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Marc Alan Fishman: Marctaku – A Study In Anime

fishman-art-130713-5473812This past weekend, Unshaven Comics took a leap of faith. We attended our very first Anime Convention. To be honest, we had little expectation. The Samurnauts, while well-rooted in Sentairoots, isn’t Manga in any sense of the word. It’s pastiche. It’s homage. For those not initiated, it appears only to be tongue-in-cheek. But I digress.

We purchased a table at the third annual Anime Midwest show, now in the lovely Hyatt Hotel in Rosemont, Illinois. Considered perhaps to be the little brother to the now monumental A-Cen show from a few months back, we were unsure if the show would be heavily attended and how we would strike the fancy of a fan-base we as a creative unit are only marginally related to.

Oh, how surprised we were. But first, a bit of backstory.

Speaking only for myself, my relationship to the Japanese comic/movie/TV Show empire was one of tepid acceptance. Shortly after meeting Matt and Kyle in 6th grade, it was clear that I would need to get on the Manga train. By 8th grade, Kyle and his brother had a basement full of VHS tapes (both booted from Japanese TV, and purchased at Suncoast Video), and a near encyclopedic knowledge of dozens of series, both in print and on screen. Matt was a longtime fan of Guyver and Neon Genesis Evangelion as well as dozens of other giant robot animes. Just as when your girlfriend decides to be a vegetarian begets your becoming a vegetarian, so too did I find myself sampling several series from across the pond.

I found several that I genuinely loved. The gritty Angel Cop with its leather, boobs, and super psychics. Record of Lodos War, homage to Tolkien with a Japanese twist. Akira, of course. And a smattering of others. I found most Anime to be kindred spirits to the comic books and super heroes I held dear, but with a foreign (natch) and mature manner about itself. Sitting down to a marathon of Evangelion left me both emotionally drained and completely inspired.

Unlike American action, the Japanese love (even in animated form) to let action unfold without a shaking camera. They like to pepper stories with emotional breaks and pauses. Every so often they even let complete sequences go without dialogue, letting the artistry on screen do all the communicating necessary. Their stories tended to be more complex, and with more expansive universes (albeit rarely shared like the DCU or 616). In simplest terms? Manga and Anime represented to me a world and culture that could easily be obsessed over and beloved by a sect of nerd-culture. Me, perhaps, if only from afar.

We were told by many friends that Anime Shows tend to be “friendlier.” Upon entering the hotel, I immediately recognized why. Comic book fans share a love of a wide-berth medium. Anime fans tend to be closer knit. While there are just as many genres, styles, and sub-sub-cultures within the Otaku world, here I noted that the relative age of the fan was younger than I’d been used to seeing at comic-cons. The show itself was also more akin to what comic-cons used to be like. Here was a convention that was built in celebration of the medium, not just vapid promotion. The brunt of the show attendees were there to view episodes, attend panels, contests, discussions, and enjoy the company of their brethren. The dealer room we sat in was merely one small hall amongst several others. Not the star of the show, just another part of it.

It was perhaps this that made things so lucrative for us. With fans able to attend so many different things while at the convention, our little dealer room was there for them to explore and to discover. When we made our pitch, much like at comic-cons, we were met with laughter, and quizzical looks. But unlike comic shows, we rarely heard the all-too-common “I just got here, and I’m making some rounds. I may be back.” Instead, we were given a “yes!” or a very polite “no thank you.” Matt sold 10+ commissions. I sold a few Domos. It was, for all intents and purposes, one of the most profitable shows we’d ever attended.

Beyond simple dollars and cents though, I come out of the experience once again inspired. Here this group of fans still celebrate their medium more than they snark at it from a far. Here cosplayers dress less to impress and more to get hugs and high-fives. Here is a convention more attuned to the type of event I long for (and will see again first hand in Baltimore – which still stands as the most comic-booky con I’ve had the pleasure to attend). I tip my hat to the Otaku. Anime and Manga is a once forgotten love-like of mine that I think I’ll have to revisit. Sometimes all it takes are a few pairs of enormous eyes to open our own, no?

