Dreamkeepers
Art by David Lillie
Written by David Lillie
When you have read, collected, and written about comic books for as many years I have, it's not too often that you pick up something new and are completely blown away in terms of both art and story.
However, that was exactly what happened when I began to peel through the pages of Dreamkeepers.
Let's start with the art work.
Lillie has a style that reminds of films such as the Secrets of NIMH, right down to the animated animals who are the stars of the story. So naturally on the first flip through I thought while eye catching in its approach, it would be a story geared to younger readers.
The style is very clean, and shows the action well, although at times the differentiation between one character and the next can be a tad daunting, especially in issue one since these characters are not known. It's a minor problem with a couple of the female critters, but it does require a pause to re-look a couple of times.
From an artistic perspective creator David Lillie has been drawing since he was a small child.
“I started drawing when I was three, and never really stopped, except for a stretch during art college when, ironically, I was too busy with miscellaneous homework to draw,” he said. “When I was growing up my parents never threw out any junk mail, because I would flip that over and use it as drawing paper. My first source of inspiration was the cartoon 'The Real Ghostbusters' when I was a tot, which kicked off my toddler years drafting all types of ghoulish monstrosities.
“More contemporary influences include Bill Watterson, Tracy Butler, Akira Toryama, Katsuhiro Otomo, Tim Burton, H.R. Geiger, Brian Ahern, Will Eisner, Tiny Toons and the pantheon of Disney character animators. I applied my affinity for drawing to longer projects through middle and high school with my first comic series, ’Tech War’.
“After college I had some work in minor studio and freelance animation, which I promptly became frustrated with due to the fact that I'd rather be telling my own stories. I always felt like I was just a replaceable technician when working on someone else's project.
“But the animation experience helped develop my drawing skill and versatility. Also, I'm struggling to improve my work with each successive book release.
“I'm accepting of my work in Volume 1 and 2, but I can do better, and I want to prove that every time I finish a new edition.”
As a reader, I was pleased to find out as I read the story that Lillie was not catering to younger audiences at all, but was instead writing a rather sophisticated story which had enough 'smarts', enough 'maturity' to appeal to a reader like myself, a reader well past my teen years.
The story is about a world on the edge of our own, a world where the residents have powers to battle our nightmares.
The mix or art and the nature of the story does seem at odds in terms of finding an audience for Dreamkeepers, and that is something Lillie said he recognized would be a factor going into the project.
“Choosing the target market for Dreamkeepers has turned out to be an interesting issue,” he said. “I must admit that, when designing the content and style of the series, I disregarded marketing considerations and indulged completely in my own personal taste.
“The original target audience was the guy in the mirror. That complicates things a bit when it comes to attracting the right readership, because the title doesn't fit perfectly within the established genres and their corresponding audiences.”
As a result, Lillie said the audience for the book has sort of come to the story by finding it on their own, rather than through a huge marketing effort.
“To-date, and with our marketing budget, it's been more a situation where readers find Dreamkeepers on their own, and I've been surprised and excited at what an eclectic group that's resulted in.
“I would say that, assuming I’ll have the resources to market someday, our target group would be teens to young adults, although we seem to have caught the attention of some younger, and older readers. There is a risk of potential adult readers disregarding the series at first glance, which is why word-of-mouth and reviews have been so critical in helping us get started.
“I would describe the response to our books so far as small, but powerful. Liz (Thomas, editor) and I have been successful in reaching a minority of convention-goers with the series, and their enthusiasm has been indescribably encouraging.”
In the story it has been ages since nightmares have raised their ugly heads, so using one's power are prohibited.
You can guess the storyline from there, the nightmares are edging back into the picture, and they are after a certain youngster, one we are left believing has a definite role in protecting the world from the coming darkness.
The artwork clearly carries the attention here, but the story is the art's equal once you get into the story. Lillie has created a world very much unique, and interesting, and he has crafted this first two books of the series in a way readers will want more, much more.
Lillie himself sees himself more writer than artist.
“I don't think I'd call myself an artist, because that's such a philosophically loaded word, and I don't have a beret,” he said. “Writer might be closer, but the writing and the visuals are so interdependent that it would be a tough sell to call myself a ‘writer.' I've settled on the term 'creator', but I feel like any descriptive title I adopt begins to sound pretentious. I'd much rather throw a book at someone, yell 'look at this!', and then vanish in a cloud of smoke.”
As a book, Dreamkeepers is the first major work by Lillie.
“Dreamkeepers is my first published work, but I made a bunch of other comic books before college,” he said. “When I was 12, I started a series titled 'Tech War', about the United States fighting a war against international terrorists, and ... Hmm. Prophetic? I guess so. Keep your eye out for a terrorist robot army, my prophetic childhood predicts it! Tech War ran for about six-issues. I also made a quickie comic once where Vegeta fought Barney the dinosaur.”
With Dreamkeepers Lillie has a story that he sees as having a definitive ending, although it does stand to be an epic story.
“Dreamkeepers is definitely a finite story, with the entire plot already set in place, ending and all,” he said. “My personal bias is that stories only count if they have an ending, which is why I have such preemptive apathy towards Marvel and other ceaselessly progressing universes. It's just difficult to take a character seriously when their story arc is a circle of redundancy; it begins to verge on soap opera territory.
“So Dreamkeepers is a finite story, but it's not a small story. It's going to stretch for at least 20 volumes, and possibly more. I believe it's going to be my defining life's work as a creator, which is another reason I'm investing so much effort into the quality of the art and storyline.
“I'm not creating Dreamkeepers to cover the monthly bills. I'm creating it to reserve a spot on bookshelves, and an echo in the minds of others after I'm gone.”
While Lillie sees Dreamkeepers as his defining work, because of it's uniqueness, it has not been an easy book to get published.
“Getting Dreamkeepers created and printed has been my first big adventure in the real world beyond college,” he said. “It's been a struggle, but one that I wouldn't trade for anything.
“Originally planned as a TV pitch, I realized that the best case scenario, possessing no leverage or industry cred, would be selling the idea into ruination, assuming I didn't get flat-out ripped off.
“It seemed the right idea to return to my roots, and create the series in comic form. With the first book nearly finished, I submitted to and was rejected by pretty much every comic publisher out there, save one. That publisher wanted to tweak the book towards kids, and also postponed the print run to a distant doldrums.
“Being young and motivated, I brashly decided to start my own publishing company, regardless of having absolutely no finances beyond massive college debt. Starting a business has been immensely challenging and gratifying.”
Lillie said he took the risk because of the importance he sees in the work.
“I think Dreamkeepers is important to me for a few reasons,” he said. “For one, I had my midlife crisis early, and decided I don't want to be an employed artist-technician. I want to create my own stories, period.
“So as a creator, Dreamkeepers is my outlet for doing what I love. When it comes to career considerations, I have a lot of ambition for Vivid Publishing. Lacking aristocratic senatorial family ties and any good reason for a bank to give me a viable loan, my only hope of success is -- well, success.
“I can’t kick back and bank on bloated corporate marketing campaigns pushing mediocrity onto gullible kids as personally fulfilling as that would doubtless be.
“Instead, I opt to stake my future on offering a product which can only attain visibility by being exceedingly worthwhile. That product is Dreamkeepers. It's my best shot at making a living out of my career. Plus, from a pure fun standpoint, I love the story. I can't wait to read the whole thing. And there's only one way to make that happen.”
