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ScriptGraphics / ADAPT™ = ScriptGraphics / Allied Digital Artists Partnership Teams™ 2025/2026

12/28/2017

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The open call for 2025-2026. Read below and start getting ready! 
OPENING INVITATION: The ADAPT™ Project - 2025/2026! It's that time of year and with the success of our first couple of years (still in progress) we proudly open the doors for the next round of creators that are willing to stake their claim and grow their audience through a consistent online endeavor. We only ask, as always:

"Would you be interested in doing any of your concepts/characters online weekly, for a year to build something for yourself online with other like minded individuals?" 

The structure is pretty simple: 

Think you can do a strip or comic page weekly, do it for at least a year, and make it 'all ages' friendly? If not, don't try. If any one of the spec conditions can't be met or you don't think you'd want to do any of them, you can't do this. The first lesson to be learned here is to be honest with yourself. 

This is how we started when we began this Project and we'll be doing it this way until we’ve run out of things to say with it. What we're hoping to do is foster an environment of competitive friendships while helping creators grow their audience through a 'power in numbers' dynamic. Please know this project isn't for everyone. But the good thing is that you'll get to find that out in the try out phase. We're not saying you can't do this alone, the question we pose is: 'why would you want to?' 

If your curiosity is piqued send me a personal email and I'll send you the complete specs. I look forward to what the next year brings and which creators will tackle the challenge. 

To see what's already been, and being done: https://adapt-it.weebly.com/
-Darrell 
Email me for specs at ([email protected] and on FB: http://facebook.com/darrell.goza) 
[ We've included them right here under 'Opening Invitation' below! ]
 (PS: hoping to get more diverse creators and more women creators involved!)

The open call for 2025-2026 begins now. Read below and start getting ready! 

OPENING INVITATION: 
"Would you be interested in doing any of your concepts/characters as a comic page or 13 x 4 inch weekly strip, for the better part of a year to try to build something online with other like minded individuals?" 
This pretty much lays out the preliminary requirements of what's being asked of the creators that participate in the tried and tested online endeavor called The ADAPT™ Project.  

ScriptGraphics / Allied Digital Artists Partnership Teams™ / The ADAPT™ Project
Initially we were “attempting to get something started to re-ignite the fan friendly atmosphere that used to be a part of the fanzine groups I belonged to as a teen. Since 2013 we’ve done it for the web but took a hiatus in 2018 and didn’t get back to it until 2023.

I'm a firm believer that if a creator creates, things will happen. To give you an example of that, Doug Freeman was doing a five page story called 'Crimson Knights'. He was one and a half pages from completing it but stopped. He'd penciled it all but only inked three and a half pages in no particular order and had gaps in the pages he did ink. Michael Reed, an artist on Team ScriptGraphics suggested we download the scans and complete it for him. We did and sent it to him asking if we could post it online. He said sure and within four months we were asked if we would like it to be printed in a publication. Doug said hell yes, Michael agreed and I surely didn't mind. 
Keep in mind that whatever you do as part of this online undertaking is for you. Doing it, or not doing it, is up to you. I can only guarantee this: if you are consistent and the story you tell captures the imagination of the audience at large, you'll build a fan base and that could translate to book sales if you ever decide to publish them. It could also translate to sales for other things you're doing outside of this. Most creators try to do a little here and a little there and expect to be in demand. Not going to happen that way. We only offer an opportunity for you to be part of a group and not have to go it alone. Safety in numbers and hopefully competition will push you to do your best work ever. Additionally, I'm hoping to re-create the connectedness that I loved about fandom when I first got involved. That got accomplished in what we did in 2023 till now, and everything else has been gravy." - Darrell Goza

THE SPECS: 
If you can't, or don't think you can do a weekly comics page or 13 x 4 inch strip, you’re not ready for this project. That is a demand of the project. It must also be 'all ages' friendly. If you can’t do either of these, then you can't do this. Don't try. If any one of the spec conditions can't be met or you don't think you'd want to do any of them, you can't do this. The first lesson to be learned here is to be honest with yourself. (Take some time to see if you can get what needs to be done, done. That's the truest test of your capacity and ability to do these kind of comics. In this you can't fail because you'll gain valuable knowledge about your creation speed which will serve you well no matter who you work for or with doing comic art.) 
[ Of course, if you've never tried to do it you won't have any real idea of what you're capable of, so trying it is the only way you'll truly know. As my martial arts instructor used to say: Nothing beats a try but a failure and you never know if you'll fail until you try! So try already, you loose nothing in the trying...]

