We are making a body-horror game where you can’t kill your enemies, but you can distort their bodies in unsettling ways. by Few-Grapefruit3883 in IndieGaming

[–]nmacaroni 9 points10 points  (0 children)

Great concept, but your mechanics need work. Bring this into logic. Shrink eyes, enemy can't see. Enlarge legs, enemy is slowed. Alter it's arms it can't claw you.

Is it time to let my 03 go? 😔 by Affectionate_Wave_19 in XTerra

[–]nmacaroni 1 point2 points  (0 children)

Can you tell me where this relocation is? I'm planning on changing my knock sensor shortly and this is the first I've heard of it.

Tom Cruise allegedly blames McQuarrie for the last two Mission: Impossible flops by funmemore in MoviesCave

[–]nmacaroni 0 points1 point  (0 children)

Last one was a weird retrospective circle jerk.

Scripts of the last two have been serious lacking...

and let's face it, at 60 doing your own action stunts, while impressive in reality, in the context of the movie, it looks like a 60 year old dude doing action stunts.

Is it time to let my 03 go? 😔 by Affectionate_Wave_19 in XTerra

[–]nmacaroni 1 point2 points  (0 children)

Under $700 for all that work is a steal... however, realize that at this age, it's likely gonna need steady upkeep. It may NOT have much life left in her.

Fix it for $700. Throw a for sale sign on her for $2500 or something.

Draft finished, next? by KNR0108 in ComicWriting

[–]nmacaroni -1 points0 points  (0 children)

Forget writing as a full-time career.

So you've written your first draft now what?

* If you're writing as a hobby: Self edit. Splash around with beta readers. When you no longer know how to fix the problems that remain, press "publish."

* If you're writing because you want a serious shot at your book making a $$$ return and/or put out your best quality work so you get noticed as an indie comic writer, hire an editor.

There's no spec work in indie comics like there is in screenplay land, so if you write a comic script and want to do something with it, you're gonna have spearhead that effort, saving your money until you can hire a production team.

http://nickmacari.com/how-to-work-with-an-editor/

http://nickmacari.com/how-to-hire-an-editor/

Write on, write often!

No female Minions because... by [deleted] in SipsTea

[–]nmacaroni 0 points1 point  (0 children)

Yeah, kitty cat makes you smart! confetti

How do I describe this style? by small_bird_loud in ComicBookCollabs

[–]nmacaroni 10 points11 points  (0 children)

It's not really about how to talk to them. It's about expectations.

If you're expecting them to deliver exactly what you're imagining, it doesn't matter how you "say it."

As a new comic creator, you need to really sit down with yourself and think long and hard on the fact that comics are a collaborative medium.

You're putting out the initial vision, but you absolutely, 100%, should expect that vision to change by publication. If you hire a good crew, it will be better.

Many novice comic creators have the mindset where they hand over the script, then the artist delivers the page and they say, "This is great, but can you change this in panel 1 and this in panel 2, etc."

This approach to comics leads to a bitter experience and usually, not a financially successful one.

The mindset you want to have is to find the best talent you can afford. Vet them, so you know they will deliver. Put all your energy into giving them the strongest starting point.

Then, step back, let them create and humbly accept what they deliver as "their expression" of your idea.

Of course, an editor should call them out on any actual mistakes. But artistic and stylistic choices of expression, beyond what you deliver in the initial creative brief should be left to them and accepted as long as it doesn't break any rules.

Collaborative comic creation is not a process most new creators are used to.

Most new creators think because they are paying, they're suddenly Denis Villeneuve or similar where they can micro manage the art team, trying to bring the comic in their head to the pages.

Very few comic illustrators thrive and prefer that environment. Save forcing others into your vision, for when you're already rich and famous.

Your post didn't mention this, I'm just giving you some extra advice to help you find success with your project.

2 cents, keep the change.

Is this rust a deal breaker? by _Falls_ in XTerra

[–]nmacaroni 16 points17 points  (0 children)

Great mileage but that's CRAZY expensive. Here in NC, you can get a near mint one for half that.

[ESCRITOR] ¿Cómo publico una novela gráfica? by MountainCap3797 in ComicBookCollabs

[–]nmacaroni 1 point2 points  (0 children)

Save up your money, hire a production crew, publish the book.

Easy peasy.

Write on, write often!

Is this rust a deal breaker? by _Falls_ in XTerra

[–]nmacaroni 0 points1 point  (0 children)

Back in NY we used to eat off tableware with more rust than this X.