SUNDAY: John Ostrander

MONDAY: Mindy Newell

 

Earth Station One Takes on the Lone Ranger!

The Earth Station One podcast travels to the old west to try to collect the bounty on the masked ex-ranger and his Indian companion. ESO hosts Mike Faber, Mike Gordon, Jennifer Hartshorn, and the award-winning author Bobby Nash are joined by New York Times Bestselling Author Debbie Viguie, Dr. Scott Viguie, Joe Crowe, and Ashley Bergner as they cue up the William Tell Overture and discuss the highs and lows of two of the most popular characters in American pop culture from the radio show in the 1930′s to the new Disney movie, that latter of which nearly causes a barroom brawl! Plus, Darren Nowell joins us to rave about the big news regarding Dragon*Con. All this and the usual Khan Report and Shout Outs!

Join us for yet another episode of The Earth Station One Podcast we like to call: Who Is That Masked

Man? The Lone Ranger at www.esopodcast.com
Direct link: http://erthstationone.wordpress.com/2013/07/12/earth-station-one-episode-170-who-is-that-masked-man-the-lone-ranger/

 
Next week: It’s giant robots vs. giant monsters ass ESO heads back to the theater to review the new blockbuster film from Guillermo del Toro, Pacific Rim.

The Point Radio: Jane Lynch Says GAME On

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It started in the home of actor Sean Hayes – and now HOLLYWOOD GAME NIGHT is open to all. Host Jane Lynch talks to us about the NBC summer series and which celebs really had any game. Plus retailers scream as  Amazon unleashes Jet City and comics in June have an “OK” month.

This summer, we are updating once a week – every Friday – but you don’t have to miss any pop culture news. THE POINT covers it 24/7! Take us ANYWHERE! The Point Radio App is now in the iTunes App store – and it’s FREE! Just search under “pop culture The Point”. The Point Radio  – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or on any other  mobile device with the Tune In Radio app – and follow us on Twitter @ThePointRadio.

Interview With Steampunk Octopus Artist Brian Kesinger

LA-based illustrator, animator, and artist Brian Kesinger has just released his first book, Walking Your Octopus: A Guide to the Domesticated Cephalopod. I first came across Brian a few years ago when I was the judge for the WeLoveFine steampunk tee shirt art contest, where he submitted “Walkies for Otto”. He won that contest and thus started the Internet’s love affair with his adorable characters Otto and Victoria. Since then, Otto and Victoria have grown to encompass books, prints, shirts, and more. Brian was good enough to sit down with me for an interview on his new book, upcoming projects, and the very important question of “why the octopus?”

ComicMix: How did you get started in the arts?

Brian Kesinger: I was fortunate enough to born into a family of artists. The thing is they were all musicians! In fact I’m the only one in my family who couldn’t play an instrument. I was much more fond of drawing than practicing piano. My parents recognized this and were able to support my artistic endeavors all through school and that support has certainly helped make me the artist I am today.

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ComicMix: How did all this Steampunk style art you started doing in 2010 come about?

Brian Kesinger: I had been drawing steampunk art before I knew of that term. Back in 2000 I was doing layout and background design for Walt Disney animation studios on the film, Atlantis. It was on that film that a grew fond of drawing submarines, gears and gadgets. After that I moved on to the film treasure planet where I continued my alternate history aesthetics that time with the mixture of tall ships and sci-fi. It wasn’t until recently that I started doing my own steampunk art and I think my passion for the subject matter stems from the education I had on those films.”

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ComicMix: Can you tell us a little about the new book you have coming out?

