“How to Draw Sci-Fi Utopias and Dystopias” by Prentis Rollins
I want to share with you a book that really speaks to me as an artist and storyteller. I’d been meaning to write a review of it for quite some time and then it struck me last night as to what to say here. This is one of those books with the goal of art instruction that really gets it! And it is considerably helped along by its niche focus! Are you into science fiction? Would you like to draw work that perfectly fits into that genre? Well, then, here’s the book for you: “How to Draw Sci-Fi Utopias and Dystopias” by Prentis Rollins, published by Monacelli Press.
This is the ultimate guide for illustrators at all levels on how to fine tune their sci-fi imagery. You get the very best advice from Prentis Rollins, a DC Comics veteran (Rebirth, Supergirl, and Batman: The Ultimate Evil). Given the opportunity, I would love to pick his brain. But, let me tell you, this book is the next best thing as Rollins takes a very accessible and conversational tone throughout his instruction filled to the brim with examples. There are 32 step-by-step case studies in all created and imagined especially for this book.
Whether you are attempting to create a compelling utopia or dystopia, it all comes back to basics. Here is a book that goes through the building blocks all the way to sophisticated techniques to really rock your world. Rollins is certainly not alone in stressing a need to master the fundamentals before veering off to pursue your own thing. In fact, he implores you to not rely too heavily upon emulating the work of others. However, he also emphasizes the very real need to be inspired by others.
For Rollins, he has two main influences: American artist Syd Mead (Blade Runner, Star Trek: The Motion Picture); and the Swiss surrealist painter H.R. Giger (Alien). As Rollins is quick to point out, these two artists could not be further apart from each other. Mead is logical, clean, and rational. Giger is morbid and nightmarish. You could place one in the utopian camp and the other in the dystopian camp. And that falls well into the theme that Rollins pursues: a close look at science fiction imagery, both utopian and dystopian.
A utopian scene
Consider these examples, among the many you’ll find in this book. One shows you a scene more in the vein of Syd Mead.
A dystopian scene
While the other shows you a scene more in the vein of H.R. Giger. And, yet, both resonate a certain way of doing things that is all Prentis Rollins. And that, my friend, is the whole point of the book. I hope you’ll get a chance to pick up a copy for yourself or for someone you know who would get a kick out of such an impressive art instruction book.
“How to Draw Sci-Fi Utopias and Dystopias” is a 208-page trade paperback in full color. For more details and how to purchase, visit Monacelli Press right here.
I picked up some fine comics at Seattle’s Short Run Comix & Arts Festival. Short Run is one in a growing number of comic arts festivals in recent years in the spirit of the Small Press Expo (SPX) which was created in 1994 to promote artists and publishers who produce independent comics. The prime objective of SPX, and other comic arts festivals, is its main annual event, a place to showcase artists, writers and publishers primarily of comic art in its various forms to the general public. We are dealing here with a decidedly small demographic but a very important one. Short Run organizers Eroyn Franklin and Kelly Froh have done an admirable job of putting together a comic arts festival that resonates with this niche audience. They have found the big in the small.
Short Run Comix Fest 2016
This year’s Short Run at Fisher Pavilion in Seattle Center saw a steady flow of attendees. You could clearly see an impassioned interest for the hand-made. In spite of our jittery digital world, it seems that a lot of people are attracted to something more basic, something stapled or stitched together that’s printed on paper. And for the actual participants, the various writers, artists, and cartoonists at their tables, the sense of community alone is quite gratifying.
Here are a few nibbles of observations in no particular order. It was nice to stop by and chat with cartoonist Tom Van Deusen. He tells me that he’s thinking about having a new book out in the next year or so. Pat Moriarity has some similar plans. He sees a new book in the future as well as an animated treat down the line. I’ll see about letting folks know about it when it comes out. Pat, by the way, has created some of the most gorgeous prints through the Vera Project press. Noel Franklin has had quite a good year as she has the distinction of having won all three major grants in Seattle. Always good to see Vanessa Davis and Trevor Alixopulos. I had to pick up the new edition of Spaniel Rage, which won’t officially be out until February, from Drawn & Quarterly! Megan Kelso recently created a special collaboration with her 10-year-old daughter, Virginia, which is a lot of fun. While Short Run fell right on Halloween last year, this year it fell within the specter of the most crazed presidential election ever. I asked cartoonist and humorist extraordinaire Greg Stump for his thoughts. He said it felt like a perpetual loop where we never reach the actual day of the election as in an episode of The Twilight Zone.
Betty Turbo’s Portrait Machine!
And, by the way, if you did go to Short Run, did you get your face drawn at Betty Turbo’s Portrait Machine? Looks like a hoot. Visit Betty Turbo right here.
Short Run promo by Vanessa Davis
We’ll take a closer look at some of the comics I picked up this Saturday in the next few days. Some have a direct connection to Short Run and some don’t. In the end, it’s all about comics with that special touch. Call them comix, or call them alt-comics. They may appear at this or that comic arts fest or only online or even in an actual comic book shop. Whatever route you need to take, seek them out. And, if you’re in Seattle, be sure to visit Short Run right here.
