s economically understandable that hobby reviewers can’t afford to spend that much money, reviewers who stick only with what they’ve already decided to buy are doing their readers (and themselves) a disservice. Be creative in finding ways to expand coverage. Many reviewers cut deals with their local shops to borrow comics in order to read more widely, for instance. Reviewers also owe it to their readers to be familiar with the best-known and -respected works of the medium (not just the superhero genre).

Given the bizarre nature of the comics industry, be sure to include information on how to obtain the book at the end of the review. If it’s a small press title, include the publisher contact address and/or website. If someone wants to read the reviewed book, let her know how. Also, be sure to state whether you received the comic for free for review.

Risks of Reviewing

Just because someone’s working in comics as a professional doesn’t mean they’ll have a professional attitude regarding criticism. People who should know better sometimes take comments purely about their work personally and respond on a personal level. No one’s handing out maturity with comic book work; sometimes a reviewer has to laugh and move on. In return, the critic’s behavior must be mature enough that people aren’t laughing at her, either.

There are also many people out there who identify too closely with the published work. With creators, at least it’s understandable; the fans, though, can be scary, especially the ones who take a negative comment on the latest superhero book as a personal attack. If fans become too pushy or threatening, take necessary precautions, such as using a post office box instead of a home address for review copy submissions.

Critics have to put up with being evaluated and reviewed themselves. No matter how bulletproof a review (in terms of pointing out flaws with copious examples; keeping the discussion about the work, not the creative team; and clarifying with terms like “in my opinion”), there will be immature people who will take a differing opinion as an excuse to question the critic’s intelligence, sex life, and general worth as a human being. Be prepared to ignore immature responses, no matter who they’re from.

On the other hand, don’t be one of those people who rank being right over being a decent human being. Keep the work in perspective. A bitter reviewer can be fun to read once or twice, but not long-term. People can be entertained by or find useful information from criticism even if they disagree.

Benefits of Reviewing

Everyone has their own list, but mine includes the intellectual joy of figuring out why I liked or disliked something, and the pleasure of expressing it well. I’ve met a lot of interesting people through comic fandom, and this is my way of giving something back.

Even if you disagree with me, please think about the issues I’ve raised. You may come to different conclusions, but you ought to be able to answer these questions:

  • What approach should reviewers take?
  • What’s their perspective?
  • What are their criteria for “good” and “bad”?
  • Are they able to distinguish “good” from “what I like”?

Reviewing is an art, like any other form of writing. Support the good, avoid the bad, and keep encouraging improvement.

Source: How to Review Comics – ComicsWorthReading.com


It’s super easy to advertise on Independent Creators Connection!

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Here we’ve collected all sorts of information about this advertising spot on Independent Creators Connection. Look around — and when you’ve seen enough, you can enter your bid under that big “place your bid” header below!
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27th Apr2017

Pitching and Marketing Your Comic – Winston Jordan

by PamHarrison

About the Writer: Winston Jordan is the writer and creator of Dragon Trio under his brand, Inkpot Comix. Buy his comics and collaborations on IndyPlanet.us!


One thing I’ve always been told is that I am good at pitching and marketing things. It’s not that hard to do, just think from the consumer’s point of view. Here are two main No-No’s for independent comic book creators when it comes to marketing your product:
1. It’s not enough to simply say ‘Go buy my comic’. All that’s going to happen is your post will simply get looked over. You need to tell me why I can’t live without this book and why I’m making the biggest mistake of my life by not checking it out. What sets Fartman and DooDooBoy #1 apart from the other 75 gazillion comic books out there? Why should I buy it and not the one sitting next to it? Sell me the damn thing. Did you really go through the trouble of producing an entire comic…raising money and paying a creative team if you did not do the work yourself , printing costs, to Simply sell the product with ‘go buy my comic’? If that’s the case I certainly hope the book is better than your advertising prowess. You should put as much passion into the advertising and marketing as you did into the creation. Now is not the time to get lazy. And that’s okay if all you want are friends and family purchases. But what convinces a complete stranger to buy it?

2. When pitching your comic in a short paragraph. One of the biggest mistakes that you can make when asked to describe it is to compare it to other properties. I hate to see someone write a pitch for a book and they say ” It’s Star Wars meets Battletoads” or whatever. That’s a cop out and it’s a very lazy way to describe your property.

Harsh realities. Okay, Cupcake, you’ve got a comic book out now the real work starts. No one can buy it if they don’t know it’s out there.

Here are some Google links to help you research what makes a real comic book pitch, and get the word out there.

