Teen Titans Web Comic

Sundavr Baen wrote:I'm willing to attempt to help, but I have absoulutely no experience and not as much talent as I'd like on the subject, and few materials to work with.... x.o; I don't help much, do I...

Ur will to contribute is help enough. what is it that u can do?

germany411 wrote:and just thinking out loud here. Would we do something like 2 comics a month? And how many pages is one comic? I know I am getting a little ahead of myself here but why not knock out some of the basics now?

These things take a lot of time and effort to produce. So probably a few pages per month, with occasional spurts here and there.

What kind of comic? like fan comic?

thewizardofodd12 wrote:What kind of comic? like fan comic?

yeah something like that. our own web comic basically.

thecrazykid3649 wrote:

thewizardofodd12 wrote:What kind of comic? like fan comic?

yeah something like that. our own web comic basically.

yea!!! this idea is awesome

germany411 wrote:

thecrazykid3649 wrote:

thewizardofodd12 wrote:What kind of comic? like fan comic?

yeah something like that. our own web comic basically.

yea!!! this idea is awesome

Thank you. I also wanna be a writter for it!

Naked Snake wrote:

germany411 wrote:and just thinking out loud here. Would we do something like 2 comics a month? And how many pages is one comic? I know I am getting a little ahead of myself here but why not knock out some of the basics now?

These things take a lot of time and effort to produce. So probably a few pages per month, with occasional spurts here and there.

i agree that's why i was like maybe 2 comics with 5 pages in them a month or something.

any thing you need help with i can help

TheDeceiverGod wrote:

Why don't we just put you down a a line artist for now, what with you being the only artist who's shown interest thus far... <.< >.> Hello? anyone with a pencil out there? *crickets*

Anyway first come first serve and all, so you get to be first to be served with a job. As of this moment the assignments are.

Writers
TheCrazyKid-General Concept
Raevien

Artists
Raevien-Line art

All in favor? All apposed?

the general concept would be the main plot right? if so i have an idea for it.

I can both draw and Script, so i'm willing to help out =]

so far its like this i guess:


Writers
Thecrazykid3649-General concept
Thewizardofodd12-no position assigned
Shadow(sundavr baen)-no position assigned
Raevien-no position assigned
Redeagle-no position assigned
Ravenfan-no position assigned

Artists
Redeagle-no position assigned
Ravenfan-no position assigned
Raevien-Line art
Shadow-no position assigned

Dakari-King Mykan wrote:http://www.fanfiction.net/s/3594445/1/Musical_Some_things_Never_Change

That's one of my TT fics up there but I think if we all work on it, we can maybe turn IT into our comic.

It's got everythign anyone wants... Action, Romance, heartbreak, susspense, it even shows BB as a new hero.

Check it out and maybe we'll for it, you HAVE to read it so we can decide (If it gets choses) what's in an whats out

The songs are OUT

i think we should get a certain number of ideas from some of the writers and then vote for which one to be the central plot of the comic.

Dakari-King Mykan wrote:http://www.fanfiction.net/s/3594445/1/Musical_Some_things_Never_Change

That's one of my TT fics up there but I think if we all work on it, we can maybe turn IT into our comic.

It's got everythign anyone wants... Action, Romance, heartbreak, susspense, it even shows BB as a new hero.

Check it out and maybe we'll vote for it, you HAVE to read it so we can decide (If it gets choses) what's in an whats out

The songs are OUT

This being Deceiver God's baby (edit: "baby" "child" you understand my error, right?), I wouldn't be surprised if he already has a concept for a potential story.

And given his earlier remarks, I think he's happy with Terra where she is. Obviously, I can't speak for him though.

This isn't strictly to you, Mykan, this is to everybody who wants to potentially work on this thing: It's very likely that a lot of you are going to come into conflict regarding what you'll want to see in the comic. You may wind up having to write for a concept that you're not overly fond of, or having to include/omit certain characters--Terra, for instance.

Anybody who is going to be a part of this has to put the comic first, and their own preferences second, generally speaking.

Naked Snake wrote:
This being Deceiver Child's baby, I wouldn't be surprised if he already has a concept for a potential story.