Brian Kesinger: My book, walking your octopus: a guidebook to the domesticated cephalopod is based on two of my more popular original characters, Otto and Victoria. It’s not your typical storybook. It reads more like an owner’s guide to pet octopuses. (Think of a Victorian era “puppies for dummies”)
It’s sort of a satirical look at how we all can get a little carried away with how we raise our pets. It’s certainly inspired by my own dog Scout but also inspired by the ups and downs of raising two young children with my wife. My hope is that the book speaks to not only steampunk fans but pet owners and parents as well.

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ComicMix: Why the Octopus?

Brian Kesinger:  I find octopuses extremely fun to draw. It is a real challenge inventing eight different things for them to do in every image. They are nature’s original multi-tasker and they certainly have captured the imagination of a lot of people. Along with the squid and other Cephalopods, octopuses seem to be a sort of theme animal for steampunk so when I set forth trying to render an image of a high class Victorian lady and her boutique pet the choice was obvious. What was not obvious was how popular Otto has become since I first drew him a year ago. He has inspired fan art, tattoos and I’ve even seen girls cosplay Victoria and conventions around the country! And for that I am so grateful and it keeps me drawing octopus.

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ComicMix: What other things do you have coming up that we all should look forward to?

Brian Kesinger: Well my first love is movies. It’s why I have wanted to work in animation. So I have been developing several short film ideas and in addition to that I am in the very early stages of developing a full length feature of Otto and Victoria’s adventures. I would love to see a beautifully rendered steampunk animated film and I can’t think of any characters better suited for that than Otto and Victoria. Stay tuned for more details!

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Annie Award-winning artist Brian Kesinger has loved to draw ever since he could remember. During his senior year of high school, Brian was accepted to the Walt Disney Animation Studios in Burbank, California as the second youngest animation hire in the history of the company. At just 18 years old, Brian became a layout artist and in his 16+ years at Disney Animation, he has worn many artistic hats from visual development to story artist. In 2011, he was honored with a prestigious Annie award for his story work on the hit Disney TV holiday movie “Prep and Landing.” Brian’s most recent film at Disney is the Academy Award-nominated film “Wreck It Ralph” – and if you listen closely, you’ll hear him lend his voice talents to comic bad guy, “Cy-borg.” Inspired by his love of gadgets and fantasy, his delightful steampunk characters celebrate Victorian sensibility and timeless beauty with a dash of geekiness thrown in for good measure. His original “Tea Girls” art is created with different kinds of actual tea – resulting in an innovative visual affect.
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Martha Thomases: California, Here I Come – Except…

thomases-art-130712-1488945In a few days, I’ll be in California. Not in San Diego, but in California. I’ll get the good weather without the mobs.

It is the habit of old farts (check out our editor-in-chief’s tirade in this space next Wednesday morning) such as myself to complain about the San Diego Comic Convention. It’s too big. It’s not about comics anymore. Nobody kisses my ass anymore. I don’t have an expense account. (Those last two might be unique to me.)

My major philosophical objection is that a fine, non-profit educational organization has been completely co-opted by Hollywood. True, comic book companies used the occasion of the convention to promote their books, but the convention was at least about comics. Now, it’s a stop on the promotional train for television, movies and video games, complete with red carpets and stylists.

And, apparently, rock bands. Metallica will be performing a live concert for those lucky enough to get tickets (in case you haven’t waited in line for Hall H long enough), to promote their new movie.

Metallica is no doubt a fine group of people (although their music is not my genre), and, since they’ve been together since 1981, they aren’t exactly amateurs at attracting and keeping fans. They should live and be well.

But, as the New York Times story in the link reports, there is going to be a panel about rock music at the Con. And it will include people who score movies, but not the people behind the new Dark Horse graphic novel, The Fifth Beatle, which actually combines rock music and comics. It won’t include John Holmstrom who was combining rock’n’roll and comics even before Metallica was a band.