How to Pitch Your Comic. 5. After receiving a few dozen submissions for our summer anthology it became clear pretty quickly that there aren’t many guidelines …

Here Comes The Pitch – Part One | Zub Tales – Jim Zub

www.jimzub.com/here-comes-the-pitch-part-one/
Sep 10, 2012 – Like I did with the blog series focused on my comic writing methods … Your pitch needs to convince them that you are one of those people …

Submissions | Image Comics

https://imagecomics.com/about/submissions
The creative team in your pitch is the one we expect to see actually working … Do not hand Image Comics employees submissions at comic book conventions.

How To Pitch Your Comic By (Or Possibly To) Larry Young – Bleeding …

https://www.bleedingcool.com/…/how-to-pitch-your-comic-by-or-possibly-to-larry-y…
Jun 1, 2012 – Larry Young writes from Bleeding Cool; Here’s a simple list of things to include or to be aware of when you send me (in my capacity as …

Make a great comic book pitch – Comics for Beginners

comicsforbeginners.com/articles/creating-a-comic-book-pitch/
How to make a comic book pitch and tips for working with an artist on your book proposal.

Robert Kirkman Shares Comic Book Pitch Advice | GalleyCat – Adweek

www.adweek.com/galleycat/robert-kirkman-shares-comic-book-pitch…/51510
Apr 23, 2012 – The Image Comics submission guidelines (which I’m most familiar with, so I’ll use them as an example) says to do five pages of your comic and …

pitch your comic book script – Sevara

sevarawillrise.com/sevara/how-to-pitch-your-comic-book-script-a-guide-for-writers/
Are you a writer or creative team? Got a kick-ass script? Learn how to pitch your comic book. Here’s how made my pitch, and here’s my story.

The Art of Pitching Without Pitching – CBR

www.cbr.com/the-art-of-pitching-without-pitching/
Oct 27, 2010 – Jason Aaron gives aspiring comic writers tips on the art of the pitch with the … If you can’t hook them with your idea in one page, then your idea …

Pitching Comic Books 101 | Copic – Imagination International Inc.

https://imaginationinternationalinc.com/copic/inspire/pitching-comic-books-101/
Sep 29, 2015 – Do you want to learn how to create a successful comic book pitch? … a one to two sentence log line that summarizes the premise of your comic.

Comic Revolt With David Gillette: Pitching Your Comic – Comic Booked

https://www.comicbooked.com/comic-revolt-with-david-gillette-pitching-your-comic/

Oct 25, 2012 – Comic Revolt offers up tips and examples on successfully pitching your comic book to editors.

Comic Book Pitch Samples on Google

18th Apr2016

Ms. Ashley Robbins INTERVIEW

by ArtistBaker

0000000000 ashley ICC was very fortunate in that we had a chance to finally interview the Immortal Ashley Robbins this past weekend at Space Coast Nerd Fest, She is a very popular cosplayer in the scene who is doing fantastic cosplay throughout the community!
Ashley has tons of fans and they keep growing everyday! You can count on her to be a part of a community presence of cosplayers who are rocking it and bringing joy to the scene and we are always happy to chat with her!
Ashley supports the Indy community at various events and does so with a smile. You can see her everywhere from the comicbook shops to local events and forums to major events like Megacon!
To Ashley and all her friends ICC Salutes you, you continue to inspire us, keep up the great work !

12th May2015

ICC Convention Update

by PamHarrison

51Hampton1ICCON UPDATE, ICC CONVENTION WILL NOW BE HELD at THE HAMPTON INN AND SUITES ORLANDO GATEWAY/ORLANDO AIRPORT

5460 GATEWAY VILLAGE CIRCLE ORLANDO, FL 32812 Ph +1-407-857-2830
(This hotel is right across the street from our original hotel The Hyatt)
The link to make your reservations is here. You may make your room reservations at the Hampton Inn & Suites Orlando Gateway/Orlando Airport starting MAY 13TH.
Hampton2Please provide this information when booking your room: ICC CONVENTION-Baker Comics, JUL 25TH, 2015 HOTEL Phone number is +1-407-857-2830.
There are a total of 8 remaining rooms left at the discounted group rate, and you have until JUL 3RD to make your reservation OR until the rooms are all booked and Vendor Booths are only $50, and the contract will be emailed to those individuals who wish to vend, as of January 29th we have 15 booths left.
Convention will feature speakers Dr. Lovell, and Mr. Turner, both published authors and motivational speakers, Special guest Film Maker Mr. Alex Fernandez and the cast of Body Jumpers, and radio Talk show host Dr. Veronica Walters AND MORE!
Costume Contest, Entertainment, Seminars and vendors will be making the ICC Convention a spectacular event !!!
Thank you, Terance Baker, contact # 352 260 5779. Don’t forget to drop by our Events Page on Facebook and let us know you’re coming!
ICC's very first Convention, it's official! JUL 25TH in Orlando, FL !

ICC’s very first Convention, it’s official! JUL 25TH in Orlando, FL !

29th Jan2015

Evil 101-11

by Doctor Disturbious

the-cheese-bomb-320x384The paradox of choice, or how to blaze a new path.