"All ages" friendly means just that, humans of any age or gender can read it and parents will let them without any fear that the reading child will be traumatized by overt sexuality, brutal or shocking kill scenes or volumes of blood, gore or ripped entrails or things like that. This is non-negotiable. Comic art and story trade craft is a skill that isn't dependent on shock or gore. Either you're good at telling a story or you're not.
Alfred Hitchcock did a horrific shower killing scene in Psycho which shook the nation but didn't show one impact strike. Kirby and Lee's Fantastic Four or Thor had a lot of pathos and (highly exciting) fighting in their books but none of it was blatantly offensive. Stan Lee and artists he worked with built one of the mightiest comic empires without stooping to sexual cheap shots or gory brutal storytelling, in their day. He did it with implied writing and narrative. Nothing had to be blatant. We're looking for those kinds of inventive creators. The ones that can make the point without stooping to the lowest common denominator visual form to get there.

We take no ownership of your characters. What we do is have creators join us online so we can take on the web as a group. Individuals own their work, we do not. We just believe there's power in numbers and know that's a truth in comic publishing by the fact that all companies do multiple titles. This allows for the greatest amount of diversity with variation and therefore the greatest chance you'll be seen. We standardize the form to level the playing field so everyone's look is consistent for ‘The Project’. This doesn’t mean a ‘homogenized’ look, just the opposite. We’re looking for as wide a range of styles as we can get. This 2025/2026 year we’re also looking for writers to just do writing, not art. We’ll see if covers can be provided using our artists for a small fee (unless you have an artist who’ll do it for you). We’ll show you some samples/examples of what you can do because we’re looking to help launch writers, and get readers to comics too. [Example -
strip format: https://textnovels.thecomicseries.com/comics/2/#content-start
and
full page format: https://scriptgraphicspresents.thecomicseries.com/comics/128/#content-start]

These are the specs. - (and aren’t negotiable).
The initial 15 installments of your strip or comic pages are required first for consideration into This Project. Again, we're looking for creators willing to commit to something they already say they want to do. Doing a strip or weekly comic page means committing some time a couple of days a week to doing it. (That even gives you the weekends off! Of course you could do it on a weekends and have the week off, your choice). We find this method of operating to be doable without causing additional stress or take you from whatever else may be going on in your life. 

"It's open to whatever genre you decide to do; superheroes, fantasy, crime noir, science fiction, etc. Only four things have to be adhered to: it must be "all ages" friendly as you can make it, and done weekly for at least a year. The Project, as a whole, must be promoted when you promote what you’re doing as part of it online and in print and under each strip you must include provided links to all the other strips that will be part of the project. (We’ll show you how to set that up.)  

Our basic strip size: 
Should be 13 x 4 inches in size, landscape view or proportional to that. We’ve experimented with other sizes over the years because and found this to work best for strips. Experimentation and adaptability should have always been the watch words in the comics industry but they’ve dropped the ball. We won’t. 

What you do within the 13 x 4 inch format us up to you. For example, you can use all prose if you like or make it all images without text. Do it in color, black and white or painted if you like. How about a combination of them all? Certainly! You are the creator: so create! Just remember, you have to do it weekly.

If you don't have access to a scanner that'll scan 13 x 4 inch art, scan it in sections. We've also found that type should be at least 14 points or larger for viewing online via cell phones. If it works on a cell phone, it’ll be fine for a tablet, laptop or computer screen. Have some fun in creating what you create. We’ve set up a private fb group page for those that make the cut and get to be part of The Project. You’ll get that info at that time.

Check out some of the other creators work that’s already online: https://adapt-it.weebly.com/

Our basic comic page size: 
Should be comic book page size, portrait view (taller than wide) just like a comic book or proportional to those dimensions. You can use all prose if you like or make it all images without text. Do it in color, black and white or painted if you like. How about a combination of them all? Certainly! You are the creator: so create! Just remember, you have to do it weekly.

Some things to consider while with us: 
This is NOT a job. It's NOT a paid position. It's design is to help you develop a web presence and build a backlog of material and your personal audience/fan base. You can leverage that with the fans you gain beyond those you already have and that should help you with sales as you'll be seen each and every week, strengthening your position online, and with a little luck you’ll get to be better known through The Project as all creators there will be promoting you, as you promote them, by promoting The Project. As all creators will be promoting The Project, you gain as we all gain. 

This is not a collective or co-op and we are not a group in the traditional sense of the term. We're coming together because we have a similar purpose in creating great comics content. If you’re participating, you responded to our outreach or invitation and the Team ScriptGraphics staff feels you'd be a good fit for this project. Outside of the things we ask for in the invitation, there's only one other thing we'd like you to do: complete what you start. This year we're opening it up to members of the online groups we're a part of, or have met at various shows and comic cons. 

You don't work for me or ScriptGraphics. You work for yourself, but by allying yourself in this project we'll create a different kind of brand for online content. Think 60's and early 70's Kirby Thor and Fantastic Four comics done with a contemporary technical and digital assist (if that’s how you work). You own your work and can use it as you see fit in any way additional to what you do for yourself through us. We're hoping that by being in a diverse and creatively inventive group you'll be inspired to do your best work ever. (Please note, I know some invited creators are already motivated to do their best work. Use this opportunity to take some chances you might not ordinarily take doing work for yourself through a different venue. Feel free to push your own personal boundaries!) Know also that you HAVE to bring your ‘A’ game. You’re going to be competing (albeit friendly) with others who will be bringing their ‘A’ game and every fan that looks at what goes online votes for you by subscribing or returning to see what you do every week. This keeps it fair. 