Just in time for Halloween, VICE’s art editor, Nick Gazin, shares his list of the top five scariest horror comics. With horror comics being dismissed by many as just a junk genre, there was a golden opportunity to fill that void and create great art using strange artistic styles. Nick provides a quick history lesson, and an unexpected treat among his choices. He also wears some big toothy fangs all for your enjoyment.
VICE Guide to Comics: The Top Five Scariest Horror Comics is right HERE.
For those of you in Seattle this Saturday, October 22nd, come out to the Fantagraphics Bookstore And Gallery for a launch party for “Rock Is Not Dead,” an international anthology of comics and prose based on rock songs with an accompanying covers CD. Seattle cartoonist Noel Franklin pulled together an artist team to contribute. Fellow cartoonist Mark Campos and Franklin created a comic based on the Throwing Muses song, “Not Too Soon,” and Amy Denio recorded the cover for the CD.
Noel Franklin is a Seattle cartoonist who, like many of us in this region, is quite active. We locals know her for such beautiful work as her tribute to the OK Hotel. Franklin recently received grants from 4Culture and the Mayors Office in support of her first graphic novel.
Fantagraphics Bookstore And Gallery is located at 1201 S Vale Street. For more details, visit them right here.
South Park Block: Theodore Roosevelt guards the Portland Art Museum
One of my favorite strolls is walking down the South Park Blocks in downtown Portland and then making it over to the Portland Art Museum. I was recently in Portland and enjoyed such an outing. This was just prior to the new Andy Warhol show. So, I need to make another trip from Seattle in the near future. That said, I had a wonderful time spending most of my time taking in the permanent collections. Just for fun, here are some observations.
PAM 2016: Cymatic Modular Triangle
I was in a contemplative mood. I found myself focusing on the various juxtapositions of art I came across. There were so many pleasing combinations on view that I could not help documenting some of the most striking ones. So much to see and process. This is just a quick sampling. I also include one of the temporary exhibits that intrigued me, “Sound Beyond the Auditory,” on view until the first of the new year. I’ll say a few words and you can go to the video that showcases a really cool pulsating triangle. This exhibit is made up of experiments in cymatics, the process of making sound visible and tactile. People enjoyed each work on view and were compelled to linger over the Cymatic Modular Triangle. They would stomp, tap, click, whatever sound they could think of, to influence the colorful patterns it responded with. This exhibition was developed in partnership with CymaSpace. For more information on their programs or how to volunteer visit cymaspace.org.
Bourdelle and Monet
Getting back to my study in coupling of art works. In no specific order: we begin with Bourdelle and Monet. The massive yet pensive bust, “Head of a Figure Called Eloquence,” 1917, by Emilie-Antoine Bourdelle, takes in the scene and is a perfect counterbalance to a water lily painting by Monet.
Caro and Oldenberg
Anthony Caro’s quirky “Table Piece XXX,” 1967, fits right in with what looks like a study for a large scale Oldenberg, “Profile Airflow,” 1969.
Rauchenberg and Stella
Rauchenberg shares space with Stella.
Rodin and Monet
Rodin’s exuberance gives way to Monet’s calm.
Smith and Berman
David Smith’s spiky sculpture, “Portrait of Don Quixote,” 1952, wages a battle with Eugene Berman’s expansive “Time and the Monuments,” 1941.
Smith and Berman
Olin Levi Warner’s sculpture rides the ebb and flow of time with the paintings of Edward Lincoln Espey.
“Charrette de boeuf (The Ox Cart),” July, 1884
“The Thatched-Roof Cottages of Jorgus, Auvers-sur-Oise,” June 1890
By far, the most moving combination is of a painting early in Vincent van Gogh’s life coupled with a painting from the month of his suicide. The space between the paintings seems to stand for such a troubled life as Van Gogh’s. One painting seems perhaps serene and studios. The other painting we might read into it resignation. We can sense a mastery, a certainty within uncertainty.
Portland Art Museum
Portland Art Museum is located at 1219 SW Park Avenue. “Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation” runs from October 8, 2016 to January 1, 2017. For more details, visit the PAM website right here.
The world of Andy Warhol is our world. His art, inextricably linked to his persona, resonates with us today on an uncanny level. Along with a select few artists like Picasso, he has broken through, reached immortal fame with the general public. When a new book or movie comes out about him, we feel we’re dealing with something familiar. The new graphic novel, “Becoming Andy Warhol,” written by Nick Bertozzi and illustrated by Pierce Hargan, seems to tap into some new ground by presenting us with more of the human being that was Andy Warhol (1928-1987).
Growing up in the ’70s and ’80s, with my own art ambitions, I was keenly aware of Warhol as I digested his art through the media. What I saw of the person was actually quite minimal. There was that exaggerated deadpan pose, that would be taken up by so many artists of the next generation, like Keith Haring and Jean-Michel Basquiat. Who Warhol really was did not seem to matter. The fact that he was gay was never brought up in the mainstream media. But one thing was clear: Warhol was a significant artist breaking new ground.
What this graphic novel attempts to do is humanize Warhol to better understand the man and his art. He was certainly not a passive eunuch. The most distinctive contribution this book makes is to show Warhol as an active and sexual being dealing with relationships, and strategizing his career. His career did not just emerge one day fully formed and he did not have all the answers. In fact, there’s some wonderful scenes in the book with art critic Henry Geldzahler guiding his friend along. When it came to attempting to answer rather pompous questions from the media, why not simply respond with enigmatic non-answers? This approach, Geldzahler advises Warhol, will make him a star.