        !!! It is I, Doctor Disturbious, and todays lesson comes from deep in a hidden Tibetan monastery. Yes, saggy bags of crusty vomit, today’s lesson delves deeply down into the realm of choice to serve up perhaps the biggest answer of all. Why we keep doing what we do. It isn’t easy to be a villain these days. Back in the old days all you had a much larger support base for your mad science and evil deeds. Let’s face it- the government wanted you to succeed, the opposing government wanted you to succeed, the whole Third Reich wanted you to succeed. It was a magical time when being a villain was something you got around to, after you made a decent name for yourself as sporting an intellectual boner with a large grant from a secret government agency, or some corporation that was actually a secret government agency, or even a corporation secretly pretending to be a government agency. In fact the very first mind control devices were actually launched by my grand uncle while he was working for the Federal Reserve. They were discarded as irrelevant after invention of the “low interest” loan. That’s a good rule for you kiddies, never rest on your laurels. There’s always someone out there thinking up something more evil than you.

That was the way of it back then; invent a new form of polymer for the government, turn evil, then unleash a people eating blob on a nearby town. Invent a new form of artificial intelligence, turn evil, and send a towering 50 foot metal menace into town. Test a new drug for treating brain decay, turn evil, and send huge crowds of zombies on a rampage into town. Sometimes you didn’t even need to turn evil. Create a new radioactive isotope for power plants; send a radioactive wave of giant locusts head into town. Let’s face it. The only thing harder than being evil today, was living in a town back then. Then there was always some stupid farmer with a pitchfork that would always go out to the barn to figure out what the hell was being so damn loud out there, get bitten, killed stabbed, brutalized, and end up causing whatever it was to develop a taste for farmer flesh. Yes. Yes. Glorious days, children. Glorious days indeed.

And all that turning (cough cough) evil? What did you think that governments weren’t in on it? You think the same guys funding all this crap wouldn’t have pitched one against the other if they hadn’t known precisely what was going on?? We do not live in a world of chaos, little people. We live in a world of order. A little history for you. The word “terrorism” actually comes to us from the French, who brought us such wonderfully dangerous things as guillotines, six hundred and ninety two types of cheese, as well as the French kiss. The word was used to describe the state sponsored policies of cruel and unusual punishment inflicted on the French people that VARY RARELY involved six hundred and ninety two types of cheeses; AND EVEN LESS RARELY involved French kissing.

So come on, who’s fooling who? So let’s get to the real reason why we are sitting in contemplative silence freezing the bits rats will later nibble off. It’s come down to the ultimate test of strength. Free will. In today’s society we have a great many choices. Some could say too many choices. We have choices for food. Did you want pizza, or not so pizza, or burgers, or burgers that taste like pizza, or even burgers that taste like the frozen surface of Europa rewarmed by a cow turd from a cow that ate pizza? Do you want to get married, not marry, cohabitate, cohabitate from a distance, marry yourself, marry others who look like you, marry a jerk, marry several jerks, marry an animal, or marry someone who looks like an animal? Do you want to buy a car, a truck, a hybrid, a hybrid car/truck, a horse and wagon, a suburban, a late model suburban, a van, a mini-van, a micro van, a plane a small plane a helicopter, a fixed wing by-plane, a jet; or a rocket ship so you can fly to another planet where you’ll have EVEN MORE CHOICES!! Do you want to be eaten raw, boiled, fried, poached, cremated, or meet an alien princess/ prince/ commoner who will marry you or not marry you, and have your kids boiled, fried, poached or eaten raw?

The summary is you have a lot of choices to make. Society has made a world bulging with choices like a badly made barbarian loincloth. So the biggest question for you, as future crafters of evil…

“What is it you really want? “

You are born into an era, where everyone has mad skills they can access if they are willing to invest the time. A world where learning doesn’t have to end at pre-school; a world where you can fight and bleed and rise through history. Maybe it’s your history, but never the less you can run out and grab it. You see heroes today are there to support the system. They can lie and deny, but their job only exists because the chaos isn’t running wild in the streets. In order for heroes to work, people must first be taught that evil is bad. If every day was riddled with car chases and explosions, would car chases and explosions ever get the attention of a hero? No. Because they have been conditioned from birth or creation, or even manifestation, that they make what is wrong into something right. Even antiheroes need some law or else they’d never know what to break. Your can’t exactly be a gun totting vigilante in a town full of gun toting vigilantes, or they would quickly become gun toting townsfolk, because everyone would be equal and arbitrarily handing out justice would be so common that no one would even think twice about it.

Thus we need the freaks, the outsiders, and the people who question the perceived order. They are the fish out of water, the ones with the dream of a perfect world, even a world of perfect mayhem. They may be the people with a knife against your throat in a dark alley, but that doesn’t mean you have to put up with it either. You too can cast of the shackles of what is expected of you and return the favor, instead of being a sheep and following the flock.

