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REVIEW: “The 7D” – They prefer the term “heroes”

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Disney television animation has slowly but surely been expanding its stable of decidedly “Non-Disneyish” series.  From Phineas and Ferb to Gravity Falls, there’s a rising tide of irreverent and wacky series that bring a breath of fresh air to the various Disney cable channels.  Their latest show seems much more like a 90s Warner Brothers show, and it comes by that honestly, being executive produced by Tom Ruegger, one of the gifted madmen behind Tiny Toon Adventures, Animaniacs and Pinky and the Brain.

The 7D is a new take on the Seven Dwarfs, with no Snow White in sight.  The band of bitsy brothers reside in Jollywood, a starter-level enchanted kingdom ruled by the daffy Queen Delightful (Leigh-Allyn Baker) with the assistance of her aide de camp, Lord Starchbottom (Freakazoid!‘s Paul Rugg, who’s also writing for the show).  When crisis looms, she calls on the 7D, who hie hither hastily from the gem mine to provide assistance in their own madcap fashion.

The voice cast for the show is an all-star list.  Folks like Maurice LaMarche, Billy West, Kevin Michael Richadson and Bill Farmer (the current voice of Goofy) voice the dwarfs, with guest stars like Whoopi Goldberg as the Magic Mirror and Jay Leno as the crystal ball.  In her first but very successful foray into voice work, Kelly Osbourne plays Hildy Gloom, a beginner baddie whose plan is to take over Jollywood to help pad her fledgling resume.

The names are all that remain from their original appearance – this team of tiny titans are all action, with the adventures and craziness running hot and heavy as they combat Hildy and her new husband Grim (played by Jess “Wakko Warner” Harnell).  The show is aimed at the young tween audience, but as was true of Ruegger’s past creations, there’s plenty of comedy to keep the adults happy as well.

The 7D premieres Monday, July 7th at 10AM on Disney XD.

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How should you pick palettes when coloring comics? Here’s one way…

Mindy Newell: Kiss 2% Of The World’s Asses Good-Bye

The LeftoversThus, we must realize that October 21, 2011 will be the final day of this earth’s existence.” – Harold Camping, July 19, 1921 – December 15, 2013. American Christian Radio, Author, and Broadcaster.

Wow. That was dark and nihilistic. Right up my alley.

I’m talking about The Leftovers, which premiered last Sunday. Based on the 2011 book by Tom Perotta, who co-created the television series with Damon Lindelof, The Leftovers is a spin on the evangelical Christian belief in the Rapture, an event in which all those who are true believers in Jesus Christ as the son of God and the Messiah will be taken from Earth to be with Him in Heaven and which will signal the beginning of the final battle between Jesus Christ and Satan, i.e. the Anti-Christ, in the climatic Apocalypse, after which the victorious Jesus will rule over an Eden-esque Earth for a millennium. (Let me know if this nice Jewish girl got it wrong, okay?)

However, unlike the Left Behind series by Tom LaHaye and Jerry B. Jenkins, in which the authors follows the script(ure) of evangelical Christian belief, The Leftovers offers no easy answers as to why this global Rapture-like event has occurred.

The series opens on October 14th. No year is given. We are introduced to an unnamed woman in a laundromat, a typically mundane scene. She is washing her clothes and talking on the phone over the incessant crying of her baby – in fact, we only catch snatches of her conversation because of the screaming kid. A few moments later we watch the woman, still yapping on the phone – sheesh, it takes me about two hours or more to do the laundry in my laundromat, how the hell long has this woman been on the phone? – strap the baby’s car seat into the car and then get into the driver’s seat. She turns around once to distractedly attempt to quiet her child. The camera moves to the baby, who might be looking up at heaven, and back to the mom, still on the phone…and suddenly the car is quiet.

The baby is gone.

As Mama freaks out – and finally hangs up the damn phone – we also see a young boy yelling for his father (“Where’d you go, Dad?!”) as an empty shopping cart rolls into a parked car’s fender. In the background and a few blocks away we see a (driverless) car slam into another as it speeds through a red light.

Three years later.