And given his earlier remarks, I think he's happy with Terra where she is. Obviously, I can't speak for him though.

This isn't strictly to you, Mykan, this is to everybody who wants to potentially work on this thing: It's very likely that a lot of you are going to come into conflict regarding what you'll want to see in the comic. You may wind up having to write for a concept that you're not overly fond of, or having to include/omit certain characters--Terra, for instance.

Anybody who is going to be a part of this has to put the comic first, and their own preferences second, generally speaking.

And this is exactly why I want you to be the one in charge Snake. *smirk* But truth of the matter is that I don't have any ideas for potential stories.

I do think however that we should probably start out with something simple, and nice little meet and greet between who our players are and maybe a little something to set the stage.

Now am I to gather that this is accurate?

Writers
Thecrazykid3649-General concept
Thewizardofodd12-no position assigned
Shadow(sundavr baen)-no position assigned
Raevien-no position assigned
Redeagle-no position assigned
Ravenfan-no position assigned

Artists
Redeagle-no position assigned
Ravenfan-no position assigned
Raevien-Line art
Shadow-no position assigned

If so I'll call out to those under the Artist tab to claim their best asset. And to Ravenfan I must admit some admiration for those drawings in your signature. I might wonder if perhaps assigning Raevien fan line art might have not been a might hasty. Perhaps something more along the lines of.

Artists
Raevien-Lead Artists
Ravenfan-Line Art
Shadow-Unassigned
Redeagle-Unassigned.

I'd like it also if one of our communal producers, someone who will have a hand in both the witting and the art would take a look at http://www.dafont.com/ For sound effects and other such things to stay consistent, I think it would be a good idea for someone involved in the witting to have an idea of what the words will look like when transposed into the comic.

All in favor? All apposed?

I wouldn't mind being involved in a supporting role, though working directly on the comic seems a bit beyond me at the moment. "Slave driver" might be an appropriate title. :D

Perhaps y'all should start brain storming.

Naked Snake wrote:I wouldn't mind being involved in a supporting role, though working directly on the comic seems a bit beyond me at the moment. "Slave driver" might be an appropriate title. :D

Perhaps y'all should start brain storming.

How would you feel about Product Lead a sort of role where things need to be checked off with you before they go into production, that way we'll have a steady lead insuring none of our plots get too frivolous or our pages superfluous.

TheDeceiverGod wrote:

Naked Snake wrote:I wouldn't mind being involved in a supporting role, though working directly on the comic seems a bit beyond me at the moment. "Slave driver" might be an appropriate title. :D

Perhaps y'all should start brain storming.

How would you feel about Product Lead a sort of role where things need to be checked off with you before they go into production, that way we'll have a steady lead insuring none of our plots get too frivolous or our pages superfluous.

I was actually joking about having a title. Truthfully, I'd rather keep it unofficial. I'll work to keep things on task, contribute some ideas now and again, and be a wet blanket when needed, but in a strictly freelance capacity.

Hmph, very well, I'll get you one of these days Snake.

Anyway on to procedure, I do have some ideas for that. As for the script we currently have six writers, the system I had theorized required a minimum of three, so while the more the marrier, it'll be a learning experience for us all to find out how many it takes to spoil the broth.

Here's what I had going in my brain.


Crazy comes up with the general ideas, he's particularly good at that, it's approved by A, I had hoped Snake would take up this role in that his talents as a wet blanket would seem perfect to tone down Crazy's, well, crazy, but we'll have to make due without him.

Once approved the idea is handed off to B and/or C these two/one would be responsible for the fleshing out of the story. It would be a good idea probably to have two here working in tandem though that wasn't my original idea, I'm a fan of checks and balances and having two people at this juncture would keep the story from becoming too much one person's idea. But I digress, B & C would flesh out the story, it would be a good idea to have at least one of them also be involved in the art to some degree, perhaps the typesetter. These two would take the original idea and turn it into something workable, then hand it off D.

D would have one of the lighter roles in as far as the script is concerned, proof reader. Just another set of eyes to double check that everything is flowing well, and to catch those extra little errors we all make.