Or you could follow the flock. After all, that’s a choice. As a whole we have more options today than we have ever had before, but we have fewer supporters. You can’t rely on a secret government institution to endow your miserable anus with enough money to create a super being to obey your command and go off into town to wreak mayhem and destruction. You can’t rely on a private industry to help you realize your dream of creating a seventy five foot python to cruise through the sewers and spring up through toilets to the horror of parents, and the excitement of children.

But what you can do is make things happen by yourself. Because while today’s society may have a lot of choices, and most of them are insanely stupid, there is more opportunity than ever to create your own name at the expense of those big people who offer so few choices. Remember the tallest trees block the most light, but are worth more to lumberjacks.

 

This is Doctor Disturbious telling you to love the skin you’re in. even if it isn’t your own. Evil out!!

Doctor Disturbious is the mad alter ego of Jim Dyar who when not plotting revenge, and aspiring to sleep, he can be seen blowing crap up on his website

www.grin-n-spirit.com

Come by and celebrate a decade of being plot free.

 

22nd Jan2015

Evil 101-10

by Doctor Disturbious

imagesKOL0Y0AP

How to make people want what you got.

 

GOOD MORNING, you malingering pukes! It is I, Doctor Disturbious, and I have come forth today with yet another winning strategy to get your name remembered with fear and trepidation! Or at least mild fear and some trepidation, if you sorry sacks are willing to put in the effort!

Now it’s not unreasonable in today’s day and age that you can build a reputation for yourself on social media, by knocking over trashcans or jumping out naked in front of bread trucks. And that’s fine, I suppose, for a generation that is sadly represented by stretch-banded T and A, implants, stupid people with stretch-band implants in their T and A, airheads, and other losers who happen to have been molded by a corporate marketing machine into some kind of prefab plasticine crotch-monster. And then it seems like every damnable song that pours out of those poor defenseless speakers is talking about getting on the floor. On the floor. On the floor. Get on the floor. On the dance floor on the floor on the floor on the floor on the floor on the floor. When a real villain has to only to speak once GET ON THE DAMN FLOOR AND STAY THERE YOU MOBILE VIALS OF URIC ACID, OR I”LL BLOW YOU #$%ING BRAINS OUT THEN PRETEND THEY WERE VALUABLE!!

There see? I only needed to say it once and the point came across.

So! The first thing we need to do is to define our unique platform. Well, let’s break it down shall we? So what do you do? Yes you. Stop cringing when I talk to you. Never mind. Keep cringing and just answer. You maim animals. Typical. I am molding the future minds of those who will rise up and challenge gods in battle and we get MOLD! Yes I know. “Yes, Dr. D we all have to start somewhere.” Try starting somewhere competent. You know. For a change? Maybe? Yes?

Stop sniveling. Your platform should be awe inspiring, powerful and at the very least stand a chance of getting caught. What kind of sicko attacks without the thrill of being hunted? We are molding villain’s here, not juvenile delinquents. Low standards everywhere. Makes me so sad I COULD JUST FIRE OFF A HAIL OF BULLETS!!

Alright, that done, a unique platform is what you have that others don’t. Anyone can hold up a sign that says “will work for food” and that’s a platform. It’s a start. You certainly are capable of work. You certainly want food. But let’s say you want better food, because better food is better for you. You can hold up a sign that says, “will work for healthy eating choices.” This platform is a little long, and people might be confused by it. Possibly offering you jobs for pamphlets about dietary lifestyles, which CAN be eaten if nothing else presents itself, since most of them are printed on the same material you find in Hot Pockets.™ So perhaps some kind of skill should be expected so that people know you are serious about working and you have standards. So let’s find us a skill. Roofing? That IS a skill. So let’s present it on our platform “Will do roofing, for healthy meals.”

This may sound like it’s a failure, but hear me out. You may narrow down the list of people willing to help you, but you’ve also weeded out the ones that will suck up your time on your way to getting a healthy meal. This is what we call a win-win. Here’s my current platform and you’ll see “Will bring Captain Bullet to his knees for five million dollars!” So far I’ve got eight takers. Now we’re getting into real money. This is because I’ve spent years developing a skill set that allows me to not only hang that shingle, but not get laughed at for hanging it.