Warhol was certainly more than capable of explaining his methods. More than anything in the world, he wished to share his insights with the Pop Art kings Jasper Johns and Robert Rauschenberg. But, when they saw themselves as on a separate plane from Warhol, it did not faze Warhol. What we see in this graphic novel is a Warhol who, despite setbacks, maintains an internal compass that keeps him on his path. He is a determined and driven dynamo. The book focuses on Andy Warhol from 1962 to 1964, those critical years which see him make the break from a hugely successful career as an illustrator, dive into a fine art career, and never look back.
Warhol at Work
A grand biography is one of the most suitable of subjects for a graphic novel. Bertozzi and Hargan turn Warhol’s journey into a most engaging story, one that gains much from the way that they tell it. The challenge here for Bertozzi was to present a story that many of us already know to some extent, while only relying upon books and resources commonly available. What is so new and compelling to tell? It becomes a matter of what to bring to the foreground. I believe Bertozzi does an admirable job of choosing what bits to use that add up. Hargan does an equally good job of tuning into an irreverent depiction of the man. His Warhol becomes an accessible comics character in his own right. As you read, you can get lost in conversations and the whole pace of things from a certain era.
Andy Warhol was already Andy Warhol at the start of this story insomuch as he wasn’t going to let anyone or anything get in his way. And, when it seemed time to choose whether to abandon parts of who he was in favor of a more mainstream presence, he knew where to draw the line. There’s a particularly effective scene where the renowned architect Philip Johnson admonishes Warhol to drop all of his rough trade friends while, at the same time, he ponders which of the boys he might get to bed. While far from perfect, Warhol proves to stand for something. By defying Johnson and others, Warhol stayed true to himself and would go on to make history. I’m sure that Bertozzi felt compelled to articulate these finer points about Warhol.
BECOMING ANDY WARHOL by Nick Bertozzi and Pierce Hargan
“Becoming Andy Warhol” is a 160-page hardcover with two-color illustrations throughout, available as of Oct 4th, and published by Abrams ComicArts.
I read this year’s Best American Comics on the train and I loved it all the more for doing so–but more on that later. Bill Kartalopoulos is the series editor and this year’s editor is Roz Chast. Even if you think you don’t know enough about the contemporary American comics scene, you probably know Roz Chast’s work in The New Yorker. So nothing to worry about, even Roz Chast doesn’t think of herself as exceptionally knowledgable about the current comics scene. However, Bill Kartalopoulos knew right away that, no matter how splintered the comics scene may be, here was a legendary cartoonist, with a wealth of experience, insight, and a very special kind of irreverence. This book is a guide through the best of American comics from someone with just the right sensibility to add to the journey. And what a journey it will be kicked off by the artwork of Marc Bell on the cover, as well as within the pages!
From “Stroppy” by Marc Bell
The path begins with a forward by Kartalopoulos which explains how we got here from there and what sort of comics we are focusing upon. For the most part, the focus is on comics that have come to be known as alternative comics, or alt-comics. These are comics that fall well within comics as an art form. While genre comics occasionally rise to the level of art, that is not their main purpose. So, as I have maintained, it is useful to be able to separate comics within two main groups: genre and the alternative to genre. There is crossover (which is great when it happens and can be quite interesting), but, in general, art comics are on one side and superhero and various other genre comics are on the other side. So, while it is possible, you will usually not see the likes of Batman or Spider-Man in Best American Comics–even if that just doesn’t seem right somehow.
Father and daughter clash in Adrian Tomine’s “Killing and Dying.”
Roz Chast’s introduction provides some clues as to what comics would appeal to her. Considering what she chose to include in the book, she is mostly intrigued by wry humor and in-depth autobiographical work. She says she’s not a prude but that if work gets misogynistic, that makes her sad. And she’s open to just about anything, even willing to go back to a comic that she wasn’t sure about at first. Chast does not categorize her selections. You just start reading. First up, is an excerpt from Adrian Tomine’s celebrated collection, “Killing and Dying.” In this excerpt from the title story, I can only imagine Chast’s love for zany humor telling her this is the piece to set the tone for the rest of the book: a story about a father struggling with his daughter’s sudden desire to be a stand-up comic.
Misfits band together in Chris Ware’s “The Last Saturday.”
Along with Adrian Tomine there are other clear choices to include: Chris Ware, Lynda Barry, Gabrielle Bell, John Porcellino, among others. But the treat is that they are set within the context of choices that Chast came to make. That fact adds another layer to one’s enjoyment of a story about struggling misfits by Chris Ware. And, it is quite true, there are so many comics out there that you cannot keep up with all of them. It does seem best to find a way to hook in and make some sense of things using different approaches each year. To that end, series editor, Bill Kartalopoulos has settled into taking a long view of things. Ideally, you don’t just read one Best American Comics annual but you keep up with it each year to find out what has made an impression and how it may fit into the current wave. What novelist Johnathan Lethem did as editor last year is different from what comics historian Scott McCloud did the year before.