A man is running (for exercise, not escape) down a suburban street. He’s wearing headphones, and in an interesting commentary on television and radio punditry we hear analysts and experts and other so-called “authorities” talking about the event, not just on the runner’s headphones, but from a variety of sources. Two percent, approximately 144 million people, disappeared on that day, and everyone is trying to explain it.

Alien abductions? A God-driven event? Well, that may explain the Pope, but Gary Busey? Jennifer Lopez, Shaquille O’Neal and Anthony Bourdain are also among the celebrities vanished into thin air. (No mention of the Kardashians, though. We couldn’t be that lucky.) And if it’s about good people having been taken, then why a child beater?

And of course there’s a televised Congressional investigation with scientists and religious experts babbling on with their respective theories.

But nobody knows nothing. Except that I’m fairly certain that the cable news channels are having a field day with this. CNN and the Malaysian plane disappearance, anyone?

The man, Kevin Garvey, is the police chief of a small suburban town somewhere in New York. He’s played by Justin Theroux – of whom I knew nothing about except that he’s been stringing Jennifer Aniston along for what seems like a century, thanks to my tabloid reading while waiting on the checkout line at Stop-and-Shop. Now I know that’s he’s incredibly hot and very good at playing morose and confused, and sees visions of stags. Stuffed stags. Live stags. Run-over stags. Being torn to pieces by wild dogs stags.

About 100 people of his town disappeared in the “rapturous” experience. As the hour progressed we watch and learn how it has affected the “leftovers,” and, by extension, the rest of the remaining population of the earth.

Of course there are cults. One, called the Great Remnant, doesn’t talk, encourages cigarette smoking (“Don’t Waste Your Breath” is one of their mottos), and dresses in white, as if they are on the White Team during Color War at my summer camp. (Kevin’s wife, Laurie, whom we assumed had been whisked off to Never-Never land, is a member of the Great Remnant.) Another cult, one that has not yet been given a name, appears to be ensconced in a survivalist camp of the Neo-Nazi / White Power type somewhere in the deserts of America, although this cult is apparently okay with race, since there is a hot, young Asian chick in a bikini lounging around the camp’s pool as if it’s a luxury hotel in Scottsdale, Arizona. I also know this cult isn’t racist because it’s led by a muscularly endowed black man whose name is Wayne and whom is apparently the “know-it-all” religious leader of this cult. We discover that the police chief’s son, Tom, also belongs and has a thing for the hot young Asian chick, as does Big Kahuna Wayne, who has “plans” for her.

Teenagers are still going to school, but it’s a shadowbox routine, as their real life is taken up with smoking weed, drinking alcohol, fucking and pushing life to its limits – including erotic asphyxiation, which the chief’s daughter, Jill (played by Margaret Qualley, who has amazing “Elizabeth Taylor” black eyebrows and blue eyes) partakes in with some loser named Max. (It seems that Max is dead as we see Jill walk out of the bedroom after their, uh, session.)

I know that I’ve been kind of flip in talking about The Leftovers, but in actuality I’m very intrigued. I think that, in just this one premier episode, the creative team has shed a lot of hokey nonsense about a mass disappearance of humanity (I’m sorry, those of you who are Christian evangelicals, but there is nothing called the Rapture in either the Old Testament or the New – it was dreamed up by a British minister, John Nelson Darby, sometime in the 1830s after one of his parishioners claimed to have had a vision of Christ’s return) and instead has captured the crazy ways that humanity would actually deal with it.

And I do mean crazy.

None of these characters is sane. Nor should they be. Unexplained phenomena is fun to talk about and to base TV shows on – I watch my fair portion of Ancient Aliens and Ghosthunters – but if two percent of the population of the Earth just suddenly disappeared one day, the frenetic behaviors, the fanatical actions, the extreme activities of the “leftovers” would surely rate new chapters in the DSM (Diagnostic and Statistical Manual) of the American Psychiatric Association – that is, if there were any sane shrinks left, much less a professional association.

I think we’re in for a fun – and thought provoking – ride.

And may I say…

Thank God.

 

Badgerbadgerbadgerbadger, Gaiman Gaiman…!