This is a winner by any measure. Don't let the art turn you away for fear that it is for kids. Give it a chance. You will be glad you did. Excellent work from cover-to-cover.
Check it out at www.DreamKeepersComics.com
-- CALVIN DANIELS
-- Appeared on Yorkton This Week WebXtra
Monday, July 27, 2009
Review -- EFFING BRUTAL
Effing Brutal
Art by Jordi Perez
Written by Brian Labrecque
Well when you review indie comics, you can expect some rather 'out there' material at times.
So when a comic, a trade paperback actually, created in a larger page format crosses the desk that has “from the emotionally unstable mind of Brian Labrecque' across the top of the cover, and the book is actually sub-titled 'The epic saga of losers fighting evil', you are pretty sure it's not your run-of-the-mill comic book.
Boy! Is that an understatement.
The book's main character is Josh, who is initially described as 'the visually stunning sociopathic transvestite-in-denial'.
Now if that doesn't peak your interest, the fact Josh's super power is that he thinks he's Tori Amos just might.
OK, so you're starting to understand this is a story that takes you down a pretty bizarre rabbit hole.
The book is populated with the weirdest cast of modern-era characters you are likely to meet.
A couple of the supporting crew are Black Cherry, 'everyone's favourite violent, sassy, manic-depressive fem-dyke', and Larry 'a product of methylphenidate and too many paint chips.”
With such a warped array of characters, you can appreciate the story has a definite surreal feel to it.
Interestingly, the book actually grew out of an indie film.
“Effing Brutal is the continuing story of the characters I created in my film 'Far Too Gone', specifically, the adventures of Josh, the guy in Seattle who thinks he's Tori Amos,” said creator Brian Labrecque. “I shot that film back in 2004 and ever since I have wanted the characters to do more than just walk around Seattle insulting people. So NOW they get to drive around Seattle blowing things up, so there’s some progress! I tried to include as many subversive elements as I could, such as the evil skateboarding cult, the weirdo transvestite cult, and of course, the Pilipino boy-band, the “Shaved Asians”.
“I tried to make the story as “brutal” as possible, but somehow it came out stupid, funny, and mildly brutal, oh well!”
Artistically, Jordi Perez has a style that really fits the material. There is a brightness to the art, achieved through the wise use of colour, and a modern look.
Labrecque said the art has not attracted the attention of major book publishers though.
“Clean? Ahah, well, that’s the first time I’ve heard that, in fact every comic book publisher I’ve submitted this to, has rejected it hands down and middle fingers up because they say the lines are not good and the art is 'not up to our standards',” he said. “.... They have no vision. They are drunk on the steroid/spandex ultra violent homo-erotic imagery which is rampant in the comic world today. Stories mean nothing to these people. I’ve read graphic novels where the art is unimaginably good, yet the dialogue is sparse and dry and crappy. Like a few lines per page, totally uninspired, almost as an after thought.
“It’s as if comic publishers want violent art-books with story lines being optional. Anyways, I’ve been blacklisted by every comic publisher out there, even the ones in Seattle, which blows my mind. They literally want nothing to do with me or Effing Brutal.”
Labrecque added he “met the inkers Jordi Perez and Harrison Wood online through craigslist, and the letterer Kate "Rocket Girl" Fahr is a friend of mine. The colourist Philip Fuller I met online also.
“Everyone was incredibly talented and patient, and now they are all part of history ... and I still owe most of them money.”
This is not a book for everyone. Yes, I know that is a rather obvious understatement. Yet, it does illustrate the strength of indie comics. The big companies wouldn't touch something like this, not in a million, gazillion years. Yet, there is a story here which pushes the boundaries of the medium in terms of going where few would take a comic book. That sort of explorative approach to story telling is critical to grow the medium. Comics are not just about superheroes and Effing Brutal reinforces that to the max.
Labrecque said readers love the work, even if mainstream publishers run from it.
“It’s funny because when people actually read Effing Brutal, they love it and beg me to sell them a copy. I even had one guy who wanted a copy I was showing to him so bad he ripped out a blank check from his check book and told me to write whatever number I wanted on it if I would give my copy to him, but I couldn’t because it was the last test-copy from a printing and it had to go to one of the aforementioned publishers.
“I’m telling you, people are ravenous for this thing, but it’s the ... publishers who are withholding this comic from the fans who clearly want it on shelves.
“Here’s the problem, I know for a fact that none of these ... comic publishers is even reading past the first page. They only see what they want to see and they will never see me because I am not in their visible spectrum.”
While one can appreciate the creator's frustration, this is not a comic for the mainstream. It is not for the masses. It would not sell thousands of copies.
That doesn't mean there isn't something here, but when you go out on the edge of the medium, when you push the boundaries and dare to delve into areas seldom used as fodder for comic books, you create something with limited appeal. This isn't a comic I would normally purchase myself.
That said I'm glad I've read it, just to taste the really strange world in which Josh operates.
So, don't be afraid, OK maybe be a little afraid, but give this one a look anyway.
It is likely Labrecque's only comic too.
“No more comics, they take too long and I don’t like relying on other people. I am an avangarde filmmaker at heart. I am filming a thriller called “Die! Blackbird Die!” in 2010,” he said.
-- CALVIN DANIELS
-- Appeared on Yorkton This Week WebXtra
Art by Jordi Perez
Written by Brian Labrecque
Well when you review indie comics, you can expect some rather 'out there' material at times.
So when a comic, a trade paperback actually, created in a larger page format crosses the desk that has “from the emotionally unstable mind of Brian Labrecque' across the top of the cover, and the book is actually sub-titled 'The epic saga of losers fighting evil', you are pretty sure it's not your run-of-the-mill comic book.
Boy! Is that an understatement.
The book's main character is Josh, who is initially described as 'the visually stunning sociopathic transvestite-in-denial'.
Now if that doesn't peak your interest, the fact Josh's super power is that he thinks he's Tori Amos just might.
OK, so you're starting to understand this is a story that takes you down a pretty bizarre rabbit hole.
The book is populated with the weirdest cast of modern-era characters you are likely to meet.
A couple of the supporting crew are Black Cherry, 'everyone's favourite violent, sassy, manic-depressive fem-dyke', and Larry 'a product of methylphenidate and too many paint chips.”
With such a warped array of characters, you can appreciate the story has a definite surreal feel to it.
Interestingly, the book actually grew out of an indie film.
“Effing Brutal is the continuing story of the characters I created in my film 'Far Too Gone', specifically, the adventures of Josh, the guy in Seattle who thinks he's Tori Amos,” said creator Brian Labrecque. “I shot that film back in 2004 and ever since I have wanted the characters to do more than just walk around Seattle insulting people. So NOW they get to drive around Seattle blowing things up, so there’s some progress! I tried to include as many subversive elements as I could, such as the evil skateboarding cult, the weirdo transvestite cult, and of course, the Pilipino boy-band, the “Shaved Asians”.
“I tried to make the story as “brutal” as possible, but somehow it came out stupid, funny, and mildly brutal, oh well!”
Artistically, Jordi Perez has a style that really fits the material. There is a brightness to the art, achieved through the wise use of colour, and a modern look.
Labrecque said the art has not attracted the attention of major book publishers though.
