Monday, August 17, 2015

The Pill Blob

Kids? Kids! If your parents offer you (psychotropic) drugs to fix you're mental problems, just say "No, that's illegal, I don't want Big Psych Drug companies fulfilling their Plot for World Domination. Well, that and I don't want to be morbidly fat as a "small side effect".

Thursday, August 13, 2015

Animation Production - Work Distribution, Comparing America and Japan

West vs. East

Eastern “Perfection and Workaholism” is a myth. Not everyone works that hard on animation in Japan. Honestly, American and Japanese studios are BOTH toning the work. They just have different procedural and production strategy methods to go about it.

But there are key differences in what techniques are used to harness team energy in an animation studio.

I'll explain:

Tokyo, Japan:
  • In Japanese animation, fewer key frames are produced and drawn out, to save time and linger on key frames in each cut. But the Japanese animators compensate by embellishing each individual frame and animation cell. Less actual motion is used. Motion is made static and sacrificed most of the time (especially during dialogue scenes) to put more emphasis on individual frame and cell detail. This means the timing and motion in anime, especially during the 80s before the production of AKIRA, tended to be more motionless and herky jerky, with the exception the gradual slide over multiplaning effect.
Los Angeles, California:
  • In American animation, characters are more often more fully animated, especially in Disney and Pixar films, but also in LA Based Television animation. We want freer movement and a freer range of motion in the American animation production industry. So as time passed, and animation in America on TV simplified and evolved, with the more frames America animators put into western style shows (not eastern styled ones, which go against the tide and mimic or “swipe” Japanese techniques), it would appear drawings got simpler and simpler by their utilitarian nature, and got simpler and simpler in scope, as the key frames and in-betweens (24 frames in a second of animation) cell counts got denser and denser.
Compensating in lacking areas
  • Japan sacrificed time spent generating more fluid motion to give a more graphic, comic booky look to the general cell and frame composition structure to save labor by doing fewer drawings on each production than American animators do.
  • The U.S. Sacrificed detail and structure in the model sheets to make characters easier and less complex to animate, while still generating the same amount of energy and work as Japanese cartoon shows and movies.

In the end, it all evens out. Both sides work equally hard, but they spend more time and work on different aspects of the studio animation production process.

With computers, your moving a model or structure along a wire. To be honest I kind of hate that way of animating. It feels fake, and like it's not real animation because nothing is being animated with a pencil or pen, other than storyboards and conceptual art, which the audience never sees.

When drawing American art, always remember, this is America where drawing simple art isn't just NORMAL, it's encouraged and expected in animation and American cartooning. No one is comparing you to Japan who matters anything to this country. You don't have to draw in a Japanese way, this is not Japan. It's McFarlane Town, USA. Home of Horatio Alger and big bucks and innovation and simple art in cartoons. No ones forcing you to put a lot of detail in all of your comic book or graphic novel or webcomic's pages just because you're putting incredibly high vibrational-energy level into your work that it flies off the richtor scale  