John Ostrander: Choice, Character, and Freedom

gandhi-1180371Which would you trust more – what a person says or what a person does? Almost anyone with life experience would say they’d trust what a person does more. Mind you, although we know better we often go with what a person says: con men, politicians and advertisers (that may be redundant) count on that.

It’s what we do with story – character is built upon choices, good or bad, which the individual makes. That’s why the writer puts them in difficult and even life-threatening situations. My late wife Kim used to ask me how I might react in a given situation. My response invariably was, “I don’t know. Ask me when I get there.” I know how I’d like to think I would act but the reality is, until faced with the given situation, I don’t really know. Nobody does.

I don’t believe it when someone says “I could never kill someone.” I think Gandhi was capable of killing given certain circumstances. The likelihood of him killing might be small, but he was human and any human is capable of the act. It’s part of our common humanity; a dark side of it, I grant you, but still part of it.

It’s not only big choices that we make that proclaim who we are (or who a character is); it’s the small ones as well. The artist in a graphic narrative, for example, must decide what a given character might wear. What we choose to wear projects how we want to present ourselves.

“Hold on there, Horsestrangler,” some of you might be saying. “I don’t care what I wear. I just throw something – possibly clean – on and go.” (Guys are more likely to say this than gals who, as usual, know better.) My response is doing so is a choice of its own and makes it own statement; it says “I don’t think that sort of thing is important. It’s shallow and trivial and doesn’t represent who I am.”

Except it does. It rejects certain values and/or it says you want to look like everyone else and blend in. Do you dress for a job interview the same way you dress for hanging with your homies? If so, good luck getting the job. If you’re going on a date with someone for the first time, how do you dress? How do you present yourself? If you had to go to a funeral, what would you choose to wear?

Different characters in comics will dress differently. Peter Parker shouldn’t dress like Tony Stark. Clark Kent shouldn’t dress like Bruce Wayne. I remember that in an early episode of The Sopranos, the producers dressed Tony in shorts and flip-flops for a backyard party to suggest more strongly the underlying suburban setting. Advisers to the show said that Tony would never dress like that – and he never did again.

Why do people wear clothing emblazoned with the Coca-Cola logo or the name of their favorite sports team and turn themselves into walking billboards for that product? Because it suggests a certain tribal affiliation the same way that inner city gangs wear certain colors. It proclaims us and marks us as part of a greater, possibly stronger, whole. At least, we may think it does.

That’s a choice that people make and it’s something that writer and artists working in the graphic medium have to keep in mind. There are hundreds, thousands, of ways of communicating to the reader who this character is, what the setting is, what’s at stake and what’s going on.

Are there exceptions to this rule? Yep. Sure are. There are situations when you have no choice to make. You can’t choose which shoes to wear when you can’t afford any shoes. Choice exists only if there is more than one thing from which to choose. Otherwise, you have to take what is given.

There is no freedom where there is no freedom of choice.

 

Clarence’s Skyler Page’s Third Option

clarence__season_01_a0d90133_us_v2_463-6848037“Think twice, and then say nothing”
  – Chiun, reigning Master of Sinanju

The internet, being computer based, is binary in nature,  The same is mostly true of its users.  People online view things with either utter apathy or obsessive interest, and tings are either adored or despised.  Similarly, people who make the news online are either hero or horror – they are the awesomest person in the history of awesome, or they need to be tied to the top of a mountain and sky buried before they’ve stopped living. There is almost never any in between.  So when a story comes along that lies in the part of the spectrum between “yes” and “no,” the Internet often has trouble parsing how to respond.

Clarence is one of Cartoon Network’s new shows, a charming little thing about an optimistic (if slightly odd) young man and his adventures being a kid.  It’s become quite the favorite in our household, and I’ve spent no small amount of time preaching its wonders.  However, earlier this week it was reported that the show’s creator, Skyler Page, had sexually assaulted another animator at Cartoon Network Studios. The Internet did what it does best: attack. Two camps were quickly formed – those ready to pillory him without question or hesitation, and those assuming this was just another female plot and started demanding proof, assuming  that since nobody personally said anything had happened to them, it was all just vaporous lies.  That was until Adventure Time storyboard revisionist until Emily Partridge stepped forward.  Needless to say, Camp Two immediately began attacking her, while calls to cancel or boycott the show came from Camp One.  Virtual pitchforks were rapidly sharpened.