We're not looking to 'team' creators or assign stories to them, although some of you may connect with others herein and get involved that way. We're looking for self generated stuff that's in and of itself created by you (with or without a team). What that means is if you have something you want to wow the world with or just a great story you'd like to tell: Do it. We want to re-create the environment of independent co-joined effort to a singular purpose. The goal: can a group of creators of their own accord create and stay unified and motivated in creating, and do it consistently over time.
First and foremost we're looking for what you have to say with your creative voice. Team ScriptGraphics members all have their own voices for a wide variety of story concepts. I personally like science fiction and the human drama. What do you like that you'd want others to see? Commit to it and do it. 

You need a cover page to start the strip (Examples can be found at: https://www.instagram.com/p/Cet1AusOWXU/) and a logo with whatever creators are involved in the production of your strip. The logo should carry over and be on each strip but doesn’t have to. As the creator you get to decide that. I'd also suggest having the © copyright symbol and date, along with the all the creator’s names that are involved, somewhere on each strip. File this under promotion. If you have a place online where people can see more of your work, include the URL, or link under your strip or comic page and we’ll see it gets put with the work you do. Promote, promote, promote… we say! 

ALL THOSE COMMITTING TO THIS PROJECT - Send an overview write-up PM (on fb) of what you have in mind to do as soon as possible. This counts as your cover letter for being in the project. Your cover page and 15 preliminary strips should be in within 15, days of seeing this. Understand that we know projects change or sometimes take on a life of their own over the life of a project. This is to be expected in a vibrant and creative environment. Just give a brief overview of what you're starting with for now. That will suffice. 

SEND A PICTURE OF YOURSELF (3 inch by 3 inch or larger, 300 dpi) that can be used for promoting what you'll be doing with us. A brief (one or two paragraphs) bio wouldn't hurt either. This should be sent as soon as you read this so we can set up a digital folder for you and your work. You should also send snail mail contact info, email contact info and a phone number where you can be reached. Also send where you can be seen online so we can point people reading your strip to you.

Again, see:  for examples of the cover page and how the write-ups are handled. Click any cover on the page to be taken to the strip, click the strip to advance to see how a bio page will look when you send your info. (Example: https://thunderhawk.thecomicseries.com/comics/2)

We’ll be setting up a site for creators who join us in this iteration of The Project. It will only be accessible by the creators that are a part of The Project and be used for making connections between the creators involved. It's where we'll get to interact directly with each other. This will be our personal friendship and safe sharing space.
A second site is where actual posts of the strips for viewing will be. This is where you get to wow not only your potential fan base but each other (so again, bring your 'A' game). 
"As a member of a couple of fanzine groups, I remember trading publications and sharing artwork for publications we traded between ourselves. As we saw what other creators were doing, we were inspired to do better. My hope is THAT mechanism can be re-created in this creative online endeavor." - Darrell Goza 

“Team ScriptGraphics has asked if we could do shorter span strips for those without the ability to make a year long commitment.” Sadly no. This is about having and helping each other build something that will have legs and learning to walk takes time. The good news is that you don’t have to work weekly. I generally posted up five to ten strips at a time. Adding a time stamp to them meant they’d come up on the appointed day and that was that. You’ll be able to do that too. Additionally, having in 15 strips before you start gives you a bit of a cushion, so if you work weekly and miss a week or two you’re still safe. 


[Over the years we've been doing The ADAPT™ Project the participants have grown the overall audience for the Project to a whopping 350,000+ for the participants that haven't missed a deadline. Not all strips tap in at the higher end but all are doing pretty good. With the internet all things are possible and this year we're aiming our sights on 1 million viewers or 100,000 viewers per strip. Lofty? perhaps. Possible? Given what we’ve seen already be accomplished: Absolutely!] By the way, if you’ve come here through facebook… feel free to PM me there.
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To be an Artist...

11/14/2014

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There is no hard and fast rule and it's not defined by the visual, performance or musical fields. Some mathematicians are quite creative with an equation. Some food service providers are quite inventive with how they cook. 

An overall way to see a person as an artist is to look at the approach they take in doing what they do. Are they dedicated to having what they do be the best it can be? Are they locked into just doing it one way to arrive at a result or can they adapt on the fly, go with the flow and still create that thing that will have people smile or at the very least be effected (good or bad) by what they've accomplished? These are the hallmarks of an Artist my friend. 