Now that you have a better concept of where to take your skillset and how best to present them, define your target market. You see back when we had “will work for food” our target market was anyone who A) had food and B) needed work done. This was a broad spectrum, but also lowered our rates. This was also marketed better to everyone. As opposed to “will cook meth for cash” which WILL net you more money, but also limit your market. That cuts down on who you can market to. Narks, suburbanites, lawyers, novelists, people with brain cells; these are NOT your target market. This only leaves masochists, addicts, televangelists, hookers, and politicians. That cuts down your marketing base. So you might want to market to those left over that are in power and have the finances to support you product. So hookers are definitely the way to go. What? You thought I’d say politicians? Well to be honest they DO have more money, so do televangelists. But where do you think their money goes? That’s right! Hookers! Hookers are the universal common denominator of men in power with money. They also don’t get replaced every four years or spend time weeping about how they’ve sunk into sin. This makes them a reasonably consistent marketing base.

Now you need to summarize the benefits of your services. For that let’s choose a different platform. “Will deal arms for unmarked cash!” always a reasonable idea. My neighborhood arms dealer certainly gets a fair chunk of my disposable cash every time I plan a new campaign, plus I LOVE the product demonstrations. He always has a fresh baked tray of cookies at the demo sites because it just brings back memories of home invasions I used to pull off. Now that, children, is RESEARCH. Live and learn. What are the benefits of weapons? Well there’s security, safety, vengeance… ooo that’s always a good one. Coolness factor is a big one as far as benefits. So already you have a reasonable amount of people who feel very unsafe and very un-cool, and they want a gun. That and you save money in marketing by only offering services through word of mouth.

That only leaves positioning your products and services. Right now my products are an Amnesia Beam aimed at the Spire City Superior Court Building. My service is that I’m going to stop Captain Bullet from testifying about the large local government graft program that seems to be going unchecked in the area. You see, kiddies, that’s why I file politicians as an unstable source of cash. You see they may get out of the courts scott-free, but the constituents are riled up and it’s only going to be a matter of time before they start a pitchfork and torch party. So remember, when you sell your services- get a contract. Because the way my contract is written s that I take Captain Bullet out of the ring for testifying… nobody told me to go and eliminate the evidence.

So your work study for the week is

  1. Describe your unique platform i.e. what you can offer for skills.
  2. Define your target market. Who do you want to sell to.
  3. Write down the benefits of your products or services, because you might have a unique skill set, but it helps no one if they aren’t bright enough to know how to apply it.
  4. Describe how you will position your products or services. It does no one any good to say, have a neutron beam and use it on a city full of self-repairing robots.
  5. Define your methods, refine your style, and find the best way for the news about your villainy to spread.
  6. Your threats mean nothing if you can’t back it up. So make sure you’ve got the skillset for the job you intend to do.
  7. Always get a contract. That keeps the suckers from adding to your workload.

Oh and, don’t forget to market to hookers.

 

This is Doctor Disturbious telling you to love the skin you’re in. even if it isn’t your own. Evil out!!

Doctor Disturbious is the mad alter ego of Jim Dyar who when not plotting revenge, and aspiring to sleep, he can be seen blowing crap up on his website

www.grin-n-spirit.com

Come by and celebrate a decade of being plot free.

 

 

 

 

 

14th Jan2015

Evil 101-9

by Doctor Disturbious

jaguma3

Evil Costumes- make tacky an art form!

 

Once more into the breach you sorry sacks of psoriasis! Today, I, Doctor Disturbious have taken time out his extremely busy schedule TO DEAL WITH THE LIKES OF YOU…!! No. wait. I’m sorry. Got my cue cards mixed up here. Just a sec… hmm? Why are we on the god’s forsaken planet in the middle of nowhere where heroes and villains are duking it out for the twisted amusement of some sort of cosmic deity from the birth of the universe? To be honest it’s one of those Continuum Crisis Pan-Cosmic Spectacular things that involve everyone working together to put down a major crisis to existence in general. Yeah I missed the last one a couple years back. Personally I see them as a big class reunion where heroes get to replace a sidekick or two and regenerate some angst. The reason there’s a lull in the fighting right now where the bad guy just hit 9000 and sent them all scattered to the winds, and I’m never one to pass up a free moment to do something else so here we are!

Today’s lesson is about costumes. Right, I get it. You newbies are FAAARRRRR too cool for costumes, right? Well take it from me… and it’s the few times I’ll give you anything. Costumes are EXTREMELY important to the establishment of a reputation. It also allows you to trademark your look, so people won’t get your evil deeds confused with other people’s evil deeds. If your Theme is the marmot and another marmot man shows up. You must kill them. Same goes for people wearing their countries flags. You can’t have a bunch of people running around like that. They’ll start forming teams next, and then where will we be?? Costumes are used to strike terror, sometimes it’s to be functional. Most of the time it’s a big security blanket, so plan well and bring horror to those who steal it.