At this point the script should look like a script, I have no idea what that means myself, having never seen a script for a comic, but ideally it would contain something like.
Panel One: (Setting) (Time) (Weather) etc.
Characters.
Actions.
Dialog.
etc.

Worse case scenario we can assign some of the other letters to turning whatever it is we do get by the time D's done into something workable.

By this point we should have a rough idea of how many panels the first part is going to take, I would recommend we do this on a page by page basis. We'll call six panels a page for working purposes shall we? Once the writers have six panels worth done, they hand it off to the artists and start on the next. I foresee writers getting vastly ahead of the artists this way, so writing will probably end up being the one thing we don't need more of. Though on the other hand it's always a good idea to know where you're going with something. Communication will be important, it would probably be a good idea for the writers, maybe D to make up abridged versions to hand off to the artists so they know what's important to show and what can be cut.

And believe me writers things will be cut. A picture's worth a thousand words and all that, if you produce something which looks ready to be put into a comic right off the bat you're probably not trying hard enough. I'd ask you to keep in mind that most writers will not be involved in the production of the art, circumstances aside, there's no guarantee that even if you play both fields you're the one who ends up working on the part you wrote, and for that reason it would be very nice if all authored pieces were dripping with description.

As for the art portion.

We'll need to have a Lead Artist, I leaned toward Raevien for this but in truth that's just because she/he showed up first. The Lead Artist will be the person responsible for all the artistic decisions, general character style, how many panels to a page, which panels get what space, what color the panel breaks are, how the panel breaks are shaped, etc, all this and more will be at the sole discretion of the Lead Artist. I would encourage whomever takes up this goblet to be open to ideas from their fellows, and be heavily involved in, or at least very aware of, the ideas being pitched back and forth during the writing portion of this creative process, for continuity's sake, if not simply the continued good relations between artists and writers.

What I had in mind for the Artistic process wasn't too complicated. The Lead Artist makes up a page, a blank page, broken into however many panels they have decided the page they're working on needs. These blank panels will have numbers in them, and preferably be otherwise vacant. Something like if you took the comic out of a comic and just left the black boarders.

This blank page will be handed off to the Line Artist. They'll be responsible for roughing out the characters and their relationships, who's standing where, where what is in relation to them, and where text boxes will be. It would probably be a good idea to have whomever takes up the goblet of Line Artist also be involved in the ideas that were being pitched around when the authoring was happening.

The page, now possessing panel boarders and rough outlines, I'm tempted to call these gestures, but something with a bit more detail to them, you can tell whether Raven is wearing her hood up or down, but you can't count her fingers. You get the idea?

This page is handed off to the Colorist. The Colorist is the person responsible for blocking in the general colors, the blue of the sky, the yellow of Robin's cape, etc. They'll be in charge of relatively little prospectively, this job basically breaks down to fleshing out the character's outlines, and filling them in. Little artistic talent would truly be required, but it would definitely help.

Once they're done they hand the now colored page off to the Effects Manager. This is the person who will turn that white bolt into lightning, turn Raven's white outline into a soft glow, etc etc. This job load will probably very the most, inside battle scenes you're probably looking at a full day's work, outside, you're basically doing shadows and highlights, I don't think it should be too difficult but I just know what I like. Aside from otherwise unknown effects, like the powers of new characters, or new powers of old characters, the Effects Manager doesn't get to make many decisions other than which way the light is shining. Significant experience in a program like Photoshop would probably be almost a requirement, but if you can get decent looking effects that's all we'd be looking for from you.

After this the now completely artistically rendered page would be handed off the the Typesetter. This person would to little beyond putting in the text bubbles, all that would be really required here is the ability do so, while not covering up anything our design team has worked so hard on. They would have to make some decisions though, sound effect typeface, fonts, however you distinguish one character's voice from another's etc. I'm partial to the idea of a different colored text bubble for each character, if a stroke is added it could get pretty specific. Slade gets a gray bubble with an orange outline, Robin gets Red on Red, Raven gets Blue on Blue, Cyborg gets Blue on Gray, etc etc. Sound effects and dialog heavy scenes would increase your work load, but it should never get too serious.