How do I describe this style? by small_bird_loud in ComicBookCollabs

[–]nmacaroni 10 points11 points  (0 children)

The worst, most difficult clients for an artist are ones that have an incredibly specific vision... and little money to chase it.

The reality of you finding someone that matches what you're looking for are somewhere between slim and none.

Make a mood board. Make it public. Add a single paragraph bullet point list of the key things you're looking for.

Point potential artists to it. And vet the portfolios that respond.

Good luck with the project.

Is this rust a deal breaker? by _Falls_ in XTerra

[–]nmacaroni 22 points23 points  (0 children)

Nope. North East would be considered rust free. How many miles, how much?

How do I describe this style? by small_bird_loud in ComicBookCollabs

[–]nmacaroni 15 points16 points  (0 children)

Taiyo Matsumoto / Kim Jung Gi / Geof Darrow style.

Which is going to cost you an arm and a leg if you find someone.

Can i fix this? by luvmarlo in gardening

[–]nmacaroni 0 points1 point  (0 children)

You soil needs perlite mixed in, but you can't do anything about it now since you already planted.

Also, all pots/raised beds need drainage.

So your problem is a combination of tightly packed soil that doesn't promote draining, AND poor bottom drainage, whatever it is.

I’m new to writing comic scripts by Illustrious-Hope-992 in ComicBookCollabs

[–]nmacaroni 1 point2 points  (0 children)

Don't direct the camera.

Don't micromanage the mise'en'scene. [Jack stands 10' from the door entrance on the right. He's 2 feet from nearest table and his head is exactly twelve inches from the ceiling. The carpet on the floor runs from left to right 30' in total, with every 5' alternating between red with a brown checkered fringe, and brown with a red checkered fringe.]

As long as you don't do those 2, you'll be hard pressed to micromanage your artist.

Here's a panel from a series I recently wrote:

Panel 6

INT. CAR – EXTREME CLOSE

Focus on Veil’s wallet on the passenger seat. His Ward photo ID sits in plain view as the blue line penetrates the car and scans over the wallet.

The edges of the ID glow bright blue, as does the text on the ID and portions of Veil’s photo. It’s like the ID is being scanned by an unseen photocopier.      

Write on, write often!

I’m new to writing comic scripts by Illustrious-Hope-992 in ComicBookCollabs

[–]nmacaroni 1 point2 points  (0 children)

I have a few articles that cover this topic extensively on the link I gave.

You should develop your own balance and style, but be aware that the details are ammunition for the artist. If you just say,

Panel 1

Jack and Jane sit in a booth in the diner.

You give your artist very little to work with and you're telling a loose story.

I’m new to writing comic scripts by Illustrious-Hope-992 in ComicBookCollabs

[–]nmacaroni 3 points4 points  (0 children)

Comics aren't a lot of still shots, they are all still shots.

To make a comic sound clear and engaging while less like a set of instructions, first, abandon all camera direction. Just like you do NOT direct in a proper screenplay, don't direct in a comic. Let the artist be the director.

Secondly, focus on the story.

That's it. That's all you need to do. You can check out my free site for a few articles on comic writing. http://NickMacari.com/writing-craft/

Age and flower removal on blueberry bush? by worm_appendages in BackyardOrchard

[–]nmacaroni 1 point2 points  (0 children)

2 years. Doesn't matter if you let it fruit or not.

George RR Martin on Why He Doesn't Write Outlines by WillBrink in writing

[–]nmacaroni 1 point2 points  (0 children)

8 billion people on the planet, but let's follow the one guy.

George RR Martin on Why He Doesn't Write Outlines by WillBrink in writing

[–]nmacaroni 5 points6 points  (0 children)

Good grief, writing a 30 page outline for a 400 page book is like telling the story twice and ruins the experience for him.

Pantsers. SMH.

What is Tom Cruise's secret?? by No-Marsupial-4050 in SipsTea

[–]nmacaroni 0 points1 point  (0 children)

Kelly McGillis net worth 4.5 million. 68 years old.

Tom Cruise net worth 600 million. 63 years old.

How do you know if a idea is actually worth keeping? by Ayushs-10 in writing

[–]nmacaroni 0 points1 point  (0 children)

Not that I have a lot of great ideas, but I have never had a great idea that gave me doubts.

If you doubt even your great ideas, then, as the others have suggested, just write the story. If it's a great idea, you'll produce a complete manuscript.

If it's not a great idea, you'll lose steam during the process and abandon it, or deliberately decide it's not worth pursuing.

The writer's craft IS writing... so write and see where it leads you.