Also know that being an artist won't necessarily make us a good person. Sometimes artists are jerks too. We're human and subject to all the mandates of the human condition. Sometimes even more so as our intensity of purpose can often overshadow our humanity. Art is ofttimes not just what we do but what we have to become to accomplish what we NEED to do. We are the bow and the arrow and as such a piece of us always goes with, and is forever a part of, the work we complete. 
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Professionalism... REALLY!

10/19/2014

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'What makes you a professional?' 

If you get paid for what you do you may consider yourself a professional but you'd be wrong. Getting paid for what you do here and there or 'sometimes' doesn't make you Pro. When a neighbor asks your son to help her with her garbage by dragging it out to the curb and she gives him a couple of dollars for doing it, it doesn’t make him a professional garbage hauler. So getting paid to do a singular task isn’t the standard. 


Professionalism falls into two distinct categories, which can and often do overlap: When what you get paid to do covers your living expenses (i.e., you're actually doing it to make a living or it covers a significant part of your living expenses) you're a paid professional. If you have a regular job that pays your living expenses and you do a particular thing on the side, which you get paid for, and those employing you are paying you for your expertise in that field you could be considered a professional hobbyist. In that case you're being paid for your acquired skill set and that sets the standard for your being a professional. 

The other side of professionalism is a bit more esoteric. If you're obsessed with having the work you do be the very best it can be and you don't sleep on any aspect of it, you can also consider yourself a professional. The distinction here comes in understanding what 'not sleeping' on any aspect of the work is. An example of this would be: in comics if you write well, draw and color well but your lettering sucks and you don't hire a letterer to have that component work well too, you're not yet a true professional even if someone is willing to pay for your work. 

Creators able to see the flaws in the work they do and make the adjustments will always be far more professional than those that just 'get it out.' This speaks to the professional attitude a creator cultivates which usually overlaps and is the basis for getting paid or for getting paid better for the work you do create.

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Independent Creators... Forever Un-United!

10/16/2014

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If I may, most people doing cartoon content creation are doing it only as a hobby, don’t have a business license and aren’t working at it day in and day out, aren’t producing product on a daily or even a monthly basis and are only servicing their ego’s. This isn’t a bad thing as most of us started that way, when we produced something and got a positive response and didn’t want it to end. 

The trick comes when all of that does stop or all the people you’ve reached that were interested in your product or online viewings reaches its saturation point. That’s when the real work comes in for staying motivated and continuing to produce past those fans you’ve already acquired to the new and upcoming fans. That means continual working with no end in sight and quite possibly no financial outcome. This separates the ‘true’ creators from the also-rans and posers. 

Some of us have to do this because there’s an itch that we just HAVE to scratch. Sometimes we can’t sleep, loose days while we produce and spend an inordinate amount of time sitting at a board or table, alone and unmoved by worldly events as we get the passion in us… out. 

I want to make it clear that a vanity product is fine with me. A creators passing that vanity product off as being something they’re passionate about when it’s all they’ve done isn’t. You’ll know the difference because the true creator is always creating beyond their last work. The ‘passer’ does what they do and spends an inordinate amount of time wallowing in what WAS done instead of creating new work. If you look at all the great cartoonist’s, they all have an incredible amount of pages under their belt. 

Unfortunately the internet has made the non-professional as important as the professional in that It muddies the waters against the true labors of love because It fills the arena with so much product for fans to wade through that they often miss the true gems because of it. Marvel and DC know the value of keeping the path clear to their products. They fight for all the rack space they get in the comic shops and will fill them with second and third tier characters to keep other publishers, and the vanity one shots, from taking away from their endeavors and products. Imagine if comic shops became as diluted as the web. The big two aren’t going to let that happen and I side with them on that. Only the truly dedicated should take this on and only if you’re truly creating a story worth telling and not just because they have opportunity and availability. 

The web is also full of what we call ‘one shot’ers’. These are fans that only want to do the poster work of creating a billion characters that have no connection to anything else outside of that. This somehow gives them the illusion they have a ‘company’ because they have a zillion characters they’ve created or had help creating them. No real stories but they can tell you all about it except when it comes time to do the actual work of drawing out the story, you’ll find they have no talent or desire for the real work of manifesting that concept into a story. I mention this because I’ve often heard people ask: why more small press people don’t band together like Image creators did to form their own company. Many of the reasons can be read between the lines in the statements above, but to put it in better perspective… 

It’s hard work to create anything consistently over time and on scheduled time. We reached out to a whole lot of producing creators who were online or doing print products to have them join us in The ADAPT™ Project. The criteria: a willingness to do a strip (most wrote back and were interested to hear more) for a year (that killed off all but 14 of all the ones that we reached out to). That’s one of the bottom lines on this. The willingness to do the work over time as you build towards creating something and making that united statement for something that everyone can be proud of. 