It would probably be a good idea if each person checked in periodically with the Lead Artist just to make sure things are progressing as expected.
Other than that, and maybe someone else at the very end just to make sure everything is top quality, I figure that would be everyone. Of course we could have more than one of anything, but that would mean that whomever you're working with you'll need to be communicating with heavily, we'll need to make sure that everything matches up off course.

All in favor? All apposed?

I'm in as an artist, put me wherever needed.

Idea:

Auditions. Have all prospective writers/artists submit a portfolio of their work, and choose the best of the lot.

TheDeceiverGod wrote:Hmph, very well, I'll get you one of these days Snake.

Anyway on to procedure, I do have some ideas for that. As for the script we currently have six writers, the system I had theorized required a minimum of three, so while the more the marrier, it'll be a learning experience for us all to find out how many it takes to spoil the broth.

Here's what I had going in my brain.


Crazy comes up with the general ideas, he's particularly good at that, it's approved by A, I had hoped Snake would take up this role in that his talents as a wet blanket would seem perfect to tone down Crazy's, well, crazy, but we'll have to make due without him.

Once approved the idea is handed off to B and/or C these two/one would be responsible for the fleshing out of the story. It would be a good idea probably to have two here working in tandem though that wasn't my original idea, I'm a fan of checks and balances and having two people at this juncture would keep the story from becoming too much one person's idea. But I digress, B & C would flesh out the story, it would be a good idea to have at least one of them also be involved in the art to some degree, perhaps the typesetter. These two would take the original idea and turn it into something workable, then hand it off D.

D would have one of the lighter roles in as far as the script is concerned, proof reader. Just another set of eyes to double check that everything is flowing well, and to catch those extra little errors we all make.

At this point the script should look like a script, I have no idea what that means myself, having never seen a script for a comic, but ideally it would contain something like.
Panel One: (Setting) (Time) (Weather) etc.
Characters.
Actions.
Dialog.
etc.

Worse case scenario we can assign some of the other letters to turning whatever it is we do get by the time D's done into something workable.

By this point we should have a rough idea of how many panels the first part is going to take, I would recommend we do this on a page by page basis. We'll call six panels a page for working purposes shall we? Once the writers have six panels worth done, they hand it off to the artists and start on the next. I foresee writers getting vastly ahead of the artists this way, so writing will probably end up being the one thing we don't need more of. Though on the other hand it's always a good idea to know where you're going with something. Communication will be important, it would probably be a good idea for the writers, maybe D to make up abridged versions to hand off to the artists so they know what's important to show and what can be cut.

And believe me writers things will be cut. A picture's worth a thousand words and all that, if you produce something which looks ready to be put into a comic right off the bat you're probably not trying hard enough. I'd ask you to keep in mind that most writers will not be involved in the production of the art, circumstances aside, there's no guarantee that even if you play both fields you're the one who ends up working on the part you wrote, and for that reason it would be very nice if all authored pieces were dripping with description.

As for the art portion.

We'll need to have a Lead Artist, I leaned toward Raevien for this but in truth that's just because she/he showed up first. The Lead Artist will be the person responsible for all the artistic decisions, general character style, how many panels to a page, which panels get what space, what color the panel breaks are, how the panel breaks are shaped, etc, all this and more will be at the sole discretion of the Lead Artist. I would encourage whomever takes up this goblet to be open to ideas from their fellows, and be heavily involved in, or at least very aware of, the ideas being pitched back and forth during the writing portion of this creative process, for continuity's sake, if not simply the continued good relations between artists and writers.

What I had in mind for the Artistic process wasn't too complicated. The Lead Artist makes up a page, a blank page, broken into however many panels they have decided the page they're working on needs. These blank panels will have numbers in them, and preferably be otherwise vacant. Something like if you took the comic out of a comic and just left the black boarders.

This blank page will be handed off to the Line Artist. They'll be responsible for roughing out the characters and their relationships, who's standing where, where what is in relation to them, and where text boxes will be. It would probably be a good idea to have whomever takes up the goblet of Line Artist also be involved in the ideas that were being pitched around when the authoring was happening.