Discussing time and effort in Lynda Barry’s “Syllabus.”
By the time I reached Lynda Barry’s story about coming to terms with a cartoonist’s goals and how to impart that wisdom unto students, I had a good sense of what Chast was going for. It provided me with a way to hook into everything else. And it was about that time that the rocking motion of the train added more resonance, especially as I patiently followed along lines of Barry’s handwritten writing reproduced from a notebook page. Both the train and the handwriting asked me to take my time. Earlier in my reading, I had been picking up on the fact that there is so much going on around you while riding in a train and how that is true for comics.
Barry brings up a challenging question: Just how long does it take to draw something? Well, it all depends. In the end, a good cartoonist develops a keen sense for this. It’s a variation of the old saw, When is a painting finished? So many art students have suffered from callous professors who dismiss work as simply unfinished. But, on the other hand, so many art professors have suffered from callow and impatient students who demand a checklist for assignment requirements. You cannot create anything, especially art, from a checklist! Time. It all takes time. So, in “Syllabus,” Barry sums it all up with, “Rushing it is missing it!” It is that standard that is maintained by all the cartoonists included here.
From “Adults Only” by Lance Ward
Cartoonists of this caliber are meticulous note-takers and obsessive in the best sense of the word. Among these type of cartoonists included in this book is an excerpt from “Adults Only” by Lance Ward. Ward states that he works directly on pre-made panels, without preliminary drawings, so that he can best attack his work. This runs counter to the Barry dictum of measured craftsmanship. However, Ward’s obsessive quality wins out. This is in the same spirit as Jackson Pollock’s drip paintings. Ward has gotten to the point where he has hit enough marks to know, on an intuitive level, where the marks will end up. The work has a spare and energetic look to it. Ward is recounting his misadventures working in a porn shop. That is the point of departure for his delving into struggles with his sexuality. A more free-form style could not have been invented for him. A cartoonist can try to minimize or maximize their style but, usually a certain way of doing things falls into place.
“Bike Fast” by Sophia Zdon
Ward, along with other rising talents included here such as Sophia Zdon, has found what works. Zdon, a graduate of the School of Visual Arts in 2015, provides heartfelt observations as if out of dreams.
From “The Corpse, the Ghost and the Hollow-Weenie” by Casanova Frankenstein
One of the most raw and honest expressions in comics comes from Casanova Frankenstein. In an excerpt from “The Corpse, the Ghost and the Hollow-Weenie,” he confides in the reader about a tumultuous life.
Panel excerpt from “Fatherland” by Nina Bunjevac
An excerpt from “Fatherland,” by Nina Bunjevac, published by W.W. Norton, provides insights into a peculiar and dangerous life in Yugoslavia in the aftermath of World War II.
From “Fashion Cats” by Alex Schubert
Alex Schubert‘s “Fashion Cat” is a hilarious look at the misadventures of a feline hipster, originally published in Blobby Boys 2 by Koyama Press.
From “El Deafo” by Cece Bell
Cece Bell‘s “El Deafo,” published by Abrams, is quite a captivating story about a little girl coming to terms with being deaf and how to navigate the world. The story is given an added lift by the nicely modulated coloring by David Lasky.
“Don’t Leave Me Alone” by GG
“Don’t Leave Me Alone,” by GG, is a dream-like compilation of growing up with fear and uncertainty in an intolerant and hostile world.
From “Blanket Portraits” by Geneviève Castrée Elverum
And then there are those comics that are simply transcendent–and can best inform us on the integrity and purpose of the comics medium. “Blanket Portraits,” by Geneviève Castrée Elverum, is a visual essay on a lifetime’s appreciation for blankets, their beauty and comfort, and what they symbolize. Geneviève passed away on July 9, 2016 from pancreatic cancer. As Bill Kartalopoulos states in a postscript, what made her comics unique was that they were “entirely expressive of who she was.”
The Best American Comics 2016
“The Best American Comics 2016” includes the work of 30 cartoonists. It is a full-color hardcover, available as of October 4, published by Houghton Mifflin Harcourt. Best American Comics proves to be an essential and inspiring guidebook. As I say, Bill Kartalopoulos has taken the long view. You’ll definitely want to read this year’s edition and make it a habit to keep up with this most distinctive collection.
Kerry O’Quinn and Friends. Illustration by Henry Chamberlain.
Kerry O’Quinn is the co-creator and publisher of STARLOG, FANGORIA, CINEMAGIC, FUTURE LIFE, COMICS SCENE and more than a dozen other monthly newsstand magazines. Mr. O’Quinn is featured in an upcoming documentary on fandom, FROM THE BRIDGE, written and directed by Spencer F. Lee and hosted by George Takei. It was my pleasure to get a chance to interview Kerry. Here is someone who tapped into the world of fandom as if he were born to do so. O’Quinn and his partner Norman Jacobs got their start by creating and publishing a soap opera magazine in 1972. By 1976, they were ready to pursue publications aligned with their passions for genre cinema, television, and related pop culture.