“Clean? Ahah, well, that’s the first time I’ve heard that, in fact every comic book publisher I’ve submitted this to, has rejected it hands down and middle fingers up because they say the lines are not good and the art is 'not up to our standards',” he said. “.... They have no vision. They are drunk on the steroid/spandex ultra violent homo-erotic imagery which is rampant in the comic world today. Stories mean nothing to these people. I’ve read graphic novels where the art is unimaginably good, yet the dialogue is sparse and dry and crappy. Like a few lines per page, totally uninspired, almost as an after thought.
“It’s as if comic publishers want violent art-books with story lines being optional. Anyways, I’ve been blacklisted by every comic publisher out there, even the ones in Seattle, which blows my mind. They literally want nothing to do with me or Effing Brutal.”
Labrecque added he “met the inkers Jordi Perez and Harrison Wood online through craigslist, and the letterer Kate "Rocket Girl" Fahr is a friend of mine. The colourist Philip Fuller I met online also.
“Everyone was incredibly talented and patient, and now they are all part of history ... and I still owe most of them money.”
This is not a book for everyone. Yes, I know that is a rather obvious understatement. Yet, it does illustrate the strength of indie comics. The big companies wouldn't touch something like this, not in a million, gazillion years. Yet, there is a story here which pushes the boundaries of the medium in terms of going where few would take a comic book. That sort of explorative approach to story telling is critical to grow the medium. Comics are not just about superheroes and Effing Brutal reinforces that to the max.
Labrecque said readers love the work, even if mainstream publishers run from it.
“It’s funny because when people actually read Effing Brutal, they love it and beg me to sell them a copy. I even had one guy who wanted a copy I was showing to him so bad he ripped out a blank check from his check book and told me to write whatever number I wanted on it if I would give my copy to him, but I couldn’t because it was the last test-copy from a printing and it had to go to one of the aforementioned publishers.
“I’m telling you, people are ravenous for this thing, but it’s the ... publishers who are withholding this comic from the fans who clearly want it on shelves.
“Here’s the problem, I know for a fact that none of these ... comic publishers is even reading past the first page. They only see what they want to see and they will never see me because I am not in their visible spectrum.”
While one can appreciate the creator's frustration, this is not a comic for the mainstream. It is not for the masses. It would not sell thousands of copies.
That doesn't mean there isn't something here, but when you go out on the edge of the medium, when you push the boundaries and dare to delve into areas seldom used as fodder for comic books, you create something with limited appeal. This isn't a comic I would normally purchase myself.
That said I'm glad I've read it, just to taste the really strange world in which Josh operates.
So, don't be afraid, OK maybe be a little afraid, but give this one a look anyway.
It is likely Labrecque's only comic too.
“No more comics, they take too long and I don’t like relying on other people. I am an avangarde filmmaker at heart. I am filming a thriller called “Die! Blackbird Die!” in 2010,” he said.
-- CALVIN DANIELS
-- Appeared on Yorkton This Week WebXtra
Friday, July 10, 2009
Review -- LEEK & SUSHI'S MANGA SHOW
Leek & Sushi's Manga Show
Compiled and Edited by Willie Hewes
Art by various
Written by various
Manga is the Japanese style of comic, so it was with great anticipation I awaited the arrival of Leek & Sushi's Manga Show, since it is a book which brings together the manga-style work of several British artists and writers.
The book is compiled and edited by Willie Hewes, with the works drawn from entries in a contest which celebrated 150 years of friendship between Britain and Japan. The contest was rather open-ended in as much as all the creators had to do was work in the number 150, so the idea range from 150 stars in the sky, to spending 150 days in Japan.
The 150 makes an interesting little twist to look for in each of the 15 stories, but really doesn't influence the works in a major way, which is a good thing, since it allows for significant diversity in the pieces collected.
Editor Willie Hewes explained how the contest got its start.
“The contest is run by the Japanese Embassy,” she said. “The embassy set up an exhibition with the winners, but they do not print the entries in any way.
“That's where I thought I could usefully step in and offer to print a book with the entries of everyone who wanted to be part of it.”
Hewes said inclusion in the book was basically by participation.
“I printed almost all the entries that were sent to me, there were a couple that I felt didn't quite fit, mostly with regards to the quality of the artwork,” she said. “I didn't really have a rigid set of criteria, if I liked it and it looked good, it made the grade.”
In my opinion one of the more interesting works is the story 'Photus' by Volker (Samuel Barker), which was tagged with a special award in the contest for having the most impressive entry from an entrant aged 14 to 16.
I personally thought '150 years of opreshun' from writer Gwen Kortsen and artist Angela Wraight was the story with the most poignant message. Very well presented. Interestingly the piece did not finish in the top-10, so my tastes are obviously different from the judges.
'Stars' by Donna Pesani has beautiful art, in a style that may be as traditionally manga as any in the book.
Watch for Karen Yumi Lusted's works too, with three selected for the book, this creator has a knack with manga.
In general terms the pieces here are generally soft in nature, with only a couple of the stories taking on a darker edge, most noticeably the mood of “Shadows of a Changing Face (Prologue) by creators John Blake and Michael Reid
While Hewes collected the entries for the book, she was not the contest judge.
“Well, the judging of the competition was nothing to do with me, you have to understand'” she said.
“The book contains entries for the competition, but came about entirely separately from it, simply because a lot of us felt it would be a good way to extend the entries' lifespan.
“In putting the book together, I was mostly just looking for stuff that looked good, that you could see people had put a lot of time and effort into. The soft, feel good tone is something I hadn't really noticed before, but I guess you're right. I think that's simply the friendly nature of the manga community shining through, rather than anything else.”
To help tie the book together, Hewes has created Leek & Sushi, two cartoon characters representing Britain and Japan. They appear in vignettes between entry pieces as sort of the comical interlude. Personally they didn't do it for me. I would have much preferred a few more entries than the repeated appearance of the cartoony element.
In terms of her own interest in manga, Hewes said it developed over time.
“I first started reading manga years ago. It was visually appealing to me, and it was nice to start reading comics again, which I hadn't done for years since I outgrew Asterix,” she said, adding, “superhero comics don't mean much to me, but I like manga, and being in comic book shops meant I also discovered some interesting indie comics.”
At 200-pages, and 15 stories, this is an excellent value, and if you want a taste of British manga, this is an excellent starting spot.
Hewes said she isn't sure there are more manga fans in Britain than anywhere else, but added there are certainly those artists and writers who work in the form.
“Hmm, I'm not sure manga is bigger in Britain than elsewhere in Europe, or in Canada for instance,” she said.
“We do have a pretty good number of people drawing manga, and drawing quality manga. I think that's partly due to the strength of the community, amateur manga creators are generally very friendly and help each other out, and we have a couple of examples of people who 'made it', and are now making manga professionally. I think that's very inspiring for people and helps them get from 'well, I have this idea....' to actually doing it.”
Hewes is already planning a similar book in the future.
“This year's Manga Jiman competition has just been announced, and Leek and Sushi will return too,” she said.
“I expect the second volume to come out around May next year.
“There are also some smaller projects I'm tinkering with, but I can't really say where that's going to go yet. You can check out the works at www.itchpublishing.com
-- CALVIN DANIELS
-- Appeared on Yorkton This Week WebXtra
Compiled and Edited by Willie Hewes
Art by various
Written by various
Manga is the Japanese style of comic, so it was with great anticipation I awaited the arrival of Leek & Sushi's Manga Show, since it is a book which brings together the manga-style work of several British artists and writers.
The book is compiled and edited by Willie Hewes, with the works drawn from entries in a contest which celebrated 150 years of friendship between Britain and Japan. The contest was rather open-ended in as much as all the creators had to do was work in the number 150, so the idea range from 150 stars in the sky, to spending 150 days in Japan.