The superhero costume is usually a thing made of spandex, possibly some kind of Teflon or Mylar based product, because it’s designed to go on easy and yet bulge in places where they only WISH they had some muscle. It’s usually sculpted to purport the heroic mythos, and in that way, everyone who sees it knows you’re the hero. Good in theory, lousy in reality. One of my best examples of this is the infamous “replace the hero” shtick. You know the one! Where the hero gets abducted and locked in a vault with his weakness. (One time I locked the Venetian Veteran in a room full of hot fan girls who all wanted his autograph. Sometimes he still shows up “ herm herm” demanding it…) Then while he’s under wraps you send a clone, or robot, or someone stupid, or all three out into the world doing horrible things while wearing an identical costume. The gig works because PEOPLE ARE STUPID. I’m serious. The replacement doesn’t even need to look like the hero at all. The doppelganger could have three testicles HANGING OFF HIS FACE!! And yet they see the bold chest symbol or the heroic costume and never ever look at who’s really wearing it!! Yet the people have this BIG FEELING OF BETRAYAL. And the super hero has to be seen more at charities and go through the “aw shucks I’m sorry you’re stupid and thought it was me” phase. Yet heroes sign up for this crap, and so in a way so do we.

You see, the reality is about hero costumes are that it’s all about marketing. Villains rarely have that option. Most usually or powers and skills have given us a need for a costume that hides our faces or, prevents proton decay, or sunlight from hitting us. You see the number of scar riddled super villains have long since outstripped the scar riddled superheroes. You wouldn’t think so, since all superheroes like to do is mope around and angst themselves when not saving the world, you’d think being ugly would only help their moodiness.

Villains do however have it easier than our heroic counterparts. We don’t always have to dress for success but when we do we usually rock it. We can pretty much choose anything and look evil in it… including nudity. One of the villain’s I used to team up with was named The Sheath; about eight feet tall of black nearly naked muscle with a little black and red luchadores’ mask and a spandex loin cloth. His job was to be the casing for a super powered evil sword that ran down his back under his skin. Talk about posture. This guy had it all! Unfortunately he also was so evil ridged he had a hard time moving around to wipe after a trip to the bathroom. But man was he unbelievably cool!

Sometimes the power dictates the costume. Like The Spinner; able to turn her body at speeds of 12,000 to 120,000 rpm. She wears tight spandex with a friction free gloss because anything else just burns up on reentry. I dated her briefly back at old Evil U when I was getting my fellowship. You see she had this thing she’d do with her legs…anyway good thing I minored in oil wrestling. Moving on…

Another case of evil costuming being more necessity than choice was from Scatter Blast. The particle menace had a habit of blowing all his clothing into particles when he would teleport from place to place. Naturally the recombination process left a lot to be desired- such as having denim nipples. So he needed a full body costume that could be disassembled last when he left, but also assembled first when he landed, because having stray amounts of o2 promptly popping up in your cell structure left a lot to be desired. The best way for this was a thick radioactive suit that he painted black and purple. No accounting for taste I suppose. That’s unfortunately a hazard in this business. Well slightly less of a hazard that the “righteous pummeling” that the hero gives out as their way of thanking you for giving their life meaning, I suppose.

And so I see Agent Baker has sent up a flare, so I guess we’re off to put our prowess to the task of ripping “Mr. Cosmic Discord” a new black hole for his efforts. So while he waits not so patiently for me to show up and, I DON’T KNOW, ACTUALLY GIVE THE HEROES A PLAN!! Let’s review shall we?

The heroic costume is a large part of the heroic mythos- This is crucial once you realize that in ancient civilizations peasants weren’t allowed to look up at the faces of people who rode horses. Thus the horse became a symbol for nobility. This too is a major reason for the costume, so people recognize the costume and not question the actions. My how far we’ve come, yes?

The villain’s costume- must look dark and disturbing. Not necessarily, but it does help. Remember, it’s all about branding. More on that next class, kiddies!

Both heroes and villains should have a theme- This is important, because without a theme you fail to inspire worship/fear from the population. You also are letting everyone down… well not me. I couldn’t give a rat’s anus, but everyone else who has done battle down through the years representing the sleek and dangerous cobra, or the small but mighty mongoose, or the painfully spineless jellyfish. All these people who are praying to whatever deity they worship that no one asks them if they couldn’t have a better use for their free time…

Oh dear. It seems our cosmic bad guy might want to make peace here. No, we can’t be having that. There’s NO CALL for this to end peacefully! I need to get over there right away and upset the negotiations. Until next time, you pox on your parents and society!!

This is Doctor Disturbious telling you to love the skin you’re in. even if it isn’t your own. Evil out!!

Doctor Disturbious is the mad alter ego of Jim Dyar who when not plotting revenge, and aspiring to sleep, he can be seen blowing crap up on his website

www.grin-n-spirit.com

Come by and celebrate a decade of being plot free.