Kerry O’Quinn, co-creator and publisher of STARLOG and FANGORIA
Starlog and Fangoria are the flagship publications from that golden era. Starlog was launched in 1976. Fangoria was launched in 1979 and continues in its great tradition of covering the horror scene. These are the prime publications, along with Cinemagic, that would go on to influence thousands of creative people including many of the most celebrated talents working today like J.J. Abrams and Quentin Tarantino. Before the internet, you got your in depth information on the entertainment industry from magazines. One cannot stress enough how significant Starlog and Fangoria were in their heyday.
Fangoria, Issue One, August 1979
Kerry O’Quinn would go on to celebrate the worlds of science fiction, horror, comic books, and fandom in various ways. Some of the most notable are his conventions that paid tribute to the 10th anniversary of Star Wars, the 20th anniversary of Star Trek, and the 20th anniversary of Starlog. It was during the 10th anniversary celebration of Star Wars that Gene Roddenberry and George Lucas would share a stage for the first and only time together. How was such a marvelous feat accomplished? Well, Kerry O’Quinn was friends with both of these legends. It was Kerry O’Quinn who landed an exclusive in depth interview with George Lucas that was so comprehensive that it spanned three issues of Starlog.
Gene Roddenberry meets George Lucas, 1987, the 10th anniversary of Star Wars
Over the years, Kerry O’Quinn has proven himself to be a man of many talents consistently exploring and creating new work. He has become an accomplished screenwriter with a number of projects including “Dragworms,” his unique take on zombies which is actually more character-driven than just blood and guts. What strikes me about Kerry O’Quinn is his energy and determination to pursue his dreams. I can relate to him on many levels. We’re both from Texas. We both love New York. We both juggle a number of passions: writing, drawing, acting, filmmaking. I think some people are just wired to need to do many things and will find ways to realize each goal over the course of a lifetime. That’s what is special about Kerry O’Quinn. That said, he’d be the first to say it is well within reach for everyone to follow their dreams. For more details on his remarkable life and his observations, check out his website here.
HENRY CHAMBERLAIN: Kerry, I want to chat with you about fandom, and the upcoming documentary that you are featured in, “From the Bridge,” and cover as much as we can about your remarkable career. I want to begin by giving a shout out to your friend, Kurt Edward Larson. He conducted such a beautiful and heartfelt interview with you.
KERRY O’QUINN: Kurt and I have known each other for a long time and have a lot of fun things in common. Kurt is such a Star Wars fan–and, when he got married several years ago, I wondered about what to get him–a toaster? a blender? No, what he would want was a day at Skywalker Ranch. I arranged that. He and his wife had lunch there and got a tour of the ranch. So, he was in heaven!
I was talking to a buddy of mine about doing this interview and we got to speculating over the long lines for Star Wars on the very first day of release. We were just kids when it came out. I started to think about how Jaws had attracted long lines too a couple of years prior. From your special vantage point, Starlog was already on the scene having come out in 1976, would you share with us your take on the explosion of excitement over Star Wars in 1977?
It was phenomenal timing. My partner, Norm Jacobs, and I had launched Starlog magazine in 1976, the Bicentennial year. At that time, there was no science fiction that was alive and happening. It was all stuff from the past that was being consumed. You know, stuff from the 1950s, the movies made by George Pal. Those movies were popular with nerds like me. But they weren’t going to win any Academy Awards or get any mainstream cheers of any kind. It was considered trash, like daytime soap operas. Horror movies, stuff like that, was not taken seriously.
Starlog, Issue Seven, August 1977
When we started the magazine, there wasn’t anything like it like there is today. And we had great difficulty starting the magazine for that reason. But, lo and behold, the very next year Star Wars came out. All of a sudden, it made the cover of Time magazine, with exactly the same X-wing cover that we had for Starlog. So, suddenly science fiction was at least getting noticed by a mainstream audience all over the world. It has gone on to become an important part of the culture in the same way that Star Trek has. And in the same way that horror and superheroes have. It’s very trendy today to be a nerd. It wasn’t 40 years ago.
I remember when I first met George Lucas. He was telling me about having lunch one day at Hamburger Hamlet on Hollywood Boulevard. And it was right across the street from Mann’s Chinese Theatre. He said that he looked across and he saw lines of people. He asked what was going on. And a friend told him that it was his movie that was playing. It didn’t occur to George that huge lines were gathering along the sidewalk for his movie. He was delightfully surprised by the enormous fan reaction to his movie as all the rest of us were.
It was when Star Wars lit up the sky like it did that Starlog went from a quarterly to a monthly magazine. Indeed, we were already there. Starlog was the voice of science fiction. And George launched the science fiction that is very much alive and booming today.
That scene with the long lines, that’s in your interview with George Lucas.
For our Star Wars fifth anniversary issue, I had called to arrange an interview with George Lucas. He had turned down all the big magazines. I was told that he wasn’t doing any interviews but I begged and pleaded. George agreed. I flew out from New York to visit him. This was before he had build Skywalker Ranch. I did an lengthy interview with him in which he told me all kinds of wonderful tales. We were very comfortable talking with each other. We had many of the same values and things that excited us. We talked about everything from space to technology to classic cars. We talked for hours at that first interview. In fact, it turned out to be too much for one issue so I turned into three consecutive parts spanning three issues of Starlog. I believe it is the longest interview anyone has ever done with George Lucas.