Wednesday, August 12, 2015

Forging Our Own Paths In The New Emerging Online Comics Self-Publishing Market

Where I see no hope in the outdated traditional publishing industry, I see MUCH creative, storytelling, format, stylistic, and economic hope in the webcomics self-publishing, digital comic-manga, and Kindle industry. I check comicfury.com fairly frequently to see what the next fresh new (inexperienced and youthful, but still very innovative and archetypal) take on comics is going to be. Well, at least with many of them anyway. Webcomics vastly simplify the comics publishing process. In webcomics all it takes to publish your work to a large audience is the push of a button and a toggling of your dashboard to the right settings and format of JPG Files. While yes, some of these comics may look "crap" or "amateurish" I no longer feel that is the main point that needs to be made anymore. The point is a lower barrier to entry means a more diverse workplace and industry with a wider variety of books and comics, and yes, many of the comics published on Comic Fury would do well on Kindle Digital Press if they went for it. No matter how you look at it, indie comics, manga, webcomics, and self publishing or a combination of all those things and what they are reaching for is a very important vision of establishing something new. A new comics model. A new way of drawing and publishing comics for the world to see (not just the United States), which can also lead to new models for doing business in the comics industry (once again, I'm thinking of Amazon KindleDigital Press. It's worth figuring out! And that's a whole hell of a lot more than can be said for the intentions and aims of traditional comics mainstream publishing. If the secret comics club isn't going to let you become an after school member, it's YOUR job to start your own business model, run and supported by you and people with similar backgrounds as you, and build your own empire. Kind of like what apps are doing to disrupt traditional Computer Software and Operating Systems. The same outsiders-taking-over-the-industry movement can apply to the old structure of comics, and actually end up replacing it, if enough people managed to see the incentive and potential and take the initiative with their work and career, take themselves seriously enough as artists, writers, auteurs, and creators to forge their own path in this new Millennium of comics. Because believe me, the mainstream of comics...SUCKS. No one is breaking in who's worth a damn. No one in the "secret fraternity" is letting us do that, so it's our job to do our own thing. 

Why is it so HARD to Break into the Comic Book Industry?

This video is very insightful. If you've ever felt like you struggled with the comics industry or felt like you'll always be rejected by editors, there's a good reason for that, and it's not good. It's a bad reason, but it is the truth about what's going on in comics today, about how webcomics and indie comics are stepping up and stepping in whereas the mainstream comics community and industry is essentially extending one giant middle finger at fans who dream of going pro by means of traditional publishing houses, which quite frankly is a barricaded, insular system that essentially says fuck you to any creator who isn't already established AND over the age of 45... Bottom line, stick to webcomics and indie comics, but especially webcomics, because the business of indie comics can be just as broken as superhero comic books sometimes (i.e. popular indie non-web publishers).


So I'm participating in one of the largest scale lawsuits in history. Can't say much about my part in the whole thing yet. But yes, it's voluntary...I'm tired of getting ripped off.

How do you know you should be suing people, you ask?

When you're driven into poverty because you're doing free work and your bosses are embezzling the money that should be going towards paying you, and pretending everything's "cool" and "Not Evil". I'd say you've got a pretty good case.

If everyone's stealing from you and not compensating you with royalties,
I'd say you've got a pretty good case.

"Free work" or "Free labor" is a nice way of disguising its true darker intent and reality online. It is in fact a form of corporate and digital theft, abuse, negligence, fraud, and often a front for corporate embezzlement. Virtually all media companies can be found guilty of this practice in the 2000s, and unless legal action is taken, they'll never fess up, and my kind will continue to starve, suffer, and struggle.

Thursday, August 6, 2015

Limitless Possibilities! Well. Sort of...

The number of online digital streaming HD, and digital HD satellite options for what shows, movies, cartoons, anime, music videos, and commercials to watch. As a matter of fact I felt like watching Robert Zemeckis' Contact, and there were over 12 links to free movie watching sites, all streaming their own FREE commercial free broadcasts of Carl Sagan, Jodie Foster, and Robert Zemeckis' Contact on the first page alone of a Google search! Internet is very receptive to old media. People are using the internet more than ever to relish and relive old media, but they don't seem to be producing and funding anything new. Like YouTube and Retrojunk.com for instance. 

Friday, July 31, 2015

Things that make a creator better at their profession, that don't involve drawing

·       Tolerance
·       Social skills
·       Compassion
·       Wisdom
·       Patience
·       Longevity
·       Fortitude
·       Perseverance
·       Tenacity
·       Humor
·       Kindness
·       Strength
·       Humility
·       Ingenuity
·       Intelligence
·       Generosity
·       Influence
·       Not expecting anyone to be impressed by it
·       Silence
·       Peace and Unity
·       Endurance
·       Energy
·       Healthiness
·       Cleanliness
·       A Healthy Community
·       Goodwill
·       Focus
·       Regal Posturing