The page, now possessing panel boarders and rough outlines, I'm tempted to call these gestures, but something with a bit more detail to them, you can tell whether Raven is wearing her hood up or down, but you can't count her fingers. You get the idea?

This page is handed off to the Colorist. The Colorist is the person responsible for blocking in the general colors, the blue of the sky, the yellow of Robin's cape, etc. They'll be in charge of relatively little prospectively, this job basically breaks down to fleshing out the character's outlines, and filling them in. Little artistic talent would truly be required, but it would definitely help.

Once they're done they hand the now colored page off to the Effects Manager. This is the person who will turn that white bolt into lightning, turn Raven's white outline into a soft glow, etc etc. This job load will probably very the most, inside battle scenes you're probably looking at a full day's work, outside, you're basically doing shadows and highlights, I don't think it should be too difficult but I just know what I like. Aside from otherwise unknown effects, like the powers of new characters, or new powers of old characters, the Effects Manager doesn't get to make many decisions other than which way the light is shining. Significant experience in a program like Photoshop would probably be almost a requirement, but if you can get decent looking effects that's all we'd be looking for from you.

After this the now completely artistically rendered page would be handed off the the Typesetter. This person would to little beyond putting in the text bubbles, all that would be really required here is the ability do so, while not covering up anything our design team has worked so hard on. They would have to make some decisions though, sound effect typeface, fonts, however you distinguish one character's voice from another's etc. I'm partial to the idea of a different colored text bubble for each character, if a stroke is added it could get pretty specific. Slade gets a gray bubble with an orange outline, Robin gets Red on Red, Raven gets Blue on Blue, Cyborg gets Blue on Gray, etc etc. Sound effects and dialog heavy scenes would increase your work load, but it should never get too serious.

It would probably be a good idea if each person checked in periodically with the Lead Artist just to make sure things are progressing as expected.
Other than that, and maybe someone else at the very end just to make sure everything is top quality, I figure that would be everyone. Of course we could have more than one of anything, but that would mean that whomever you're working with you'll need to be communicating with heavily, we'll need to make sure that everything matches up off course.

All in favor? All apposed?

Crazy comes up with the general ideas

Would you mind if i recycle some of my episode ideas in the episode idea thread ? :D

thecrazykid3649 wrote:

TheDeceiverGod wrote:Hmph, very well, I'll get you one of these days Snake.

Anyway on to procedure, I do have some ideas for that. As for the script we currently have six writers, the system I had theorized required a minimum of three, so while the more the marrier, it'll be a learning experience for us all to find out how many it takes to spoil the broth.

Here's what I had going in my brain.


Crazy comes up with the general ideas, he's particularly good at that, it's approved by A, I had hoped Snake would take up this role in that his talents as a wet blanket would seem perfect to tone down Crazy's, well, crazy, but we'll have to make due without him.

Once approved the idea is handed off to B and/or C these two/one would be responsible for the fleshing out of the story. It would be a good idea probably to have two here working in tandem though that wasn't my original idea, I'm a fan of checks and balances and having two people at this juncture would keep the story from becoming too much one person's idea. But I digress, B & C would flesh out the story, it would be a good idea to have at least one of them also be involved in the art to some degree, perhaps the typesetter. These two would take the original idea and turn it into something workable, then hand it off D.

D would have one of the lighter roles in as far as the script is concerned, proof reader. Just another set of eyes to double check that everything is flowing well, and to catch those extra little errors we all make.

At this point the script should look like a script, I have no idea what that means myself, having never seen a script for a comic, but ideally it would contain something like.
Panel One: (Setting) (Time) (Weather) etc.
Characters.
Actions.
Dialog.
etc.

Worse case scenario we can assign some of the other letters to turning whatever it is we do get by the time D's done into something workable.

By this point we should have a rough idea of how many panels the first part is going to take, I would recommend we do this on a page by page basis. We'll call six panels a page for working purposes shall we? Once the writers have six panels worth done, they hand it off to the artists and start on the next. I foresee writers getting vastly ahead of the artists this way, so writing will probably end up being the one thing we don't need more of. Though on the other hand it's always a good idea to know where you're going with something. Communication will be important, it would probably be a good idea for the writers, maybe D to make up abridged versions to hand off to the artists so they know what's important to show and what can be cut.