 

 

 

 

24th Dec2014

Evil 101-7

by Doctor Disturbious

swamp

Five huge obstacles to your evil success story

 

Doctor Disturbious here! Welcome once again to another packed and exciting bathroom break on your way to absolute evil. Follow me quickly now, and try not to step on any of the frogs in this mildly poisonous swamp. Any one of them could have been someone like you. This cursed blistered wreck of land belongs to the venomous Darkana Traplight. Indeed if you were able to see magic spells like I do with my patented Ever-view Googles™, you’d be able to the air around us is actually pulsing with freakish energy straining at the boundaries of reality. ATTEMPTING TO PENITRATE THAT VAST DEPRESSING FIRMAMENT OF LAWS WE CALL EXISTANCE! Much the same as I’m on my way to grab the solid gold Staff of Souls she has in her possession. Yes I know she’s a villainess, but don’t assume she and I are on the same side. Sometimes when playing the great game, we encounter one person who breaks the rules so completely that the breach is quite unforgivable. In her case? Continuing to assume she’s riding high on the same level of evil as me. AND THAT SIMPLY WONT DO!! That and she turned me in to the authorities. Now I could mumble all night about back stabbing and undermining, but that just doesn’t cut it. I’m simply annoyed she beat me to it, and this is nothing more than a reminder that crossing me is only slightly less dangerous than crossing a street full of old blind people driving El Dorados.

Yes. Yes. I suppose I could have sent her a bomb, but to what extent? An act of retaliation should ALWAYS be a personal event. Otherwise it cheapens the whole revenge process and becomes work, work, work, and more work. If I teach you nothing by the end of this, I WILL TEACH YOU CRAFTMANSHIP AND PRIDE!!

Whoops! Did you see that flash of light? I’ll wager on one of our slimy and detestable group has been turned slimier and more detesting. No worries, they’ll be alright soon. Rub some lemon on it! No. It won’t break the spell, but at least your fellow wiggling worm will smell less like they’ve been rutting on a used orange in the bowels of hell.

Today’s lesson of questionable ethics involves roadblocks, much like this one. There are many obstacles, much like this putrid swamp. Some small, like these pathetic little amphibians hopping frantically trying to cross the mean streets of life. Some large, like those fishy looking swamp men straggling through just on the outskirts of the light. Even some smelling like a bowel blockage under the same pressure you’d find in the heart of stars. Waiting to rear its odiferous head from the great colon we call life. All these things block our path to our goal.

  1. Time. Taking the time to be evil. Yes there is never enough time to be evil in a day. Every evil second adds unwaveringly towards an evil minute, and each evil minute unerringly finds its way into an evil hour. However there’s not always enough time to savor the inevitable entropy of this Stygian abyss AND get work done. My recommendation is to spend at least half an hour a day plotting evil. Get good at it. Get VERY good at it. In as little as a half an hour you can train the mind to do incredible evil. And it certainly gets those creative juices flowing.
  2. Blocking. Sadly it’s true. Everyone gets evil block eventually. Even the foul abomination that is myself, has moments of self-doubt. Sometimes petty jealousy manages to stop my progress. This sucks off an amazing amount of creativity and leads to procrastination and even just general uninspired-ism. If not controlled it causes you to move onto less fruitful pastures where you go into a normal life because your expectation of success goes so low. If used properly this block can actually be your best friend. Yes jealousy can be interpreted as an augmentation for your drive and motivation. It’s fuel or fester in this epic slice of lunacy we call life. Let yourself realize that while someone else may have beat you, it’s whoever is left holding the stick and able to stand at the end that actually wins.
  3. The opposite end of this spectrum block is a biggie too. Being impatient is not for the faint of heart. Timing in this industry is everything. It carries a heavy price if you bring the cage down before the hero is standing on the bulls-eye. Sometimes you have an urge to set off multiple death traps for multiple heroes. This leads to slipshod thoughts and faulty craftsmanship. This is fine if you enjoy wearing blaze orange and have no problem showering with other guys. For the rest of us. There’s intense focus and a drive to streamline. This gives you the time to add those extra special touches. Like competence, and double checking. And of course CAUTIOUS OPTIMISM!!
  4. Not succeeding. Expect this. No one likes rejection, not even heroes. When they get rejection though, what can they do? They are bound by the invented whim they call ethics to attempt to lay still and take it. As a villain though you’re expected to get back up and do battle again. This also works out in your favor, because by not being bound to the laws, or even particularly nice. Rejection is an excuse to sharpen you prowess and return to the drawing board for an even bigger splash. And then. With a success or two under your belt, it’s time to get down to brass knuckles with those who rejected you in the first place. I remember my first rejection. Barely. Those who did it will never forget. And that’s the important part.
  5. Working the right people! THIS IS IMPORTANT! If you hold a city or a person hostage MAKE CERTAIN THEY CAN PAY OUT!! Holding Podunk Village (population squat) hostage with a atomic bomb would be easy, and successful. You thought small. You came, you squinted at it to make certain it was real, and then you conquered. AND FOR WHAT?? Ten trucks full of turnips and a pack of chewing tobacco?? The cost of eighty five hours scraping the glowing material off 2824 analog clocks just to get something that might react if you hit it with a fission grenade verses going on an all turnip diet and getting addicted to mouth cancer? GOOD ONE!!