Starlog, Issue One, August 1976
Share with us your insights on how Star Trek became a phenomena, after having struggled in the ratings when it was originally broadcast.
It did indeed struggle. In fact, after the first two years, NBC had cancelled the series. And an amazing lady by the name of Bjo Trimble and her husband, John, did something that, at the time, was phenomenal. This was back in the mid-’60s. They organized a letter writing campaign to NBC by fans that generated more than a million letters. A TV network had never received that kind of reaction to the cancellation of a show–and they were stunned by it. Don’t forget that this is before the internet. Fans contacted each other back then with mimeographed newsletters mailed to each other. And then, ten years after the first broadcast of Star Trek, there was Starlog maganzine and fans could communicate with each other through our letters forum–as well as at conventions.
Bjo had gotten a television network to renew a cancelled series. That had never happened before. What Bjo did was allow for a third season of Star Trek. However, NBC scheduled it on Friday nights, which is a dead zone for shows. So, NBC cancelled it for the second time. Everybody seemed to think science fiction was dead. But it was very much alive within this hidden fan culture. And the documentary that my friend, Spencer, is putting together covers how this fan base has grown in the last 40 years. It went from this invisible, almost ashamed, audience to what it has become today when you have 150,000 people show up at Comic-Con in San Diego each year in July. And the biggest movies today are superhero, science fiction, and horror, everything that our magazines were all about.
Star Trek is right at the root of that response, at the heart of it. Gene Roddenberry created a concept of the future that was positive and inspiring: rationality, science, and the better values of human nature would prevail. Star Trek not only inspired the original audience that tuned in for its three-year run. In syndication, Star Trek reached around the world with its universal concept that the human race can be better. Gene deserves everybody’s praise as Star Trek is one of the most inspiring things to be created in any genre. Sometimes science fiction warns us of things that we need to be careful about. And sometimes science fiction shows us that things are within our control, we can make it better, and gives us hope for the future.
I’m thinking of how Star Trek was ahead of its time and so it made sense that it would struggle in the ratings. The same is true for The Twilight Zone. Both of these shows have a lot in common. The primary thing is that they both have subtext. There was social commentary in the guise of fantasy and science fiction, very much ahead of its time–now, we take that for granted, don’t we?
We do but we still need it since we don’t have a lot of it. Even with the science fiction that we have today, with all the dazzling special effects that we didn’t have back in the ’60s. Visually, science fiction today is dazzling, uncontrollable, and amazing. Back then, the effects were kind of clunky, rubber monsters and the like, but nobody cared because–and this is certainly true about The Twilight Zone–the story talked about the issues, important values, and principles.
Science fiction does not show us the day-to-day reality but something that may exist in the future, something that could and that ought to exist. That is the noblest undertaking of art and science fiction is the best at doing that. Rod Serling and Gene Roddenberry are hugely important and we featured them in the early issues of Starlog. At that time, there wasn’t any science fiction, like we know today, so for the first few years most of the content in Starlog was looking at things from the past in terms of movies and television.
Cinemagic, Issue 20, June 1983
You were commenting on the past but then, at some point, you were not only commenting but you were part of the industry. There’s the whole how-to aspect from Cinemagic. There was quite the evolution as you became part of the scene.
Exactly. When we began Starlog, we included everything even those things that were very loosely considered science fiction. And that included horror, and articles on special effects, and Hollywood technology workshops, all the way to NASA and the space program. As we evolved, we discovered that we had many different audiences reading our magazine. Some of these people wanted to be filmmakers. They wanted to make these movies that they loved. Therefore, we branched off and created the magazine, Cinemagic which taught young filmmakers the techniques of production and special effects. We had a short film contest each year. We gave out prizes and trophies at a big theater in New York with celebrities to present awards. Some of these award winners are working in Hollywood today.
A lot of folks, like J.J. Abrams and Robert Rodriguez were inspired by Cinemagic. Steven Spielberg, at one time, said that Cinemagic was his favorite magazine, the only magazine promoting the future of the film industry to young people who were unsure if they could recreate the amazing things that they adored on the screen.
Director/Writer Wes Craven, from “Fangoria’s Weekend of Horrors” (1986)
I was curious about the overlap between Fangoria and Famous Monsters of Filmland. There does not seem to have been a rivalry between you and Forry Ackerman. Famous Monsters began in 1958. Fangoria began in 1979. You have Forrest J Ackerman, the founder and editor of Famous Monsters, in your film, “Fangoria’s Weekend of Horrors,” which I must say is an outstanding documentary on fandom in its own right.
What can you tell us about Forrest J Ackerman? What did you learn from him?
He was obviously the precursor to all of our magazines. He did something very daring in his day: to do a magazine about monsters! What kind of freaks are interested in something like that? Well, it turned out that there was quite a few. Again, these people were all in the closet, so to speak. They bought the magazine but they didn’t have any social status whatsoever. They were outcasts. They were unusual. That was me. That was a lot of people. Our magazine brought people out of the closet. I met Forry many years ago, at a convention, and immediately we had a lot in common. We became friends and we remained friends, it makes me sad to talk about it…I was with him just a few days before he died. He was still in good spirits and still telling me jokes.