And believe me writers things will be cut. A picture's worth a thousand words and all that, if you produce something which looks ready to be put into a comic right off the bat you're probably not trying hard enough. I'd ask you to keep in mind that most writers will not be involved in the production of the art, circumstances aside, there's no guarantee that even if you play both fields you're the one who ends up working on the part you wrote, and for that reason it would be very nice if all authored pieces were dripping with description.

As for the art portion.

We'll need to have a Lead Artist, I leaned toward Raevien for this but in truth that's just because she/he showed up first. The Lead Artist will be the person responsible for all the artistic decisions, general character style, how many panels to a page, which panels get what space, what color the panel breaks are, how the panel breaks are shaped, etc, all this and more will be at the sole discretion of the Lead Artist. I would encourage whomever takes up this goblet to be open to ideas from their fellows, and be heavily involved in, or at least very aware of, the ideas being pitched back and forth during the writing portion of this creative process, for continuity's sake, if not simply the continued good relations between artists and writers.

What I had in mind for the Artistic process wasn't too complicated. The Lead Artist makes up a page, a blank page, broken into however many panels they have decided the page they're working on needs. These blank panels will have numbers in them, and preferably be otherwise vacant. Something like if you took the comic out of a comic and just left the black boarders.

This blank page will be handed off to the Line Artist. They'll be responsible for roughing out the characters and their relationships, who's standing where, where what is in relation to them, and where text boxes will be. It would probably be a good idea to have whomever takes up the goblet of Line Artist also be involved in the ideas that were being pitched around when the authoring was happening.

The page, now possessing panel boarders and rough outlines, I'm tempted to call these gestures, but something with a bit more detail to them, you can tell whether Raven is wearing her hood up or down, but you can't count her fingers. You get the idea?

This page is handed off to the Colorist. The Colorist is the person responsible for blocking in the general colors, the blue of the sky, the yellow of Robin's cape, etc. They'll be in charge of relatively little prospectively, this job basically breaks down to fleshing out the character's outlines, and filling them in. Little artistic talent would truly be required, but it would definitely help.

Once they're done they hand the now colored page off to the Effects Manager. This is the person who will turn that white bolt into lightning, turn Raven's white outline into a soft glow, etc etc. This job load will probably very the most, inside battle scenes you're probably looking at a full day's work, outside, you're basically doing shadows and highlights, I don't think it should be too difficult but I just know what I like. Aside from otherwise unknown effects, like the powers of new characters, or new powers of old characters, the Effects Manager doesn't get to make many decisions other than which way the light is shining. Significant experience in a program like Photoshop would probably be almost a requirement, but if you can get decent looking effects that's all we'd be looking for from you.

After this the now completely artistically rendered page would be handed off the the Typesetter. This person would to little beyond putting in the text bubbles, all that would be really required here is the ability do so, while not covering up anything our design team has worked so hard on. They would have to make some decisions though, sound effect typeface, fonts, however you distinguish one character's voice from another's etc. I'm partial to the idea of a different colored text bubble for each character, if a stroke is added it could get pretty specific. Slade gets a gray bubble with an orange outline, Robin gets Red on Red, Raven gets Blue on Blue, Cyborg gets Blue on Gray, etc etc. Sound effects and dialog heavy scenes would increase your work load, but it should never get too serious.

It would probably be a good idea if each person checked in periodically with the Lead Artist just to make sure things are progressing as expected.
Other than that, and maybe someone else at the very end just to make sure everything is top quality, I figure that would be everyone. Of course we could have more than one of anything, but that would mean that whomever you're working with you'll need to be communicating with heavily, we'll need to make sure that everything matches up off course.

All in favor? All apposed?

Crazy comes up with the general ideas

Would you mind if i recycle some of my episode ideas in the episode idea thread ? :D

lol why? there soooo many.

germany411 wrote:

thecrazykid3649 wrote:

TheDeceiverGod wrote:Hmph, very well, I'll get you one of these days Snake.