The 150 makes an interesting little twist to look for in each of the 15 stories, but really doesn't influence the works in a major way, which is a good thing, since it allows for significant diversity in the pieces collected.
Editor Willie Hewes explained how the contest got its start.
“The contest is run by the Japanese Embassy,” she said. “The embassy set up an exhibition with the winners, but they do not print the entries in any way.
“That's where I thought I could usefully step in and offer to print a book with the entries of everyone who wanted to be part of it.”
Hewes said inclusion in the book was basically by participation.
“I printed almost all the entries that were sent to me, there were a couple that I felt didn't quite fit, mostly with regards to the quality of the artwork,” she said. “I didn't really have a rigid set of criteria, if I liked it and it looked good, it made the grade.”
In my opinion one of the more interesting works is the story 'Photus' by Volker (Samuel Barker), which was tagged with a special award in the contest for having the most impressive entry from an entrant aged 14 to 16.
I personally thought '150 years of opreshun' from writer Gwen Kortsen and artist Angela Wraight was the story with the most poignant message. Very well presented. Interestingly the piece did not finish in the top-10, so my tastes are obviously different from the judges.
'Stars' by Donna Pesani has beautiful art, in a style that may be as traditionally manga as any in the book.
Watch for Karen Yumi Lusted's works too, with three selected for the book, this creator has a knack with manga.
In general terms the pieces here are generally soft in nature, with only a couple of the stories taking on a darker edge, most noticeably the mood of “Shadows of a Changing Face (Prologue) by creators John Blake and Michael Reid
While Hewes collected the entries for the book, she was not the contest judge.
“Well, the judging of the competition was nothing to do with me, you have to understand'” she said.
“The book contains entries for the competition, but came about entirely separately from it, simply because a lot of us felt it would be a good way to extend the entries' lifespan.
“In putting the book together, I was mostly just looking for stuff that looked good, that you could see people had put a lot of time and effort into. The soft, feel good tone is something I hadn't really noticed before, but I guess you're right. I think that's simply the friendly nature of the manga community shining through, rather than anything else.”
To help tie the book together, Hewes has created Leek & Sushi, two cartoon characters representing Britain and Japan. They appear in vignettes between entry pieces as sort of the comical interlude. Personally they didn't do it for me. I would have much preferred a few more entries than the repeated appearance of the cartoony element.
In terms of her own interest in manga, Hewes said it developed over time.
“I first started reading manga years ago. It was visually appealing to me, and it was nice to start reading comics again, which I hadn't done for years since I outgrew Asterix,” she said, adding, “superhero comics don't mean much to me, but I like manga, and being in comic book shops meant I also discovered some interesting indie comics.”
At 200-pages, and 15 stories, this is an excellent value, and if you want a taste of British manga, this is an excellent starting spot.
Hewes said she isn't sure there are more manga fans in Britain than anywhere else, but added there are certainly those artists and writers who work in the form.
“Hmm, I'm not sure manga is bigger in Britain than elsewhere in Europe, or in Canada for instance,” she said.
“We do have a pretty good number of people drawing manga, and drawing quality manga. I think that's partly due to the strength of the community, amateur manga creators are generally very friendly and help each other out, and we have a couple of examples of people who 'made it', and are now making manga professionally. I think that's very inspiring for people and helps them get from 'well, I have this idea....' to actually doing it.”
Hewes is already planning a similar book in the future.
“This year's Manga Jiman competition has just been announced, and Leek and Sushi will return too,” she said.
“I expect the second volume to come out around May next year.
“There are also some smaller projects I'm tinkering with, but I can't really say where that's going to go yet. You can check out the works at www.itchpublishing.com
-- CALVIN DANIELS
-- Appeared on Yorkton This Week WebXtra
Saturday, July 4, 2009
Review -- GHOST ZERO
Ghost Zero
Art by David Flora
Written by David Flora
Ghost Zero takes a lot of elements that I have always appreciated, and puts them together in one nice package.
The story is first and foremost a pulp hero one, very much along the lines of The Shadow and The Spirit, and those tales have always been a favourite in terms of action and straight forward story telling.
Writer David Flora has added a layer though, with the hero being a ghostly one. The element of the mystical is excellent here, with the character having just a bit of a Ghost Rider 'feel' without coming anywhere near ripping that character off.
Of course this is only issue one, so there are a ton of questions about the character's complete background, but isn't that what you want, readers to ask questions that they'll return to future issues to find answers too?
That said, Flora does weave a darned good story here too, one rich in background material, and one that firmly establishes mysticism as part of the world in which Ghost Zero resides.
Flora said Ghost Zero arose from several influences.
“The Ghost Zero story is a combination of all the things I enjoy personally; ghosts, pulp stories, and small towns. The idea came from a time in the late '90's when I was writing collaborative pulp stories with an online group of pulp enthusiasts,” he said. “We each came up with a pulp-inspired character set in the '30's, and they formed a group called 'The Midnight Society'.
“The character I created was called 'The Revenant', and was essentially the Charles Pallentine character that serves as Eddie Quick's ghostly mentor. I didn't actually draw the first panel of the webcomic (which was originally called 'The Revenant’) until 2007. So it took about seven or eight years for the idea to come together.”
Flora himself suggests writing is his strength as a comic book creator.
“For me, the art is harder than the writing...which means I'm probably not a good writer,” he said.
That is a statement I disagree with. This man can write a fine pulp comic story.
Flora added, “I usually see the scenes in my head, like a movie. So, while I can remember the dialogue from the movie and write it down, it's much harder to get the art on the page to look like what I see in my head. Most of the time, I'm disappointed, but it's worth it when you occasionally hit the mark.”
In terms of art, Flora does not have a dramatic flare of some of today's comic artist, but his black and white renderings fit the genre, and era of Ghost Zero well. You have the feeling you are looking at a comic drawn a few decades ago, and that works just fine for me.
Ghost Zero is Flora's first work, and while that may show on the art side a little, it does not on the writing.
“I've been drawing superheroes all my life. I guess it was inevitable. My wife commented that Ghost Zero 'seemed to spring to life from nowhere,' until she saw my older drawings and illustrations,” he said. “Like anything else creative, it comes from work spread out over years.”
Flora said as an artist he is learning as he goes.
“Like I said earlier, I've been drawing superheroes since I can remember drawing, especially creating my own,” he said.
“I did get a bachelors degree in Studio Art, but most of what I know I've taught myself. The markers I use, for example, are a result of my attempt to strengthen the shading in my work, which I felt was a weak point.
“That's the wonderful thing about practice, it turns a weakness into a strength.”
The really good news is that there is more Ghost Zero to come from Flora, apparently lots more.
“Oh yes, it's definitely an ongoing series. I have plans to involve Eddie (and Ghost Zero, of course!) in the Korean War, and then on into the '60's,” he said. “Currently, I'm writing a 3-issue story arc called 'Escape from the Vigilante Crypt.' and putting it on the web at http://www.ghostzero.com/.
“It will later be collected into print by Moonstone Books, who publish great pulp stories.”
Flora also has other ideas percolating.
“I'm also currently developing another 1950's pulp/sci-fi story around a character called 'Doc Monster' that I will be submitting to DC Comic's webcomic imprint, Zuda.” he said. “You can see that develop at http://www.docmonstercomic.com/.”