From “Fangoria’s Weekend of Horrors” (1986) segment with Forrest J Ackerman
Forry was such an important person in my world and he became a very dear friend. I actually went over to his old home out here in L.A. years ago, which was called the Ackermansion. And it was a museum of props and artwork and all kinds of things that he collected from these strange movies that no one gave enough credit to but that he knew that it was an important part of the culture that should be saved and preserved. And there still is no permanent museum for that sort of thing. And I’m hoping that, in the near future, there will finally be a museum that recognizes and preserves science fiction, horror, superheroes, fantasy, all of the films that are now way out of the closet–and a part of mainstream culture, not just in the U.S. but world-wide.
Kerry, there are so many things we can talk about. Ayn Rand. Cannabis. More about Star Wars. There’s your book on how to chase stars, chase your dreams.
Yes, “Reach For The Stars.” It’s a book that has a lot of practical advice on how to make your distant dreams come true.
I also have to touch on your project with HBO which may still find its way back to them. It’s a Twilight Zone type of show called, “Future Tales.” Boy, that would be some show!
I agree, it would be. And it’s still a good idea. I haven’t been able to sell it to the Syfy channel even though that ought to be just the sort of show they would be interested in. I enlisted 45 of the world’s greatest science fiction writers (including Arthur C. Clarke, Isaac Asimov, and Harlan Ellison), we signed agreements, that they would create a story or that we could use an existing story as the basis for one of our episodes. It was an anthology series all about the world of tomorrow. When HBO had me develop it, we were calling it “Future Tales.” Now, I’m calling it, “Exploring Tomorrow.”
I love that.
Me too. Who isn’t interested in tomorrow?
Exactly! You know, Kerry, I’m over the moon. We share so many connections. I’m a cartoonist.
Yes, and I love New York.
And I can see your early interest in cartooning probably having to do with being able to control the whole production and allowing your vision to run free.
That also carried over into animation. In New York, years ago, I was so impressed with Disney and his multiplane animation that created three-dimensional pictures. I got a bunch of plumbing pipes and I built my own multiplane animation stand in my apartment in New York. At the time, my dream was to create a little film that was so damn good that I’d send it out to Disney and he’d have me come out to work for him. That was my dream: to work for Walt Disney! Now, it never did happen and I clearly changed my mind since then but I did produce a few short films on that animation stand. I still love animation, and illustration–that was my original career. I’ve done so many things since then that I have a resume that looks like I’m schizophrenic.
Well, I wish you and Spencer the very best with “From the Bridge.” I’m excited about it and I’m sure it will find a wide audience.
It’s going to be very popular with the fan community–because it’s all about them. And the power that they have grown to hold in the last few decades.
I interviewed George Clayton Johnson a number of times–a science fiction writer and big supporter of fans–and he always brought up people power. In the end, it is the fans who matter the most.
Absolutely. I’m going to do a panel at Stan Lee’s Comikaze Expo (newly renamed Stan Lee’s Los Angeles Comic Con) here in L.A. next month with Bjo and John Trimble and my friend, Tom DeSanto, who produced X-Men and Transformers, and we’re going to talk about fandom. That’s what it’s all about.
Well, very beautiful. Thank you so much, Kerry.
You’re very welcome, Henry. I always enjoy talking about what I enjoy most of all.
Here is the podcast interview to listen to. Just click below and enjoy:
Check in with Kerry O’Quinn at his website here. If you are in Los Angeles on October 28-30, come see Kerry and enjoy some pop culture fun at Stan Lee’s Los Angeles Comic Con. You can find details on that right here.
Evoking a quiet moment is one of the most natural and satisfying things to do as a cartoonist. A story takes shape. A conflict. A conversation. Before long, a compelling story unfolds like Cyril Pedrosa’s “Portugal,” published by Europe Comics. Sometimes what is not said is as important as what is said. Pedrosa plays with the spaces in between words. This is the story of Simon, a young man struggling to find his place in the world despite the fact it would appear that he has everything in place: a loving mate to share a life with, a promising future in his chosen career, and the potential for lifelong stability. But Simon does not see it that way at all.
A conflict. Simon is a man who still feels he is only a boy–or a young man with much to learn. Simon is at that age when life has taken root from all directions but he is not ready to settle down. He must either break free or reassess his current state–do something instead of just vacillate. Pedrosa has created a perfect depiction of a Peter Pan syndrome: Simon refuses to grow up. Of course, Simon must grow up in some sense since he’s miserable. Claire, his longtime girlfriend, has been beyond patient with him. The clock is ticking but nothing is moving forward for Simon. Not the most inspiring or likable of main characters, right? Ah, but this is the stuff of life. This is a compelling story told in words and pictures by a master cartoonist. It also happens to be loosely based upon the author’s own self-journey. In 2006, at age 33, Pedrosa had his own reassessing to do.
A conversation. And then another. Pedrosa does a beautiful job of exploring Simon’s struggle even when his main character is the least cooperative, either hovering or drowning. There seems to always be someone open to pursuing a conversation with him not the least of which is Claire, Simon’s beautiful but beleaguered girlfriend. Nothing seems to get through to Simon. In one scene, Claire literally spells it out for Simon. If only he were to say that he wishes her to stay, she would stay with him. Simon has perfected his way of coping with the world: as little movement as possible; as few words as possible. In this case, with Claire, he chooses to remain silent. It is a moment that rings so true during the process of a breakup. Sometimes, one must read between the lines–or no lines.