Cartoon Network acted quickly,and removed Page as head of the show.  Many creators stepped forward both rightly chastising Page’s actions but reminding people that the show is the work of many talented people, and it should not suffer due to the actions of its creator.  Other creators related tales of Page groping them at various times in the past, and things were lining up to be a good old fashioned hate-fest for Mister Page.

But then something very interesting happened.  Page’s long time friend Jeff Rowe revealed that Skyler suffers from Bipolar Disorder, and the day of the incident in question, was so far into a manic state that Jeff went with him to an emergency room where Page lay strapped to a bed, “singing They Might Be Giants songs and talking like a cowboy.” He remains, at the moment, hospitalized.  Jeff’s post is quite clear when he calls Skyler’s actions “Abhorrent,” but wishes to provide “more context to the conversation.”

CN creator Emily Quinn followed up on this news with elaboration from her experience with Page.  He had already been hospitalized once before, after a series of episodes resulting from what Emily describes as not being able to handle the pressure of running a show.  Executives at Cartoon Network had responded to these episodes by slowly taking creative control of the show away from Page; the rapid response of the studio after this week’s allegations may be better explained by this history.

The agreement is universal that Page’s issues do not mitigate or excuse his actions, but The Internet is placed in an odd situation – those who engage in sexual assault must be punished and cast out, but those with mental issues must be helped and cared for, and their actions must be seen through the filter of their disorder.  The Internet, a binary creature, must now explore the infinite variations of “maybe” that lay between the endpoints of “yes” and “no.”  If it wasn’t for the fact that real people have had very serious things done to them, I’d almost be enjoying watching the Internet spiral into a negative feedback loop of “I must and yet cannot.”

A woman – indeed, several women – were harassed and assaulted. The exact details of the assault has not been revealed, save for that it was not rape, and any further detail is None Of Our Goddamn Business. A guy with existing mental issues was placed in a position of responsibility that he wasn’t able to handle, the pressure exacerbated existing mental issues, and during manic episodes did things to co-workers that cannot be forgiven or ignored.  That’s a lot more complex than the usual “Guy grabbed a boob – git him!” that The Internet prefers to deal with.

In the modern age, information flies at us thick and fast and there’s a temptation to take the first information we receive, treat as the entirety of the truth, and formulate an opinion so we can get a comment posted as quickly as we can.  Sadly, this temptation is also quite prevalent in the established news media, where the first story posted will get all the user clicks. But based on the number of times stories have morphed, or sometimes been proven entirely wrong, it’s approaching the point where people need to remind themselves that a story has many sides, especially one where humans are involved.

When one reads a story online, one could do worse than to treat it with the same level of caution one does when hearing about a new health from a spam email.  “What is the evidence behind this story?” one could ask. “Is there another possible explanation for this action?  Should I wait for more information before I act or respond?”  It seems only fair that as technology becomes capable of processing more and more data at amazing speeds, we try to process a bit more as well, and not assume it’s all true because we read it on a computer screen.

 

Marc Alan Fishman: Your Mother’s A Tracer!

fish_pic_articleSo the book we’ve been building for the past two weeks (starting here) has now been plotted and all visual resources gathered. What else is left to do? Oh yeah. Draw the damned thing! You know, that big step that takes a bunch of words on a page and interestingly shapes them into visual communication of plot, character, nuance, and depth. It’s the thing that makes our medium truly special. Like a movie, but slaved over a single moment in time, at a time.

OK kiddos. Time to wear my heart on my sleeve. For all my piss and vinegar, pomp and circumstance, beard and bite, I have long hidden my entire creative process from prying eyes. Why? Because I’m man enough to admit for a very long time, I was ashamed of it. As noted last week, when Matt informed me I should either poop or get off the toilet (when it came to contributing to Unshaven Comics). I accepted his challenge. But I did so on my terms. I would use every trick in the book of my professional life as a graphic designer. I’d be fine to draw… so long as I could cheat. Let me peel back now exactly how I cheat – and in doing so end up with a finished product I am proud to attach my name to.