Look, I enjoy soundtracks as a musical form. Mark Knopfler did some of my favorites. It is an interesting and a demanding musical form with its own unique challenges and structures. There are lots of places that could host interesting panel discussions on the subject with a variety of experts, including composers, directors, and editors. I just don’t think the panel, as described in this article (and maybe it’s not accurate? Could happen) is that kind of conversation.

If you are going to San Diego, I hope you have a fabulous time. I hope you get into The Black Panel because it is so much fun.  I hope no one hits you in the face with a backpack.

And, if you’re really lucky, I hope you find some cool new comics.

SATURDAY: Marc Alan Fishman

SUNDAY: John Ostrander

 

Scott Lobdell on WE CAN BE HEROES Crowdsourcing Event

3135987-we-can-be-heroes-superman-4430540Scott Lobdell talks on ComicVine about raising money for We Can Be Heroes:

I’m a big fan of crowdsourcing — for comics and graphic novels on sites like Kickstarter and Indiegogo. So far I’ve only watched from a distance, calling attention to special projects and generally being a cheerleader for the ambitious creatives involved in these passion projects.

That was until DC Comics asked me to participate in their crowdsourced We Can Be Heroes fund-raiser — part of their ongoing initiative to raise money for and awareness of the plight of the hungry in the Horn of Africa.

My “bosses” gathered a veritable Who’s Who of some of DC and Warner Bros. most talented creators and said I could hang out with them and help a worthy cause in the process. We’re signing super exclusive and limited run graphic novels, animated movies, caps, T-shirts, prints and other assorted products (Did I mention you can have yourself written into a DC Comic? Or that none other than Jim Lee will come to your town and paint a mural on your wall?) with all the money going to fight something far more destructive than anything Lex Luthor has ever come up with on his worst day.

The best part about this campaign? It really does give the fans the opportunity be the hero here: every dollar you commit goes directly to International Rescue Committee, Mercy Corps and Save the Children to help fund their efforts on the ground in the Horn of Africa. Every donation, no matter how small, helps.

In this particular case the goal is to raise $100,000… and we’re halfway there!

So please, take a moment – -watch the video — find one of the multitude of special incentives from the likes of Scott Snyder, David Goyer, Greg Pak, Kenneth Rocafort, Jim Lee, Geoff Johns, James Tucker, Mike Carlin… and some guy named Scott Lobdell!

Is it a donation? Is it a special purchase?

Call it what you will… it is an opportunity to help a worthy cause!

It’s a chance to show that, really, We Can Be Heroes.

www.indiegogo.com/projects/dc-entertainment-we-can-be-heroes-superman-edition

via Scott Lobdell on WE CAN BE HEROES — A Crowdsourcing event! – Comic Vine.

PRO SE PRODUCTIONS DEBUTS NEW WEBSITE AND NEW PODCAST!

Pro Se Productions, an innovative Publisher of Genre Fiction and New Pulp, proudly presents its all new website! Designed to fully represent all that Pro Se is, the site features multiple pages, including staff and creator pages, imprint descriptions, submission guidelines, a news page, a listing of open solicitations, and more. 

From the front page featuring wonderfully rendered Pro Se Covers (swipe over them and they become buttons to other pages!) to the interesting bios, book descriptions, and information galore, the Pro Se website will provide fans and newcomers alike with all they need to know about this growing company.

Also debuting with the website is the weekly PRO SE PRESENTS: THE PODCAST! This will be a podcast focusing on both up and coming releases and projects from Pro Se as well as its continually growing catalog of Genre Fiction and New Pulp works. Tommy Hancock, Partner in and Editor in Chief of Pro Se, will host each episode following the first one. For the Debut, Pro Se Author and Friend of the Company Derrick Ferguson acts as host and quizzes Hancock on Pro Se, then, now, and later!

Pro Se’s new website will be updated frequently and can be found at www.prose-press.com. The Podcast is available on iTunes and can be found at www.prose-press/podcast. Other links on the site can be found in the drop down menu (button in the top left corner at the top of every page on the site.)