Another conversation. And then another. If there is one thing Simon needs most, it is to talk and Pedrosa throws his main character into numerous opportunities to do just that. In fact, Simon, stumbles upon what will save him during a visit to a comics festival in Lisbon, Portugal. It is an chance for Simon to socialize with his fellow cartoonists as well as with the public. The interaction invigorates Simon.
PORTUGAL by Cyril Pedrosa
It takes Simon a while to put two and two together. The reason that his Portugal visit enlivened him was that it gave him time to consider his Portuguese roots on his father’s side of the family. The third act to this graphic novel finds Simon finally turning to family after having remained in his own isolated bubble for so many years. While being around family alone won’t solve his problems, and may cause new ones, it does help Simon find some answers. With some luck and a new will to live, Simon may very well find himself no longer the boy in the bubble. Pedrosa provides you with an exquisitely paced narrative able to pause for quiet moments and sustain the delicate rhythms of human interaction.
Here is a trailer for the book:
Sometimes, as Pedrosa puts it, a story’s journey must go through a labyrinth. Pedrosa, in his own words, shares the process of making the book:
If you are going to the Small Press Expo in Maryland, the Brooklyn Book Festival, or are in New York City, be sure to catch Cyril Pedrosa during his North American book tour in support of PORTUGAL, published by Europe Comics, and EQUINOXES, published by NBM. On Monday, September 12th, you can see Pedrosa in conversation with Bill Kartalopoulos and Gabrielle Bell at Albertine bookstore. For details, click the image below:
U.S. Book Tour for Cyril Pedrosa
PORTUGAL by Cyril Pedrosa is a 261-page hardcover in full color. For more details, visit Europe Comics right here. You can also find PORTUGAL at Amazon right here.
“The Osamu Tezuka Story: A Life in Manga and Anime,” by Toshio Ban, published by Stone Bridge Press, is a work in manga fit for one of the greatest manga artists ever, Osamu Tezuka (1928-1989). Manga is a very particular experience and much can get lost in translation. One key trait to manga is that time constraints often go out the window, the format embraces extended scenes. I like this approach and find it can be quite effective in setting a mood. Like any other technique, it can be overdone. I thought this to myself as I began to undertake this behemoth of book clocking in at 928 pages. Could it have benefited from some restraint? Well, yes and no. Overall, I highly recommend it on many levels. It provides much needed context and general information. And, in the end, there is an enthusiastic spark throughout that lifts the reader.
Manga is inextricably linked to a different world view, as opposed to most Western comics. We Americans, even the most seasoned readers among us, have been conditioned to more tightly edited work. You just need to come into reading this biography with the same spirit you would approach a gloriously sprawling foreign film. Yes, expect to find many detailed scenes with the little boy Osamu. And, yes, expect various detailed scenes of Osamu, the man, at his drafting table.
Osamu Tezuka in his prime.
Who exactly was Osamu Tezuka? you may ask. In the United States, Osamu Tezuka is not as well known as he could be. But, in Japan, he ranks as high as, say, Charles M. Schulz does in America. There is every reason to believe that Tezuka could become as beloved an artist as Schulz. And that adds to the importance of this biography. In America, a certain number of enthusiasts know Tezuka for his landmark Buddha series. In Japan, Tezuka is also celebrated for Astro Boy, Kimba the White Lion, and Black Jack. Also covered in this book is Tezuka’s trailblazing work in animation. It is no exaggeration to say that Japan’s manga and anime owes greatly to the work of Osamu Tezuka.
Working for Osamu Tezuka proves challenging.
Among the memorable detailed accounts: Tezuka, up to his ears in work, is literally fleeing anxious editors from various publications hounding him to meet his deadlines. The King of Manga, hiding out in hotel rooms from publishers, with the press not far behind, became a veritable cause célèbre. At the height of so many conflicting deadlines piling up on him, Tezuka had to devise various systems to cut down the time-consuming process of creating manga. This included hiring a team of assistants. The poor devils were left to do various bits of piece work without a clue as to what would ultimately go where. This would be just a taste of what it would be like once Tezuka began to work in his own anime studio.
You are in for a treat. Yes, here you are dealing with a mammoth book. Take it bit by bit and you will be rewarded. Frederik L. Schodt’s translation works smoothly with Toshio Ban’s original script and artwork which greatly emulates Tezuka’s own artwork. This is indeed a treasure trove. The original work was published in 1992, three years after Tezuka’s death. It originally came out as three books: Osamu to Osamushi (1928-1945), Dreams of Manga (1945-1959), and Dreams of Anime (1960-1989). With that in mind, it is more reasonable to see how we ended up with such a big book. I think a graphic novel should be as long as it needs to be. Some 300-pagers could easily be half as long. But, in this case, here is a story that is well justified in spreading out as much as it needed to.
“The Osamu Tezuka Story: A Life in Manga and Anime,” by Toshio Ban
THE OSAMU TEZUKA STORY is a 928-page trade paperback, published by Stone Bridge Press. Visit them right here. You can also find it at Amazon right here.