Another thing that seems to stop small and independent creators is a willingness to work with others that might do/be better at than you. This is an unfortunate side of uniting for a singular production cause: some may not make the grade. For me that’s an easy one to overcome. Step up your game. When you work with good creators or ally yourself with good creators you either get better or get shamed. The upside is that you have a wealth of creators to learn from to actually get better. The downside is that you may have to put your ego on hold to do the learning. 


There are a couple of other things that would need to be addressed in having creators work together and through The ADAPT™ Project, and we’ve worked tirelessly over the past year and a half to solve those problems and are just about ‘done.’ 2015 will be the year where we put everything we’ve learned to the test and produce some products specifically for the print market.

We’ve got one more reach out for online creators in November of 2014 to see if creators can get past their fear of work, fear of uniting and fear of competition to join something larger than themselves. We’re hoping those creators that haven’t been creating on all cylinders will be willing to get off the pot and at least attempt to gear up for themselves and the products they say they want to do. This is the defining hallmark of true creators: they create without excuses or fear. 




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Why ADAPT™?

9/22/2014

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Why ADAPT™? 

Allied = United in a singular purpose. 
Digital = Embracing the digital platforms of the future. 
Artists = Creators creating without hesitation. 
Partnership = Creators with their own teams. 
Teams = All of us unified in that singular purpose. 

What is your purpose? 
To create and archive the created artistic content. 


What is the reason for the purpose? 
To leverage that content into other markets. 

Who do you serve? 
Ourselves first, then the world.

What are comics? 
 1. People who do stand-up comedy.
 2. People who do comedy in popular media.

Why is art done in comic books called comics? 
Because of the way the creators are treated, the jokes on them. 
It's why they're popularized by the term 'funny books'. Again, the 
jokes on those creators. 

How are you different? 
We don't do comics. We do creative artistic content which sometimes 
takes on and fits in the comic book format but it's not something to be 
deemed 'funny' or necessarily 'comic' in nature. 

Symantics? 
Reality. How and what you think of something can decide what it is. 
How and what you think of who you are and what you do WILL decide 
who you are and WHAT you do. 


Why ADAPT™? 
The easy answer: If you don't adapt, you die.
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Buy Black! Is that a good selling point? 

9/22/2014

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My two cents as a Black American comic book content creator: 

While there are many American's of African heritage publishing cartoon content, a lot of it's not very good. The creators before now that worked in the industry aren't leading the charge by establishing studios or publishing endeavors where they get to train the next generation of African American creators in the standards of professionalism, work ethic and the study of the comic content field. They're not doing any consistent outreach like we do at ScriptGraphics: http://is.gd/TY0Q51, (and yes, it's a promotional plug for what we do) and they're not constantly or consistently in the public arena so people are aware of what they're producing and that they're of African heritage. 

Contrastingly, the ones that are publishing independently lack the financial stake to do it consistantly and as a result can do it quarterly at best (3 times a year) or less. Most opt for less and that won't gain the readership necessary to make it a viable concern or make it attractive for retailers to carry it. Very few seem to see this as a ‘business’ and treat it more like a hobby. I did an informal poll at a FB site and asked the visitors there, most of whom were always posting about what they were doing, which ones actually produced a real comic book and after a week of survey the numbers were less than six percent on 4,200 people that visited the site. True, this was an informal poll but it sort of gives you an idea that for most people the producing of comics is more of a hobby than an actual profession. 

Not that there’s anything wrong with that, but as a hobby there’s no incentive to produce consistently over time which is the hallmark of being a comic content producer and professional comic creating artist or writer. You wake up tired or not in the mood to produce, there’s no consequence if you don’t so it falls by the wayside. 

Most creators, except for those dedicated to ‘getting in’ at the big two, will probably not make a big splash in this industry except by accident. You’ll get a bit of a following and be a bit of a celebrity for a hot minute until the next creator stabbing at their 15 minutes of fame comes along. You’ll hit the ‘pay for it’ show circuit and once you realize your time for setup, cost of travel and time for getting back isn’t getting you the ROI (return on investment) you’d hoped for, you’ll let it go and that will be that. Of course those that do it for the love of it will last a bit longer but even those will realize soon enough that a money pit is still a money pit no matter how many fans stroke your ego if they’re not buying your product. 

As for getting the African American audience to by Black created and produced products instead of white washed ones or even worse, ones that were white being converted to Black ones, means producing GOOD Black content that isn’t a thinly veiled rip off of already established white ones. This is why it makes sense for the comic companies to do the conversions. It staves off the independent producers doing that very same thing even though they’re not calling it that. Start by taking a good look at the character you’ve produced. Analyze it based on what’s been in the market to see how it stacks up. Here’s a great example: a start up publisher wanted to create a character that could heal fast, had claws and when he got mad was hard to beat. Remind you of anyone? I mentioned it to him and his statement to me was that because his character’s claws were only three inches, it couldn’t be Wolverine. This kind of thinking pervades the independent market and makes it hard for people, both Black and white, to support what’s being done when they can just as well buy the original and get it on a far more consistent basis from the already established comic companies. 