Certainly with the great start to Ghost Zero following Flora's work is a must. Go online and order this one. It's a great tale.
-- CALVIN DANIELS
-- Appeared on Yorkton This Week WebXtra
Art by David Flora
Written by David Flora
Ghost Zero takes a lot of elements that I have always appreciated, and puts them together in one nice package.
The story is first and foremost a pulp hero one, very much along the lines of The Shadow and The Spirit, and those tales have always been a favourite in terms of action and straight forward story telling.
Writer David Flora has added a layer though, with the hero being a ghostly one. The element of the mystical is excellent here, with the character having just a bit of a Ghost Rider 'feel' without coming anywhere near ripping that character off.
Of course this is only issue one, so there are a ton of questions about the character's complete background, but isn't that what you want, readers to ask questions that they'll return to future issues to find answers too?
That said, Flora does weave a darned good story here too, one rich in background material, and one that firmly establishes mysticism as part of the world in which Ghost Zero resides.
Flora said Ghost Zero arose from several influences.
“The Ghost Zero story is a combination of all the things I enjoy personally; ghosts, pulp stories, and small towns. The idea came from a time in the late '90's when I was writing collaborative pulp stories with an online group of pulp enthusiasts,” he said. “We each came up with a pulp-inspired character set in the '30's, and they formed a group called 'The Midnight Society'.
“The character I created was called 'The Revenant', and was essentially the Charles Pallentine character that serves as Eddie Quick's ghostly mentor. I didn't actually draw the first panel of the webcomic (which was originally called 'The Revenant’) until 2007. So it took about seven or eight years for the idea to come together.”
Flora himself suggests writing is his strength as a comic book creator.
“For me, the art is harder than the writing...which means I'm probably not a good writer,” he said.
That is a statement I disagree with. This man can write a fine pulp comic story.
Flora added, “I usually see the scenes in my head, like a movie. So, while I can remember the dialogue from the movie and write it down, it's much harder to get the art on the page to look like what I see in my head. Most of the time, I'm disappointed, but it's worth it when you occasionally hit the mark.”
In terms of art, Flora does not have a dramatic flare of some of today's comic artist, but his black and white renderings fit the genre, and era of Ghost Zero well. You have the feeling you are looking at a comic drawn a few decades ago, and that works just fine for me.
Ghost Zero is Flora's first work, and while that may show on the art side a little, it does not on the writing.
“I've been drawing superheroes all my life. I guess it was inevitable. My wife commented that Ghost Zero 'seemed to spring to life from nowhere,' until she saw my older drawings and illustrations,” he said. “Like anything else creative, it comes from work spread out over years.”
Flora said as an artist he is learning as he goes.
“Like I said earlier, I've been drawing superheroes since I can remember drawing, especially creating my own,” he said.
“I did get a bachelors degree in Studio Art, but most of what I know I've taught myself. The markers I use, for example, are a result of my attempt to strengthen the shading in my work, which I felt was a weak point.
“That's the wonderful thing about practice, it turns a weakness into a strength.”
The really good news is that there is more Ghost Zero to come from Flora, apparently lots more.
“Oh yes, it's definitely an ongoing series. I have plans to involve Eddie (and Ghost Zero, of course!) in the Korean War, and then on into the '60's,” he said. “Currently, I'm writing a 3-issue story arc called 'Escape from the Vigilante Crypt.' and putting it on the web at http://www.ghostzero.com/.
“It will later be collected into print by Moonstone Books, who publish great pulp stories.”
Flora also has other ideas percolating.
“I'm also currently developing another 1950's pulp/sci-fi story around a character called 'Doc Monster' that I will be submitting to DC Comic's webcomic imprint, Zuda.” he said. “You can see that develop at http://www.docmonstercomic.com/.”
Certainly with the great start to Ghost Zero following Flora's work is a must. Go online and order this one. It's a great tale.
-- CALVIN DANIELS
-- Appeared on Yorkton This Week WebXtra
Saturday, June 27, 2009
Review -- JOHNNY VEGA: Man of the Future
JOHNNY VEGA: Man of the Future
Art by Alan Bennett
Written by Alan Bennett
Johnny Vega: Man of the Future is a comic which reminds of both serial television, and comic books from the 1970s.Creator Alan Bennett has developed a main character Johnny Vega, a swashbuckling space ranger, who pays homage in my mind to the likes of Buck Rogers and Flash Gordon.
However, Vega is not a solo star. He brings with him a cast of Ranger cadets, most alien in nature, from an alluring female cat alien, yes that's not particularly new, to a bipedal crow creature through to the obligatory strong guy in the form of a rock-like humanoid. The cast is a tad clichéd to be sure, but then that is part of the fun here too.
While more alien in nature, I do get the feel of those mid-1970s Legions of Superheroes (from CD Comics) in this book. The characters aren't super powered as was the Legion, but there is a somewhat similar approach to the group dynamic. Bennett himself said he draws on three main influences in terms of the work.
“As to my influences there are a number of them but three that really stand out are; the Original Star Trek series with interesting story lines and Kirk getting the ladies and the fights.
“The sci-fi movies of the 1950's in particular. "When Worlds Collide" (which John Deere is the basis for Johnny) and "War of the worlds". "Forbidden Planet" was later on as I got older.
“(And) the works of Al Williamson and Wally Wood. These two - particularly Williamson set the standard for me. I collected anything I could of his. Thankfully there was quiet a lot of artwork I could find.”
Johnny Vega is not Bennett's first work, but it is his most challenging effort to-date in the sense he has gone with a full colour book.
“Vega isn't the first project I worked on,” he said. “But, I will say that it was the first one I ever did in full colour. “The first one I ever worked on was a book called 'The Citadel' back in '98. It was a 48-page stand-alone story. There have been seven other comic books I had worked on called 'Guilded Edges' 1-7 between the time of '99 and '01.”
In terms of story, Bennett keeps things pretty standard, a planet in peril, bad guys on the loose, the Rangers, even though just cadets, are thrown in to the breech to stop the evildoers. That said, I have only issue #2 to draw from, so the story may develop along less familiar territory as it moves forward.Bennett said he has the storyline thought out through to a conclusion for the main character.
“Johnny Vega, Man of the Future is a self contained series,” he said. “Though there are a number of stories planned for him there is an end to the character's being. That's why I developed a chronology of stories and major plot points that I have mapped out for Vega. “Basically, the three stages of man but it's my answer to the riddle of Sphinx. You'll know when the change happens when I change the hair style of Johnny that he's sporting.
“But, I will say that once that last story sees print that's it. No crazy resurrections like you see in so many characters out there. Of course this doesn't include the occasional cross over, or the spin-off of the supporting characters like Corvis Corrax, Johnny's crow headed friend/sidekick. But, that is a long way off there and there is a lot I have planned for the Man of the Future.”
Artistically, Johnny Vega is a book which I found interesting to say the least. When I first thumbed through the pages I was captivated by the pastel-like digital imagery.
However, as I settled into to give the book a more thorough perusal, I found the lack of detail in many frames disquieting. There seemed too many instances where details in a frame were limited to the focus character. I felt initially that the lack of detail in some of the alien cadets in particular stole from the overall artistic affect.
That would change though as I came to appreciate the art as a whole, rather than as a specific part of a page.
The art is a bit of an acquired taste, but the bright dynamic colours, and near watercolour art effects win you over.
Bennett said going digital was a change for him, but not one which prolonged the process.
