# Sight & Storytelling

One of the hardest things about publishing is soliciting an audience. Unless you happen to be famous, you’re going to have to put in a lot of work.

As appealing as it is, getting published traditionally comes at a price.

This is when things get real. You’re about to embark on the graphic novel equivalent of “Principal Photography.”

Individual stories allow a range of writers to explore different topics and interests within the world, and also provides an easy point of entry for our audience.

Creating art takes time. With every additional page, the production schedule gets longer. And the longer it takes to produce, the longer it will be before you can bring your project to market.

During one pitch, we were asked if our screenplay was based on a graphic novel. The answer was no, but it had crossed our minds to adapt it in the opposite direction.

Too many writers jump into projects without knowing what their role is as an artist.

"That moment has got to feel like the greatest moment of this guy's life, you know, like we're behind him and not in front of him."

But when you write a script, if it doesn’t get produced, it remains as just that. A template. A creative miscarriage.

“When I go back ... I lied a lot. That was the beginning of my storytelling career."

These games taught me a valuable lesson about the importance of perspective and POV in storytelling. The lessons go much further than that. This game may have actually changed my outlook on life.

"Animation is so close to the language of dreams, and the language of dreams is so close to the language of mythology."

You may not have heard Brian Lynch’s name, but you definitely know his work. He’s one of the writers behind Hop, Puss in Boots, and Minions—the eleventh highest grossing animated movie of all time.