Anyway on to procedure, I do have some ideas for that. As for the script we currently have six writers, the system I had theorized required a minimum of three, so while the more the marrier, it'll be a learning experience for us all to find out how many it takes to spoil the broth.

Here's what I had going in my brain.


Crazy comes up with the general ideas, he's particularly good at that, it's approved by A, I had hoped Snake would take up this role in that his talents as a wet blanket would seem perfect to tone down Crazy's, well, crazy, but we'll have to make due without him.

Once approved the idea is handed off to B and/or C these two/one would be responsible for the fleshing out of the story. It would be a good idea probably to have two here working in tandem though that wasn't my original idea, I'm a fan of checks and balances and having two people at this juncture would keep the story from becoming too much one person's idea. But I digress, B & C would flesh out the story, it would be a good idea to have at least one of them also be involved in the art to some degree, perhaps the typesetter. These two would take the original idea and turn it into something workable, then hand it off D.

D would have one of the lighter roles in as far as the script is concerned, proof reader. Just another set of eyes to double check that everything is flowing well, and to catch those extra little errors we all make.

At this point the script should look like a script, I have no idea what that means myself, having never seen a script for a comic, but ideally it would contain something like.
Panel One: (Setting) (Time) (Weather) etc.
Characters.
Actions.
Dialog.
etc.

Worse case scenario we can assign some of the other letters to turning whatever it is we do get by the time D's done into something workable.

By this point we should have a rough idea of how many panels the first part is going to take, I would recommend we do this on a page by page basis. We'll call six panels a page for working purposes shall we? Once the writers have six panels worth done, they hand it off to the artists and start on the next. I foresee writers getting vastly ahead of the artists this way, so writing will probably end up being the one thing we don't need more of. Though on the other hand it's always a good idea to know where you're going with something. Communication will be important, it would probably be a good idea for the writers, maybe D to make up abridged versions to hand off to the artists so they know what's important to show and what can be cut.

And believe me writers things will be cut. A picture's worth a thousand words and all that, if you produce something which looks ready to be put into a comic right off the bat you're probably not trying hard enough. I'd ask you to keep in mind that most writers will not be involved in the production of the art, circumstances aside, there's no guarantee that even if you play both fields you're the one who ends up working on the part you wrote, and for that reason it would be very nice if all authored pieces were dripping with description.

As for the art portion.

We'll need to have a Lead Artist, I leaned toward Raevien for this but in truth that's just because she/he showed up first. The Lead Artist will be the person responsible for all the artistic decisions, general character style, how many panels to a page, which panels get what space, what color the panel breaks are, how the panel breaks are shaped, etc, all this and more will be at the sole discretion of the Lead Artist. I would encourage whomever takes up this goblet to be open to ideas from their fellows, and be heavily involved in, or at least very aware of, the ideas being pitched back and forth during the writing portion of this creative process, for continuity's sake, if not simply the continued good relations between artists and writers.

What I had in mind for the Artistic process wasn't too complicated. The Lead Artist makes up a page, a blank page, broken into however many panels they have decided the page they're working on needs. These blank panels will have numbers in them, and preferably be otherwise vacant. Something like if you took the comic out of a comic and just left the black boarders.

This blank page will be handed off to the Line Artist. They'll be responsible for roughing out the characters and their relationships, who's standing where, where what is in relation to them, and where text boxes will be. It would probably be a good idea to have whomever takes up the goblet of Line Artist also be involved in the ideas that were being pitched around when the authoring was happening.

The page, now possessing panel boarders and rough outlines, I'm tempted to call these gestures, but something with a bit more detail to them, you can tell whether Raven is wearing her hood up or down, but you can't count her fingers. You get the idea?

This page is handed off to the Colorist. The Colorist is the person responsible for blocking in the general colors, the blue of the sky, the yellow of Robin's cape, etc. They'll be in charge of relatively little prospectively, this job basically breaks down to fleshing out the character's outlines, and filling them in. Little artistic talent would truly be required, but it would definitely help.