White Rocket 031: Jim Beard on Writing Pulps and Comics

Comics and New Pulp writer and Comics Historian Jim Beard is the guest on this week’s episode of the White Rocket Podcast.  Jim joins Van Allen Plexico to discuss everything from Sgt Janus to the 1960s Batman TV show!

Find the show here:
http://whiterocket.podbean.com/2013/07/09/white-rocket-031-batman-and-more-with-author-jim-beard/

The White Rocket Podcast is produced by White Rocket Books and is a part of the ESO Network of shows.
Contact Van via http://www.plexico.net

Martin Pasko Wants To Know What’s Going On

pasko-art-13071-3401703I was considering doing a piece on how I can’t figure out why I haven’t seen any of my comic collector friends on Hoarders. You know, those people who keep moving to cheaper, bigger houses in worse and worse neighborhoods so they can have a living room big enough for those little, narrow walkways among their 437 eight-foot-high stacks of long boxes? Fear of ending up like that is the main reason I never got into collecting. Or so I thought.

But then I looked around my own claustrophobic living space and realized that people who live in Mylar snuggies shouldn’t throw weighted-based maquettes.

But I’m not a collector. I’m an accumulator. I haven’t paid for a comic book in 20 years, but people keep sending them to me. I can’t get them to stop. So I put them aside, saying I’ll get to them eventually. But I hate clutter. So today I finally forced myself to spend the day opening stacks of boxes of comps from the major publishers. And wasting several hours on one of my favorite pastimes (not): cutting open those shrink-wrapped bundles of “floppies” and searching for a cover on which I could tell what was going on without having to stare at it for half an hour.

I’ll award my own personal version of the No Prize (you don’t wanna know) to anyone who can me tell what’s going on here. Or here.

Y’see, I just blew my mortgage payment on a new pair of glasses with lenses thicker than the mirrors on the Hubble, so I know it’s not my eyes.

So engrossed was I in trying to find points of focus and resolving all those hyperthyroidal ink strokes and manic bursts of color into coherent images that I didn’t notice right away that I’d sliced my finger with the box cutter and was bleeding on the comics. In fact, it took a while to notice the flecks of blood on the pages.

No, not because of the gory, violent content (Since when does Superman need to bleed from the nose? Oops, better not get myself started. That’s another rant for some other week) … but because the interior pages are even more incomprehensibly busy, busy, busy than the covers, and in this particular book, the digital colorist’s efforts to cram 137 shades of red into a grad in the background of a panel that printed at 3” wide made it impossible to see the blood.

It finally struck me that what has now made most mainstream super hero product unreadable to me is the very same thing that made it impossible for me to get into collecting, but until today I’d never fully made the connection.

Clutter.

For those of us schooled in certain design principles, minimalism and the use of “negative space” is more effective at arresting the eye than throwing in everything including the kitchen sink. Minimalism in composition, at least ‑ such as that employed here. And here. (And if you don’t believe me, consult Alex Toth.

Since the beginning of this industry, up until relatively recently, many comic book artists have had to be forced by knowledgeable art directors and editors to understand that less is more.

And therein lies part of the problem.

Are the art directors and editors asleep at the switch? No, they’re just impotent. What, exactly, editors and art directors are expected to do these days isn’t abundantly clear. But what role could they play that they aren’t playing in preventing the indecipherable train wrecks that are most mainstream super hero comics?

And what if the very survival of the medium depended on their ability to change course? Could they do it? (Hint: I’ll argue that it does, and they can’t.)

Be here for Part II when we dissect these weighty issues (no, not the floppies). And if you’re one of those eyestrain fans who actually enjoys this stuff while sitting cross-legged in a 3-foot-square floor space between stacks of long boxes, and any of this got your knickers in a twist, just wait’ll next week.

FRIDAY: Martha Thomases

SATURDAY: Marc Alan Fishman