I hope this sheds a bit of light on the reasoning of why anyone would buy a comic content product and even more importantly why not. Telling people to buy Black for Black’s sake will never sell a product. That’s not who we are as a people. We’ve always had to have an eye on value for dollar (and don’t get me started on that one. I worked in advertising for nearly 20 years and saw how to fool people with perceived value as opposed to real value) because we always had to work six times as hard to make or get as much as other American’s in this country. Not a gripe, just the reality of it. 

If you have a good product and can produce it on a fairly consistent basis you’ll do O.K. If you have a good product and can produce it on a fairly consistent basis and have a really well thought out plan for delivery and promotion for it you’ll do better than that. If you have a good product and can produce it on a fairly consistent basis and have a really well thought out plan for delivery and promotion as well as a commitment and strategy for creation over time, you’ll do better still. 

Pushing the 'buy Black' for Black’s sake hot button will get you exactly that. A Black hole of nothing in your pocket and a lot of wasted days and worthless product. You push the 'buy Black' because this Black product is GOOD button… now you’re on to something. 

-Darrell Goza 

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Open Call for Creators; The ADAPT™ Project 2014 (closed)

11/11/2013

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Sample Script - This is how you get your shot working for GC-SG LLC.

4/14/2013

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When I was art directing for the Beatnik Publications group and we went to conventions to ply our trade and sell the books, we ran into many aspiring artists. We decided early on that we'd have to create a story to separate the committed artists from the posers. This is the story that Kelly wrote to find out which artists had the 'juice' or were just playing around with being comic book artists. 

It was designed to give us a good indication of the artistic stage the artist was at in their personal development and could serve as a start point for those who really wanted to become comic book artists. From the time we gave this story to artists we met, they had two weeks to complete it and get it back to us. If you take this 5 pager on, follow that directive and have some fun. GOOD LUCK!

The Tryout Story 
Written by K. L. Willams

PAGE ONE

PANEL 1: 
Worm's eye view of an assembly of towering skyscrapers. The afternoon sun ascends behind he imposing structures, whose mirror glass veneer seems to offer the heavens a glimpse of itself, as the crystalline skies, scarcely scattered with satiny, white clouds reflect off of the towers' surface.

CAPTION: New York.

STANTON (Voice Over): "We've put a great deal of time and money into this expedition of yours, Frederick. I would hate to think we did so, only to gain nothing from it."

PANEL 2: 
Medium down-shot of Stanton's expansive office -- a unique mesh of black leather, chrome and smoke colored glass. Stanton, seated in his high-back leather chair; lounges comfortably behind his smoked, glass-top desk. He remains unseen, as his back is turned to both Frederick and the reader; his attention directed out of the large panel window which runs almost the entire length of the wall it's set in and offers a stunning panoramic view of the cityscape. Frederick, dressed in a well-tailored black suit; also has his back turned to the reader as he attentively stands between two black leather chairs, purposefully set on the opposite side of Stanton's desk. To the right of both Stanton and Frederick is a black lacquer wall-unit housing a twenty-six inch monitor, a CD-Stereo system, a modest collection of CD's, a myriad of books and several antique figurines.

FREDERICK: "I've traveled to Bahrain myself, Stanton. I've spoken with the local people. People who've seen…"

STANTON: "Even still, I find it very hard to justify this project based on what could very well be nothing more than indigenous folklore".

PANEL 3: 

Close-up of Stanton, finally revealed; a man in his early to mid forties with hard; chiseled features. His hair and mostauche are primarily dark gray with sprinkles of white. Frederick looms in the back drop, as he leans against Stanton/s desk; firmly braced by his hands.

FREDERICK: Please, sir. All I'm asking is that you allow my team to investigate this matter further. What if he Arabian people are telling the truth? Can we really ignore what these people have seen? Can we pass up the opportunity to have that kind of power firmly within our grasp?!

PANEL 4: 
Medium profile of Stanton, still gazing out of the window. We are now provided with a glance of Stanton's attire: gray tweed slacks, black leather tie-ups. a white shirt and gray paisley tie. His hands are clasped beneath his chin as he ponders Frederick s words. In the backdrop, the reader is offered a better view of the wall unit to the right of Stanton. NOTE: Refer to Panel #2.

STANTON: "Very well spoken, Frederick. And you are quite right. If the stories from Bahrain are true, it is ndeed a prize worth the risk."

PANEL 5: 
Extreme close-up of Stanton's menacingly hooded eyes, which appear to be darker than we first perceived them.

STANTON: "But, tell me Frederick,... You're certain your team can locate this child? This,... Messiah?"

PANEL 6: 
Medium shot of a sloping rock-face. It is somewhat obscured due to the fact that an unrelenting sandstorm is raging about. Six darkly outlined figures are barely visible as they scale the side of the elevation.