Once they're done they hand the now colored page off to the Effects Manager. This is the person who will turn that white bolt into lightning, turn Raven's white outline into a soft glow, etc etc. This job load will probably very the most, inside battle scenes you're probably looking at a full day's work, outside, you're basically doing shadows and highlights, I don't think it should be too difficult but I just know what I like. Aside from otherwise unknown effects, like the powers of new characters, or new powers of old characters, the Effects Manager doesn't get to make many decisions other than which way the light is shining. Significant experience in a program like Photoshop would probably be almost a requirement, but if you can get decent looking effects that's all we'd be looking for from you.

After this the now completely artistically rendered page would be handed off the the Typesetter. This person would to little beyond putting in the text bubbles, all that would be really required here is the ability do so, while not covering up anything our design team has worked so hard on. They would have to make some decisions though, sound effect typeface, fonts, however you distinguish one character's voice from another's etc. I'm partial to the idea of a different colored text bubble for each character, if a stroke is added it could get pretty specific. Slade gets a gray bubble with an orange outline, Robin gets Red on Red, Raven gets Blue on Blue, Cyborg gets Blue on Gray, etc etc. Sound effects and dialog heavy scenes would increase your work load, but it should never get too serious.

It would probably be a good idea if each person checked in periodically with the Lead Artist just to make sure things are progressing as expected.
Other than that, and maybe someone else at the very end just to make sure everything is top quality, I figure that would be everyone. Of course we could have more than one of anything, but that would mean that whomever you're working with you'll need to be communicating with heavily, we'll need to make sure that everything matches up off course.

All in favor? All apposed?

Crazy comes up with the general ideas

Would you mind if i recycle some of my episode ideas in the episode idea thread ? :D

lol why? there soooo many.

'tis why i wanted to recycle.

Naked Snake wrote:Idea:

Auditions. Have all prospective writers/artists submit a portfolio of their work, and choose the best of the lot.

I like the idea of auditions, I had thought of doing something similar for the artists in order to decide who goes where. So let's do this.

Writers, please submit a one to three paragraph well formatted episode idea, keeping in mind that unlike those in the episode thread we'll be looking to build something upon these. Now more random ideas I'm afraid, now we need something which can be built upon, and even the best idea can run dry if it wasn't formed with the thought of precipitating events.

Artists, please submit a one to three character line art images, something that could be turned into the first cover of our little comic. We'll run it through my system to see if it works before we get too started, and the person who does each job best will be the person who gets that job.

All in favor? All apposed?

Edit: I'd like to stress the idea of keeping it simple in these. We're not trying to reinvent the wheel here, we're just trying to see who's the most capable for what job. Writers, don't agonize over every word, just looking to see who can communicate their ideas the smoothest. Artists, don't tear up your first ten drawings because they weren't good enough, if line art isn't you thing maybe you wanna wait until we're further down the production line to throw your hat in.

TheDeceiverGod wrote:

Naked Snake wrote:Idea:

Auditions. Have all prospective writers/artists submit a portfolio of their work, and choose the best of the lot.

I like the idea of auditions, I had thought of doing something similar for the artists in order to decide who goes where. So let's do this.

Writers, please submit a one to three paragraph well formatted episode idea, keeping in mind that unlike those in the episode thread we'll be looking to build something upon these. Now more random ideas I'm afraid, now we need something which can be built upon, and even the best idea can run dry if it wasn't formed with the thought of precipitating events.

Artists, please submit a one to three character line art images, something that could be turned into the first cover of our little comic. We'll run it through my system to see if it works before we get too started, and the person who does each job best will be the person who gets that job.

All in favor? All apposed?

Edit: I'd like to stress the idea of keeping it simple in these. We're not trying to reinvent the wheel here, we're just trying to see who's the most capable for what job. Writers, don't agonize over every word, just looking to see who can communicate their ideas the smoothest. Artists, don't tear up your first ten drawings because they weren't good enough, if line art isn't you thing maybe you wanna wait until we're further down the production line to throw your hat in.

Approved. I was thinking more along the lines of a portfolio, but that works out too.