Picture Perfect Illustration

As we covered before, at the point I’m ready to illustrate I already have the entire comic page and panel layout. Simply enough, I open up my first page in Adobe Illustrator and get familiar with what I’ll be drawing. I then open the cache of photo references taken prior, and drop in the appropriate references in for the panel I’m building. I then drop the opacity down, and then I… I…

I trace.

There. I said it. It’s out there. And it can’t be taken back. With it being said though, I sternly suggest that what I end up doing is far more than tracing. When I make my mark in Illustrator, it’s tied to my pressure sensitive Wacom tablet. And the brush tools I use to make my lines have been custom built and tweaked by me to give me the line I envision in my head when I make my mark via the computer. Furthermore, anyone who traces learns quickly that every line – especially in comics – is crucial to personal style as well as building the right form. And when one works in a photorealistic style, line choice is the difference between making someone look their age or 40 years older. Line weight, and composition come into play. A thicker line can be used to separate forms, as well as add depth to flat objects. To the point: I trace, but I trace with a degree in fine art, and knowledge that I could replicate the results without tracing – just in twice the amount of time. Time I could be spending making more comics.

Building A World That Doesn’t Exist

Aside from using my photo references for the actual characters in The Samurnauts, no doubt you’ll note that they don’t fight zombie-cyborg pirates from space in a vacuum. Well, OK, sometimes they do. But you get my drift. Furthermore, as hard as we’ve tried Unshaven Comics has yet to procure a humanoid-monkey hybrid capable of performing kung-fu that we could afford. Nor have we any advanced degrees in cybernetic technology. And beyond all that, we don’t live in a futuristic city, have giant robots, or even own laser swords or shoulder mounted cannons. Lucky for me, I own an imagination and can afford to commission 3-D models of the props needed to flesh out each panel in our comic that I’m responsible for.

Much like staging for TV or movies, I am firm believer in building only what you have to show. When there’s need to show more, we show more. Matt, as the antithesis to my mantra, lives for building out sketches in every angle. And that of course leads me to the other half of this story:

Matt Wright. Penciler, Inker, Craft Beer Drinker.

Here I was spending all my precious time standing on my soapbox, defending my process to the masses… and I forgot that I only constitute 50% of the content of each issue of The Samunauts! Whilst I toil at my computer with photos, 3-D models, and a second screen of Google images, Matt Wright is doing things the traditional way. With a blank page, a dark basement, and a pile of actual art tools, Matt’s half of The Samurnauts is made the way you’d think all comics should be made. While Matt will keep reference materials at arms length, he typically draws from the figures and fantasies that lie betwixt his ears. It’s a skill I sadly lost literally within moments of meeting Matt, back in sixth grade.

So, Matt’s process is thus: light blue pencil gestures within pre-planned panels, followed by heavier pencils to clarify form and details, followed by finished pencil artwork. After every page has been penciled to his liking, Matt will then take to his ink and brush to lay out blacks and grey tones. As his sequences in our books typically encapsulate the past, Matt has explored a variety of media – gouache, water color, copic marker, and ink washes – to create the weathered, nostalgic look. As most people see upon viewing of the completed comic note, the juxtaposition of Matt’s well-rendered fine art mixes with the sterile, cel-animation-esque digital art I contribute. At the end of the day, it’s an aesthetic we’re proud is wholly ours, serves a purpose in our story telling, and is truly unique within the artist alleys we frequent.

Sage Advice I was Once Given

“Celebrate your successes, but cherish your failures. It’s only when we lose do we learn to win.”

And a personal favorite: “You think your fans care that it took you two-hundred hours to make that book in their hand? Hardly. All they care about is if it’s actually worth the time you invested in it.”

After this, it’s on to the finishes – flatting, coloring, lettering, and the cover. We’ll cover that (natch) next week… in our epic conclusion!