And so to sum up while I extract this forty eight pound gold staff from her tent. There are five huge blocks to success. Each one has a counterpoint if you know where to look. Take time for evil every day or your creativity suffers. Jealousy is only good if it motivates you to vacate your buttocks and go for the real gusto. Focus your time and energy on what you really want. Do not scattershot time and resources. Use rejection, own that b*tch and make it your own. Use it for fuel for your way to the top. And find the right market and the right people, or else it doesn’t matter how good you are, it will most always be wasted.

What’s that? You say four foot three of angry enchantress is standing behind me in this tent? Well sometimes that happens. Sometimes you go for the gold only to have your paw slapped like some leg humping spaniel with lofty ideas above their station. Sometimes you are stuck holding the bag, and it’s full of rabid buttock stripping weasels.

And sometimes, like tonight, you even remember to bring a tele-porter…

 

This is Doctor Disturbious telling you to love the skin you’re in. even if it isn’t your own. Evil out!!

Doctor Disturbious is the mad alter ego of Jim Dyar who when not plotting revenge, and aspiring to sleep, he can be seen blowing crap up on his website

www.grin-n-spirit.com

Come by and celebrate a decade of being plot free.

 

 

 

 

01st Dec2014

iHero_Sourcebook#1

by Frank Soto
iHERO_Special Edition

iHERO SOURCEBOOK#1

***I will be adding/updating this post in the coming days/weeks…!

 

1- Original Post on ICC FBpage (Nov18):

Hey fellow ICC/ICU-ers,
I was thinking earlier today of how many characters have been showcased, introduced and even created for ICU’s original comic series ‘I Hero’ in the last 2 years and pitched the idea to Artist Baker, our supreme ruler, of having these great characters either being intro’d in pin-up form or better yet, in an exclusive ICU I Hero companion book…Each artist that has intro‘d their particular creation/s could do a special pinup for this…It’s just an idea and how it would be put together (format, colors, etc.,) is up to the group…Of course Artist, Winston, Pam & the powers that be have to have major input into this…What’s the group think?…It was just an idea I had and I even added this ‘mock’ cover for inspiration…What say u? See More

 

2- Repost on ICC FBpage (Nov26):

Hey Fellow ICC/ICUer’s,
My apologies for the long wait on my follow thru for this project. OK, so here is what Artist Baker, Winston Jordan and Pam Harrison suggested needs to be done:
1- Each past IHERO artist contributing will need to send their high rez ‘completed’ piece/art pinup to ICU’s email address which is: independentcreatorsconnection@gmail.com
*NOTE: Let me stress (STRESS) that they must be emailed to this address!!!
**NOTE2: Artist Baker would like/has stressed in earlier posts (today & in the past) that each artists perspective IHERO original character really needs to be included in the reference files created for I HERO here on our Facebook page. That being said, please post your completed piece in their perspective (IHERO 1 or 2) reference folder/album.
2- The piece must include: logo/name of character & bio (doesn’t need to include physical stats, just who they are). I think 5-10 sentences should do.
3- The piece should be colored (leave that up to you).
4- The piece should have some type of background. Doesn’t have to be a full background but show a lil’ something there, OK?
5- I will be attaching a table of contents layout page for the book of all the characters (featured in the IHERO series), page #’s and known past contributing artists/creators to date, that have appeared in both ‘IHERO #’s 1 & 2′.
6- Now, I know some of the artists’ (older and newer members alike) here who hadn’t contributed to IHERO have expressed desire to do so now. I noted in my original post that I would like for the original artists to contribute to their particular creations initially (it’s only fair, agreed?) but I also suggested that if the original artists’ agreed, maybe artistic, writing, coloring, lettering collaborations could work. This is not to say that we wont have room for other IHERO artwork but let’s do this step by step…***Also NOTE: To all artists/creators that took part in both IHERO books: IF you cannot contribute to this SOURCEBOOK for any reason, please PM me so that I can designate an artist in your place…
So whattaya think? Good idea? I will update on this thread or repost follow ups accordingly so everyone can be updated. Any questions can be directed to me, preferably via PM here. Please let me know if there is any confusion about anything I’ve written here. And once again, I can use any help, advice, critique and suggestions from anyone to help make this another great ICC Creation…Caio Amigos!
See More

— with Robert January, Phillip Steele, Don Edwards, Anthony APtherealone Peterson, Gabriel Smith, Raymond Sanders, Eric Leggs Sr., Tim Improving Harris, James Bethel, Omecca Comics, Artist Baker and Chester TryingTo Livemylife.

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