CAPTION: Bahrain. Off the coast of Arabia.

PAGE TWO

Panel 1: 
Close-up of a gloved hand reaching up onto one of the landings etched in the side of the rock ace, struggling to find purchase. Sand continues to be stirred about by piercing winds, making for difficulty in finding a firm hold.

Panel 2: 
Medium shot of a heavy-set man pulling himself up to the rock face. Mohammed, 31 years old. He's shrouded in olive drab BDU's (standard military apparel complete with black combat boots) which billows with the wind. His head is adorned with a white, dingy turban. A gray scarf wrapped about his mouth and nose, allows him to breath freely and goggles protect his eyes from the destructive winds and sand. It's virtually impossible to make out any distinguishable features.

Panel 3: 
Now standing, Mohammed squints to see through the tempest, his gaze directed upwards, towards the slope's peak. He knows they don't have much farther.

PANEL 4: 
Close-up shot of Mohammed legs spread shoulder-width apart, from between his legs, we see another climber struggling to haul himself up to the landing. Cutter, 27 years old. Cutter's attire is similar to Mohammed's save that his BDU's are khaki in color and Cutter opted to forego the turban in exchange for a black toweling scarf. He digs his fingers deep into the earth in an attempt to gain leverage, and in the same token; lifts his left leg over the ledge. Alas, the second climber is unable to tow himself completely onto the landing.

CUTTER: "Uhhh,… I know the view must be fantastic, but would y' mind givin' me a hand here, Mohammed?"

PANEL 5: 
Medium dead-on shot of the landing buffeted by the persevering sandstorm as Mohammed has kneeled down to assist Mohammed's right arm is locked under Cutter's shoulder as he lifts Cutter onto the landing. Directly underneath Cutter, are the four other climbers preparing to surmount the landing.

PANEL 6: 
Down shot of the expedition party gathered on the landing, as if from the peak of the slope as heir attention is focused up at the reader. One of the climbers has shaded their eyes with their hands in attempt to gain a clearer view of the apex. The frame is again, slightly distorted by the sandstorm.

CAPTION: Shortly after,...

Climber: "How much further is it? I mean, maybe we should take a break or something."

PAGE THREE

PANEL 1: 
Full body profile shot of the climbers, all visible to the reader. As it turns out the climber to make such a suggestion was Lopresti, 25 years old and the only female member of the expedition party. She still shields her eyes with her hand, although her goggles seem to do a fair enough job of their own. Lopresti's attire mirrors that of Mohammed with exception that see bears a medium sized knapsack on her back. Lopresti is closest to the reader in this frame. Beside Lopresti, is Cutter; bent forward with his hands rested on his knees. Then there is Pritchard, 35 years old. Pritchard unlike the others, wears a pair of tattered denim jeans(the legs tucked inside of his combat boots), and a thin-lined Navy flight jacket; zipped up to he neck. The wind rips through Pritchard's hair as he has nothing to cover his head. One wouldn't know hat his hair was actually a nice shade of brown for the fact that sandstorm deposits have left it with an ugly gray coat. Not totally the fool, Pritchard does take care to wrap a scarf around his nose and mouth, insuring non-difficulty in breathing. Pritchard also carries a knapsack. Next is Raghib, crouching in front of the others; his gaze directed upward. The 29 year old sports a blue New York Knicks baseball cap positioned with the brim to the back, his goggles firmly holding it in place. Like the others, Raghib has a scarf covering he lower part of his face. Accustomed to the unpredictable climate of this particular sector of the world, Raghib is decked out in more nonsensical garb: A short-sleeve, V-neck football jersey with a long-sleeve mock turtle underneath; khaki Docker slacks and construction boots. Last of the expediters is Anover, a tall; lanky individual of 23 years of age. His attire is exactly that of Mohammed and Lopresti.

Raghib: "It should only be a li'l bit further. 'Sides there's no way we can stop here. I say we keep going."

Pritchard: "I agree."

PANEL 2: 
Medium shot of Mohammed, from over Pritchard's shoulder. Mohammed has already begun up he slope. His glance is cast over his shoulder at the others.

MOHAMMED: "Then let us dally no more. The sooner we reach our alleged destination, the sooner we may return to camp."

PANEL 3: 
Medium profile shot of Mohammed leading the rest of the others up the incline. He is closely followed by Glover and Raghib, while the others dawdle on the landing.

GLOVER: "You talk as if you don't believe in the stories, Mohammed."

MOHAMMED: "Mine are a foolish people, Mr. Glover. They cling to idle children's stories as if they were real. It offers them a symbol of faith,... a symbol of hope."

PANEL 4: 
Medium close-up of Mohammed as he reaches the top of the rock face. He closely regards the positioning of his hands and feet as he pulls himself up. He doesn't notice the sandstorm subsiding.

MOHAMMED: "I, my friend; am no fool!"