“The work on Johnny Vega in colour actually didn't take that long because I was working directly over the original in digital right over my scanned in penciled layouts,” he said.
“Lately though, I have shifted to more attention to the detail. So it takes taking me longer for each book to come out. Right now I would have to say it talking about 2 to 2 1/2 months to get a complete 24-page book to be done and off to the printer.”
In the end the art style was created in an effort to stand apart, something I feel Bennett did accomplish well.
“One of biggest issues (not a pun) I found with the readership - not the companies or the editors, is that they all want something that's new and different that they feel they can make a worthwhile investment in, not a copy of say like a Michael Turnner or Mike Mignola or any manga but something that stands apart,” he said. “There is nothing wrong with those art styles but I have a problem when companies hire on knock off artists rather giving other talented artists the chance just because it's the flavour of the week.”
Bennett said in his case art has always been an interest, and comic books are a medium to express that interest through.
“My background goes back as far as I can remember from finger painting while I was going to wash my hands,” he said.
“But officially, I studied at the Art Institute of Seattle for about a year and a half out of a two-year program. The rest of my comic book knowledge comes from me asking questions to professional comic illustrators living in my area. The other was simply picking up a book on the subject.
“My art technique is always evolving which should be goal of any artist. In looking at both issues #1 and #2 you'll see a very big leap in the art. In doing the story I realized I was no longer simply doing a black and white comic with colour added but a full colour digital book. So I decided to do away with the heavy black eclipse line around the figure. Let the colour and shade define the character. Since Vega is a science fiction story why not use the tools of science like the computer to work for the story? The same is true when you are working for a horror story. You don't want to use bright and cheery colours to evoke a sense of impending dread do you?”
You can check out the book, and find out how to acquire a copy at http://blackboxcomix.vpweb.com/
-- CALVIN DANIELS
Appeared on Yorkton This Week WebXtra
Art by Alan Bennett
Written by Alan Bennett
Johnny Vega: Man of the Future is a comic which reminds of both serial television, and comic books from the 1970s.Creator Alan Bennett has developed a main character Johnny Vega, a swashbuckling space ranger, who pays homage in my mind to the likes of Buck Rogers and Flash Gordon.
However, Vega is not a solo star. He brings with him a cast of Ranger cadets, most alien in nature, from an alluring female cat alien, yes that's not particularly new, to a bipedal crow creature through to the obligatory strong guy in the form of a rock-like humanoid. The cast is a tad clichéd to be sure, but then that is part of the fun here too.
While more alien in nature, I do get the feel of those mid-1970s Legions of Superheroes (from CD Comics) in this book. The characters aren't super powered as was the Legion, but there is a somewhat similar approach to the group dynamic. Bennett himself said he draws on three main influences in terms of the work.
“As to my influences there are a number of them but three that really stand out are; the Original Star Trek series with interesting story lines and Kirk getting the ladies and the fights.
“The sci-fi movies of the 1950's in particular. "When Worlds Collide" (which John Deere is the basis for Johnny) and "War of the worlds". "Forbidden Planet" was later on as I got older.
“(And) the works of Al Williamson and Wally Wood. These two - particularly Williamson set the standard for me. I collected anything I could of his. Thankfully there was quiet a lot of artwork I could find.”
Johnny Vega is not Bennett's first work, but it is his most challenging effort to-date in the sense he has gone with a full colour book.
“Vega isn't the first project I worked on,” he said. “But, I will say that it was the first one I ever did in full colour. “The first one I ever worked on was a book called 'The Citadel' back in '98. It was a 48-page stand-alone story. There have been seven other comic books I had worked on called 'Guilded Edges' 1-7 between the time of '99 and '01.”
In terms of story, Bennett keeps things pretty standard, a planet in peril, bad guys on the loose, the Rangers, even though just cadets, are thrown in to the breech to stop the evildoers. That said, I have only issue #2 to draw from, so the story may develop along less familiar territory as it moves forward.Bennett said he has the storyline thought out through to a conclusion for the main character.
“Johnny Vega, Man of the Future is a self contained series,” he said. “Though there are a number of stories planned for him there is an end to the character's being. That's why I developed a chronology of stories and major plot points that I have mapped out for Vega. “Basically, the three stages of man but it's my answer to the riddle of Sphinx. You'll know when the change happens when I change the hair style of Johnny that he's sporting.
“But, I will say that once that last story sees print that's it. No crazy resurrections like you see in so many characters out there. Of course this doesn't include the occasional cross over, or the spin-off of the supporting characters like Corvis Corrax, Johnny's crow headed friend/sidekick. But, that is a long way off there and there is a lot I have planned for the Man of the Future.”
Artistically, Johnny Vega is a book which I found interesting to say the least. When I first thumbed through the pages I was captivated by the pastel-like digital imagery.
However, as I settled into to give the book a more thorough perusal, I found the lack of detail in many frames disquieting. There seemed too many instances where details in a frame were limited to the focus character. I felt initially that the lack of detail in some of the alien cadets in particular stole from the overall artistic affect.
That would change though as I came to appreciate the art as a whole, rather than as a specific part of a page.
The art is a bit of an acquired taste, but the bright dynamic colours, and near watercolour art effects win you over.
Bennett said going digital was a change for him, but not one which prolonged the process.
“The work on Johnny Vega in colour actually didn't take that long because I was working directly over the original in digital right over my scanned in penciled layouts,” he said.
“Lately though, I have shifted to more attention to the detail. So it takes taking me longer for each book to come out. Right now I would have to say it talking about 2 to 2 1/2 months to get a complete 24-page book to be done and off to the printer.”
In the end the art style was created in an effort to stand apart, something I feel Bennett did accomplish well.
“One of biggest issues (not a pun) I found with the readership - not the companies or the editors, is that they all want something that's new and different that they feel they can make a worthwhile investment in, not a copy of say like a Michael Turnner or Mike Mignola or any manga but something that stands apart,” he said. “There is nothing wrong with those art styles but I have a problem when companies hire on knock off artists rather giving other talented artists the chance just because it's the flavour of the week.”
Bennett said in his case art has always been an interest, and comic books are a medium to express that interest through.
“My background goes back as far as I can remember from finger painting while I was going to wash my hands,” he said.
“But officially, I studied at the Art Institute of Seattle for about a year and a half out of a two-year program. The rest of my comic book knowledge comes from me asking questions to professional comic illustrators living in my area. The other was simply picking up a book on the subject.
“My art technique is always evolving which should be goal of any artist. In looking at both issues #1 and #2 you'll see a very big leap in the art. In doing the story I realized I was no longer simply doing a black and white comic with colour added but a full colour digital book. So I decided to do away with the heavy black eclipse line around the figure. Let the colour and shade define the character. Since Vega is a science fiction story why not use the tools of science like the computer to work for the story? The same is true when you are working for a horror story. You don't want to use bright and cheery colours to evoke a sense of impending dread do you?”
You can check out the book, and find out how to acquire a copy at http://blackboxcomix.vpweb.com/
-- CALVIN DANIELS
Appeared on Yorkton This Week WebXtra
Sunday, June 21, 2009
Review -- THE PISTOLEERS
THE PISTOLEERS
Art by Dan Nokes
Written by Dan Nokes
You can rarely go wrong with a comic based on the old west. At least from the perspective of a 49-year-old reviewer who grew up on books such as the Rawhide Kid.
So I was pretty excited when The Pistoleers (Chapter One of Three) arrived.
