It’s time for another Kaigai Manga Festa roundup! This year’s international comics festival in Tokyo was held on November 23 at Tokyo Big Sight, alongside the Comitia festival as always. Tim caught up with some familiar faces and met some new ones as well!
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This week, Nicole Georges talks about her latest book, Fetch: How a Bad Dog Brought Me Home. Was her dog Beija really such a difficult dog, or was it all in Nicole’s mind? Also the prevalence of autobio comics, the public perception of comics in general, where the zine scene is today, and much more.
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Ryan O’Sullivan, whose writing on Warhammer 40,000: Dawn of War we discussed a few months back, returns with a new Image book called Void Trip, with art by Plaid Klaus. The story features a couple of stoners traveling through space, with a mysterious pursuer. But what, exactly, is it about? Tim and Mulele ponder.
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This week we wrap up both Tim’s visit to Heliscope Studio in Portland, and the whole three-month string of episodes from Tim’s trip around the US this past summer.
We’ll hear from Fred Chao about the double-edged sword of living in New York and how it informed his book Johnny Hiro: Half Asian, All Hero
Then, veteran comics artist Ron Randall on the right and wrong ways to use photo reference, his experience pencilling from an Alan Moore Swamp Thing script; his creator-owned project from the ‘80s, Trekker, and why he’s reviving it now; attending the nerd Mardi Gras; and why we’re living in a golden age of comics!
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Three more talks with the folks at Helioscope Studio in Portland in this episode!
Steve Lieber, an artist in his own right and also manager of the studio, gives us a brief history of the studio (including its self-naming woes) and tips on how to start your own studio.
Intern/mentee Maria Frantz, a university student and web cartoonist who grew up reading Calvin and Hobbes, explains her internship and the aims of her comics work, and how her generation approaches comics.
Finally, Ben Dewey (Autumnlands, Beasts of Burden) talks about his process of doing art (involving digital pencils and analog watercolors), why you shouldn’t get too fussy over your comics, managing your comics creating time, and what was good about Rob Liefeld’s work.
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For the past several decades there have been a lot of comics, movies, and other fiction involving “bad futures”, with lots of poverty, violence, environmental destruction, and the like. Why has this genre been so appealing to so many?
In this episode, Emmet O’Cuana talks with Mark Hobby about why this genre endures and how Mark has approached it in his own comic, Job Dun: Fat Assassin. They also discuss why British writers have led the pack on bad future stories, how Watchmen and the X-Men fit into the discussion, why sex in media seems to upset some people more than violence, and more.
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This week, two more creators from Portland’s Helioscope Studio:
Cat Farris is working on “Emily and the Strangers” for Dark Horse, and her own web comic “The Last Diplomat.” She talks about the learning curve of drawing digitally, pacing the revealing of story information, the down side of telling people what she does for a living, and more.
Terry Blas has done covers for such comics titles as Adventure Time and Rick & Morty, and is the co-writer of a forthcoming graphic novel from Oni Press called Morbid Obesity, a murder mystery set at a fat camp. He talks about how to make stories less formulaic and more emotional, and points out a neglected segment of the American comics market.
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This week, a couple of old friends stop by to give us their thoughts and advice on comics creation.
First, artist Irene Strychalski (Gwenpool) talks about her 10 tips for thumbnailing a comics page. At this stage, your main concern is clear storytelling technique. Listen for some guidelines!
Then, writer Jason McNamara (The Martian Confederacy, The Rattler), now creative consultant for the NBA’s Golden State Warriors, talks about recognizing when a comics collaboration isn’t gelling, and knowing when to let go.
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The number of schools offering comic art programs in the US is small but increasing. This time we look at the Minneapolis College of Art and Design (MCAD). John Bivens and Eliot Rahal give us some background, and then we talk to one of the primary faculty members teaching in their comic art program, Barbara Schulz. She gives us her thoughts on choosing the best comic art program for you, challenges facing anyone trying to get started in comics (such as self-promotion, unscrupulous publishers, and more.
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This week we double back to the beginning of Tim’s summer trip around the US, and meet three of the many creators at the World Monster Headquarters studio in Minneapolis. We’ll meet Peter Wartman, creator of the graphic novel Over the Wall and currently working on the sequel, Stonebreaker. He talks about why Over the Wall is still on his web site, even though the book is out.
Then, Sean Lynch, currently working on his graphic novel The Zoo, which asks the question, does “choice” really exist?
Finally, Lupi McGinty, creator of the web comics Lolly Poppet and Bantam Returns. She tells us about the live action Calvin and Hobbes movie she made as a kid!
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