PANEL 5: 
close-up of Mohammed as he attention has been grabbed by what awaits the expedition on the other side of the rock face.

CAPTION: For a non-believer such as Mohammed, the words fall oddly from his lips; yet.they manage to sum up what many words could not.

MOHAMMED: "By Allah…"

PANEL 6: 
Wide shot of a lush oasis amidst the barren of the desert. A small lake centers the fertile plains, as surrounding plant and animal life flourishes in every corner of the desert oasis. A flock of birds sail over head, their flight un-impeded since the sandstorm does not rage here. Quite obviously, this does not belong.

GLOVER: "Pay dirt!!! Idle children's stories, huh; Mohammed?!"

PAGE FOUR

PANEL 1: 
Long shot of the expedition party gathered on the peak of the rock face, which on this side; is covered with untamed wild grass.

MOHAMMED: "It's not possible! The desert cannot sustain plant life, particularly not of such magnitude!"

ROB: "Y'think maybe it's a mirage or something'?"

PRITCHARD: "Only one way to find out."

PANEL 2: 
Medium close-up of Raghib struggling through a sea of vines suspended from the nearby trees, mammoth Redwood trees; usually found in California. No longer having to contend with the sandstorm, Raghib has pulled his scarf and goggles down around his neck, allowing us to finally see his face. His complexion is dark, normal for people of the African and Middle Eastern cultures. Following closely behind Raghib, the others have as discarded their apparel. Glover, white male; blond hair, yuppie haircut. Pritchard, white male, his curly hair falling around his neck. Lopresti, white female, long auburn hair, looks very young. Mohammed, Arab, very dark in complexion, short afro and a mustache, very dark features. Cutter, rugged white male, reddish brown hair, beard stubble, sports a crewcut and shades. Despite them selves they all cannot help but be awe struck by what has presented itself as a modern-day "Eden".

PANEL 3: 
Up-shot of Cutter as he gazes up into the trees at a family of Rhesus Monkeys playing amongst he greenery, oblivious to the human intruders.

PANEL 4: 
Medium shot from over Raghib~s shoulder of two Red Deer fawns skirting across the expedition's path and disappearing in the shubbery. 

PANEL 5: 
Close-up of a Bald Eagle soaring through the open skies. Underneath him, we see the expedition venturing out into a grassy clearing.

PANEL 6: 
Close-up of Raghib as his lips part to utter words that fall by the wayside. His eyes widen with amazement. Lopresti, looking over Raghib's shoulders, mirror Raghib's expression, only she does manage o find the words.

LOPRESTI: "Jesus."

PAGE FIVE

PANEL 1: 
Wide shot of the prairie-like clearing hosting a sparkling lake along with wild animal-life. Respective bands of wild horses, Red deers, Timber wolves, Bengal Tigers and Mountain Lions cool themselves by the lake side. Some sipping from the unadulterated water, while others recline on the banks.

PRITCHARD: "!"

CUTTER: "What's troubling you, Pritchard?"

PANEL 2: 
Medium profile of Pritchard as he runs his fingertips through his hair. Cutter looms in the back drop, full frontal shot as he gazes out over the clearing.

PRITCHARD: "The variety of animal-life here. Benqal tigers, Timber wolves, wild horses. Even the plant-life!"

CUTTER: "I'm just a grunt, Pritchard. I haven't the slightest idea what you're talking' about."

PANEL 3: 
Medium shot of Lopresti, her backpack now dismounted from her shoulders as she produces a 35mm camera from it. A grove of majestic Redwood trees loom behind Lopresti.

LOPRESTI: What I believe Mr. Pritchard is trying to say is that none of these animal species are indigenous to this area of the world, not even the plant life.

PANEL 4: 
Medium shot of an awe-struck Raghib, as Glover towers behind him; his glance focused on Lopresti.

GLOVER: "Well, if what you say is true then how in the hell did they get here?"

PANEL 5: 
Close-up on a tribe of Bengal tigers reposing under the cooling shade of the forest lining the shores of the lake. Several cubs darting about in idle play, the mothers keeping close eye on them. What strikes us more, almost imperceivable, is a small unclothed boy crouched on all fours, frolicking amongst he young cubs. The small boy is of dark complexion, perhaps he is of African descent.

PANEL 6: 
Medium close-up of the boy as his eyes snap towards the expedition party. At closer glance, we see the boy has very distinctive features; usually attributed to the populace of the African continent. His expression is one of calmness, although it is quite evident that "foreigners" have invaded his home. Oddly, as if mimicking the child's movements; the surrounding tribe of Bengal tigers have also turned their attention towards the expedition.

CAPTION: How, indeed?

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    The ADAPT™ Project is a team of creative souls who want to re-define how comic content is perceived in the world and bring a wider artistic ascetic of graphic, fine, digital and animation techniques to the online comic art experience. ScriptGraphics, through this project, aims to be at the forefront of visual expression in this arena. 

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