Interestingly artist/writer Dan Nokes said he wasn't a western fan as a kid.
“The Pistoleers was originally like my previous series 'The Paranormals' derived from a single sketch I did back in 1996, or so that got buried in an art bin for about nine years,” he said. “In 2005, or so, I was half way through 'The Paranormals' when I came to the conclusion that I was sick of The Tolkienesque fantasy epic and wanted to do something more grounded. I dug through said storage bin, saw the pic and was inspired to elaborate.
“As to being a western fan, I can say now yes! Most definitely.
“When I was a kid no, most certainly not. The fascination came in my early 20s for sure.”
Now a comic tends to live and die by its art work. Let's face it we all thumb through the pages to check out the art before we shell out the green to take it home.
With The Pistoleers Nokes offers up an artistic style which sort of has a feel of something done in an earlier era. There is a roughness to the art, a sort of simplicity which hearkens back to a different time.
“As to artistic influences I am self taught,” said Dan Nokes in an email interview. “It's a matter of the Edisonian method of trial and error as to how I learned to draw. “
Nokes said as a youth it was some well-known comic artists he admired most, and that has tended to be the same as he as matured, always being influenced by good artists from the comic genre.
“As to artistic influences, when I was a kid it was John Byrne, and Walt Simonson all the way.
“As a teen I was caught in the 90's boom and became a huge fan of Jim Lee, as well as Mark Bagely, Sam Keith and others.
“These days guys ranging from Chris Bachallo to John Romita Jr. to Jack Kirby, and John Cassaday influence my art.”
In some respects I think of the early Steamboat Willy cartoon art, when looking at The Pistoleers, in respect to its rawness.
Rendered in black and white only adds to that 'feel'.
The look tends to grow on one, although it doesn't necessarily impress at first glance.
Now to overlook this comic would be a mistake, because Nokes writes a darned good tale of the old west, tieing the story's roots to the Civil War, and including the interaction of a black youth, and his adopted white family.
Of course there is a reoccurring villain, tied to the war, who resurfaces by the book's end, which might be a bit clichéd, but some genres survive because there is a formula which works.
I will say there is one panel early in the book, that of an old photograph that foreshadows the answer to the question at the end of the book 'will the Marcus Brothers Escape From Their Bonds?' but otherwise the suspense builds nicely.
Like a lot of indie comics, The Pistoleers took some time to go from idea to comic book.
“As to putting together a clear picture of what I wanted to do with the series, it was cultivated, outlined, and formulated over a three-year period, while I was working on Paranormals #6-12,” he said.
The western is the third title for Nokes in his career.
“As to my pre-history with comics, that started in 2002 with my 67 page one-shot 'The Reptile and Mister Amazing',” he said. “It was a straight out superhero comic about a geriatric ex-superhero teaming with a dinosapien janitor from a parallel earth to take on an omnipotent homicidal game show host.
“The Paranormals came next. It was a 12-issue maxi series I did between 2003-2008.
“In short it's an end of the world story where your heroes include: A feeble minded robot, a chain smoking English vampire, an alcoholic binge eating Australian Aborigine werewolf, a teenage witch, and angry Scottish dwarf. I just collected and will be releasing the first six issues of the book in TPB (trade paperback) format.”
As for The Pistoleers, Nokes said it is a finite story.
“The series will definitely end with issue #3!,” he said. “It's rough to do a continuous series in the indie comic world. You have to compete with the big boys for shelf space which is like a local microbrew cola competing for shelf space at the 7-11 against Coke and Pepsi!
“Besides after 'The Paranormals' I want to keep down to one shots, graphic novels and mini series of four issues or less.”
Check it out at http://www.facebook.com/l/;www.myspace.com/21sandshark
-- CALVIN DANIELS
Art by Dan Nokes
Written by Dan Nokes
You can rarely go wrong with a comic based on the old west. At least from the perspective of a 49-year-old reviewer who grew up on books such as the Rawhide Kid.
So I was pretty excited when The Pistoleers (Chapter One of Three) arrived.
Interestingly artist/writer Dan Nokes said he wasn't a western fan as a kid.
“The Pistoleers was originally like my previous series 'The Paranormals' derived from a single sketch I did back in 1996, or so that got buried in an art bin for about nine years,” he said. “In 2005, or so, I was half way through 'The Paranormals' when I came to the conclusion that I was sick of The Tolkienesque fantasy epic and wanted to do something more grounded. I dug through said storage bin, saw the pic and was inspired to elaborate.
“As to being a western fan, I can say now yes! Most definitely.
“When I was a kid no, most certainly not. The fascination came in my early 20s for sure.”
Now a comic tends to live and die by its art work. Let's face it we all thumb through the pages to check out the art before we shell out the green to take it home.
With The Pistoleers Nokes offers up an artistic style which sort of has a feel of something done in an earlier era. There is a roughness to the art, a sort of simplicity which hearkens back to a different time.
“As to artistic influences I am self taught,” said Dan Nokes in an email interview. “It's a matter of the Edisonian method of trial and error as to how I learned to draw. “
Nokes said as a youth it was some well-known comic artists he admired most, and that has tended to be the same as he as matured, always being influenced by good artists from the comic genre.
“As to artistic influences, when I was a kid it was John Byrne, and Walt Simonson all the way.
“As a teen I was caught in the 90's boom and became a huge fan of Jim Lee, as well as Mark Bagely, Sam Keith and others.
“These days guys ranging from Chris Bachallo to John Romita Jr. to Jack Kirby, and John Cassaday influence my art.”
In some respects I think of the early Steamboat Willy cartoon art, when looking at The Pistoleers, in respect to its rawness.
Rendered in black and white only adds to that 'feel'.
The look tends to grow on one, although it doesn't necessarily impress at first glance.
Now to overlook this comic would be a mistake, because Nokes writes a darned good tale of the old west, tieing the story's roots to the Civil War, and including the interaction of a black youth, and his adopted white family.
Of course there is a reoccurring villain, tied to the war, who resurfaces by the book's end, which might be a bit clichéd, but some genres survive because there is a formula which works.
I will say there is one panel early in the book, that of an old photograph that foreshadows the answer to the question at the end of the book 'will the Marcus Brothers Escape From Their Bonds?' but otherwise the suspense builds nicely.
Like a lot of indie comics, The Pistoleers took some time to go from idea to comic book.
“As to putting together a clear picture of what I wanted to do with the series, it was cultivated, outlined, and formulated over a three-year period, while I was working on Paranormals #6-12,” he said.
The western is the third title for Nokes in his career.
“As to my pre-history with comics, that started in 2002 with my 67 page one-shot 'The Reptile and Mister Amazing',” he said. “It was a straight out superhero comic about a geriatric ex-superhero teaming with a dinosapien janitor from a parallel earth to take on an omnipotent homicidal game show host.
“The Paranormals came next. It was a 12-issue maxi series I did between 2003-2008.
“In short it's an end of the world story where your heroes include: A feeble minded robot, a chain smoking English vampire, an alcoholic binge eating Australian Aborigine werewolf, a teenage witch, and angry Scottish dwarf. I just collected and will be releasing the first six issues of the book in TPB (trade paperback) format.”
As for The Pistoleers, Nokes said it is a finite story.
“The series will definitely end with issue #3!,” he said. “It's rough to do a continuous series in the indie comic world. You have to compete with the big boys for shelf space which is like a local microbrew cola competing for shelf space at the 7-11 against Coke and Pepsi!
“Besides after 'The Paranormals' I want to keep down to one shots, graphic novels and mini series of four issues or less.”
Check it out at http://www.facebook.com/l/;www.myspace.com/21sandshark
-- CALVIN DANIELS
Appeared on Yorkton This Week WebXtra
Friday, June 12, 2009
Review -- THE UNDERSEA ADVENTURES OF CAPT'N ELI
THE UNDERSEA ADVENTURES OF CAPT'N ELI
Art by Jay Piscopo
Written by Jay Piscopo
Oh man does Capt'n Eli bring back the memories.
This is a comic which is really ideally suited to younger readers, and I initially wondered how I would get through the book, being well, a long long way from being a younger reader.
Yet, the story just pulled me in, part because it's a darned good yarn, but also because it has a nostalgic feel to it.
This is a story that is reminiscent of old television series like 20,000 Leagues Under the Sea, and comic books like Charlton's The Phantom. When I was young those were much enjoyed shows and books because they opened a world of adventure, mystery and fantasy, all things Jay Piscopo wraps up nicely here as well.
Capt'n Eli is a genius kid who is in the midst of a grand undersea adventure, complete with secret submarines, unknown undersea races, mystery and intrigue.
Accompanied by his trusty mutt, and a 300-year-old talking parrot, Cap'n Eli moves through the adventure with the awe of a kid, and the savvy of a hero.
Interestingly, Capt'n Eli spun out of an ad campaign.
“Initially Capt'n Eli was created a a mascot for Captn Eli's Root Beer. Fred Forsley wanted to create an entertainment property in support of the soda,” explained creator Jay Piscopo in an email interview. “... Fred brought me in to help develop the project and basically gave me free reign to create what I wanted.”
Piscopo said he basically drew on those shows and books which captured his imagination as a kid.
“The time I grew up in was pretty magical for superheroes comic books, cartoons and movies. The Silver Age was still in full force. Hanna Barbera cartoons designed by the one and only Alex Toth dominated Saturday Morning. Star Trek was in syndication, and had a mystique to it that was there before the word trekkie was invented. Ray Harryhausen movies were the epitome of adventure to me.
“So characters like Jonny Quest, Space Ghost, The Fantastic Four, Captain Nemo, were imprinted in my brain at an early age.
“I rolled all this up and The Undersea Adventures of Capt'n Eli was the result.”
Once read I knew this book was ideal material for young boys aged seven to 13, and Piscopo said that was a market he wanted to focus on.
“That's the ideal audience, but at the same time I'm trying to adopt the attitude of creators like Jack Kirby who understood comics of their time to be a children's medium, but adults would read as well,” he said. “That's why we describe the book as all ages. Involving kids back into comics is very important to me, as well as creating something for the kids that never grew up.”
In terms of art, Piscopo keeps it clean, and varied, just right to hold a young mind's attention, drawing on a number of styles.
“Well, the obvious influence is Doug Wildey's Johnny Quest and Alex Toth's Hanna Barbera work,” he said. “A big Jack Kirby and Wallace Wood influence too.
“And, a huge influence from Japanese animation and European comics with the 2D and 3D integration.”
At more than 100 pages an issue, in square bound trade paperback format, these are as much a children's storybook as it is a comic.
“We describe it as a Graphic Novel series,” said Piscopo. “Tintin is a big influence, but unlike Tintin, each book is a part of a much bigger story.”
In terms of the bigger story Piscopo said more is certainly on the horizon for Capt'n Eli.
“We have plotted up through issue 4 with concepts to go beyond,” he said. “I'm working on issue 3 right now, as well as a spin off Sea Ghost comic book
“And, another spin off of Commander X Adventures free online comic for this Christmas.”
As for the first two issues of Capt'n Eli, I know I would have reread this tale until the pages were ragged when I was a kid, and it is certainly recommended since Dad won't mind reading this one to younger children either.
Check it out at www.captneli.com
-- CALVIN DANIELS
-- Appeared on Yorkton This Week Web Xtra
Art by Jay Piscopo
Written by Jay Piscopo
Oh man does Capt'n Eli bring back the memories.
This is a comic which is really ideally suited to younger readers, and I initially wondered how I would get through the book, being well, a long long way from being a younger reader.
Yet, the story just pulled me in, part because it's a darned good yarn, but also because it has a nostalgic feel to it.
This is a story that is reminiscent of old television series like 20,000 Leagues Under the Sea, and comic books like Charlton's The Phantom. When I was young those were much enjoyed shows and books because they opened a world of adventure, mystery and fantasy, all things Jay Piscopo wraps up nicely here as well.
Capt'n Eli is a genius kid who is in the midst of a grand undersea adventure, complete with secret submarines, unknown undersea races, mystery and intrigue.
Accompanied by his trusty mutt, and a 300-year-old talking parrot, Cap'n Eli moves through the adventure with the awe of a kid, and the savvy of a hero.
Interestingly, Capt'n Eli spun out of an ad campaign.
“Initially Capt'n Eli was created a a mascot for Captn Eli's Root Beer. Fred Forsley wanted to create an entertainment property in support of the soda,” explained creator Jay Piscopo in an email interview. “... Fred brought me in to help develop the project and basically gave me free reign to create what I wanted.”
Piscopo said he basically drew on those shows and books which captured his imagination as a kid.
“The time I grew up in was pretty magical for superheroes comic books, cartoons and movies. The Silver Age was still in full force. Hanna Barbera cartoons designed by the one and only Alex Toth dominated Saturday Morning. Star Trek was in syndication, and had a mystique to it that was there before the word trekkie was invented. Ray Harryhausen movies were the epitome of adventure to me.
“So characters like Jonny Quest, Space Ghost, The Fantastic Four, Captain Nemo, were imprinted in my brain at an early age.
“I rolled all this up and The Undersea Adventures of Capt'n Eli was the result.”
Once read I knew this book was ideal material for young boys aged seven to 13, and Piscopo said that was a market he wanted to focus on.
“That's the ideal audience, but at the same time I'm trying to adopt the attitude of creators like Jack Kirby who understood comics of their time to be a children's medium, but adults would read as well,” he said. “That's why we describe the book as all ages. Involving kids back into comics is very important to me, as well as creating something for the kids that never grew up.”
In terms of art, Piscopo keeps it clean, and varied, just right to hold a young mind's attention, drawing on a number of styles.
“Well, the obvious influence is Doug Wildey's Johnny Quest and Alex Toth's Hanna Barbera work,” he said. “A big Jack Kirby and Wallace Wood influence too.
“And, a huge influence from Japanese animation and European comics with the 2D and 3D integration.”
At more than 100 pages an issue, in square bound trade paperback format, these are as much a children's storybook as it is a comic.
“We describe it as a Graphic Novel series,” said Piscopo. “Tintin is a big influence, but unlike Tintin, each book is a part of a much bigger story.”
In terms of the bigger story Piscopo said more is certainly on the horizon for Capt'n Eli.
“We have plotted up through issue 4 with concepts to go beyond,” he said. “I'm working on issue 3 right now, as well as a spin off Sea Ghost comic book
“And, another spin off of Commander X Adventures free online comic for this Christmas.”
As for the first two issues of Capt'n Eli, I know I would have reread this tale until the pages were ragged when I was a kid, and it is certainly recommended since Dad won't mind reading this one to younger children either.
Check it out at www.captneli.com
-- CALVIN DANIELS
-- Appeared on Yorkton This Week Web Xtra
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