Showing posts with label animation. Show all posts
Showing posts with label animation. Show all posts

Monday, August 04, 2025

My pics from SDCC 2025

 by Bruce Guthrie 

SDCC_250723_454.JPG -- Progressive Insurance borrowing of the Action Comics #1 cover

 

I ventured out to San Diego Comic-Con again this year.  I attended my first one before I became obsessive about photographing everything -- back when I might take a single photo and forget about it.  It was probably 1994 before it moved to the San Diego Convention Center where it now hosts 135,000 of your closest friends.  Back then, it was pretty small and I think it was at the Hyatt Regency.  I guess I also attended in 1995.  I didn't even know they had panel discussions at the conventions and spent the time wandering the floor, maybe taking a couple dozen photos at each one.  

It was ten years before I started thinking that a lot of the comic creators that I barely saw before were getting up there in age and I needed to see them soon.  Beginning in 2006, I've attended 17 San Diego Comic-Cons.  (2006 was also the year I started attending the Baltimore Comic-Con.)  

The cost of going to SDCC has gotten exorbitant.  I usually stay in a crappy Motel 6 about a mile from the convention center in a room that's a little larger than the queen sized bed in the center.  I usually stay for a week and get a weekly discount plus any others I can find.  In 2022, it was $1,079/week including tax.  In 2023, they quoted $2,471 and I balked.  In 2024, it was $1,475.  This year, they were quoting $500/night but initially asked for $2,075 although they reduced it to $1,844 before I balked again.  So I was planning to skip again but found a deal at an actual hotel which worked out close to the same price.  Then we got the email saying that San Diego had just increased the "transient" visitor tax so it cost an extra $180.  Anyway, I went.  I even rode an Uber for the first time in my life!

Most of my time there is spent covering Mark Evanier's panels -- I'm basically his photographer -- and he's a busy man so I am too.  He did something like 19 panels plus presented at the Eisner Awards this year.  I couldn't cover them all (I couldn't get into his interview of Frank Miller whose 1986 "The Dark Knight Returns" brought me back into comic books) but of the 27 panels I covered this year, 16 were his.  

Of all the panels I covered, the ones I found personally most interesting were:
  • The Art of SHAG: I'd seen him once in 2006 but enjoyed listening to his slideshow documenting the evolution of his career.  He's done major campaigns for Disney properties, featuring his kitchy style with all the damned tiki statues.  He even wore the first tiki necklace he bought ages ago at Disneyland.
  •  Walt Kelly and Pogo: When I was a kid, I ended up with a number of softcover comic books from my grandfather in Michigan.  These included Al Capp's Shmoo character and a half dozen Pogo collections.  At the time, I had no idea what the text meant but loved the drawings.  I still have the books.  Liniers was on the panel this year and mentioned he had the same reaction to the books -- not being able to read English but being amazed by Walt Kelly's drawing skill.
  • This Panel Has Been Banned!: Believe it or not, there's a group based in Los Angeles that performs audio stories from Tales from The Crypt.  The panel also included Jeff Trexler, the CBLDF director, and a librarian at the San Diego Public Library.  It included a slideshow of life under the cultural repression of the 1950s which sounded way too familiar under the current child president's dictatorship.  The librarian said that they had to train staff on how to deal with people demanding that they yank books -- the party line is that the librarian follows the guidance of specific respected national librarian associations, including where the books should be located in the library, and the upset folks should contact those groups instead of ranting at the library for following national guidance.  (Under the current dictatorship, national guidance overweighs local anyway.)
  • Quick Draw: I've always loved this panel and this was the 14th one I've covered.  The formula is the same every year but it works!  There are three cartoonists who start drawing based on prompts from Mark.  At some point, another group of three cartoonists comes up to complement drawings that the other three are doing.  And there are two "secret word" sessions where Mark brings up a guest person (it was frequently Peter David who died this year but has included Len Wein, Fred Tatasciore (the voice of the Incredible Hulk and Yosemite Sam among others), Phil LaMarr, Leonard Maltin, Laraine Newman, Dick DeBartolo, etc).  Sergio Aragones had been in the main group of cartoonists until COVID and hadn't returned yet.  This year, the main cartoonists were Emma Steinkellner, Scott Shaw!, and Tom Richmond.  The fill-in cartoonists were Lalo Alcaraz, Steve Leiloha, and Greg Evans.  The "special word" folks were voice artists Fred Tatasciore and Dana Gould. 
  •  
  • Cartoon Voices 1 and 2: Six or seven animated voice artists are brought up to talk about characters they've portrayed and then do a cold-read of a 100-ish line script.  Ad libbing is encouraged.  In the second session (Sunday), both Phineas (Vincent Martella) and Ferb (David Errigo Jr.) joined folks like Maurice LaMarche for their reading of "Rapunzel".  That was the 30th "Cartoon Voices" panel I had covered.  
A week before the con, while I was in the midst of dealing with my basement having been flooded in the monsoon, Mark had called me to ask about something special he wanted to do for the first session (Saturday).  He wanted to invite 30-40 voice artists out and do a photoshoot.  I didn't know but he had also invited a special guest -- Mari Shimizu -- who had been the original voice of the 1963 Japanese Astro Boy.  She came out after script reading followed by Candi Milo, who was the voice of the 2013 series, who broke down in tears when greeting Mari.  

In my spare time, I had a nice chat with Peter Kuper which was joined by Ward Sutton.  We talked about Herblock awards (Peter was the runner-up this year) and repression.

Another short interaction that I had this year was with George Takei (Mr Sulu from the original Star Trek).  The last time I saw him was in 2024 at the Library of Congress.  As a gay, non-white, elderly person, he's a target of the dictatorship but he was annoyingly optimistic saying the country would recover from the regime.  

In any case, if anyone wants to see any of the panel photos I took this year, they're up.  Direct links:


Thursday:

Great Cartoonists and Comedians We Have Known
Film expert Leonard Maltin and writer Mark Evanier have thousands of years of show business between them and have met and sometimes even worked with some of the cleverest, funniest men and women. They'll be sharing their experiences with people like Groucho Marx, Chuck Jones, Bob Clampett, Bob Hope, Jerry Lewis, and as many others as they can squeeze into the time they have.

This Just In! Comic-Con Museum’s Newest Exhibitions
Gain exclusive insight into Comic-Con Museum's newest exhibitions, Sangre, Sudor y Mito: The Art and Tradition of Mexican Lucha Libre, Growing up Luann, and tokidoki: Twenty Years of Kawaii and Chaos. Featuring tokidoki founders Simone Legno and Pooneh Mohajer, Greg and Karen Evans from Luann, professional wrestler Thunder Rosa and Gaspar Orozco of the Office of the Consulate General of Mexico in San Diego, and Brooks Branch and Laura Woolley from Julien's Global Enterprises, with Rita Vandergaw, executive director of Comic-Con Museum, and Eddie Ibrahim, senior director of programming for Comic-Con.

Tales from My Spinner Rack Live!
It’s the world premiere weekend for Fantastic Four: First Steps, and “Tales from My Spinner Rack Live!” returns to Comic-Con with Gary Sassaman (former director of programming and publications for Comic-Con) taking a nostalgic look back at Jack Kirby’s Fantastic Four covers, alongside Kirby experts Mark Evanier (author, Kirby: King of Comics) and John Morrow (editor/publisher, Jack Kirby Collector). They’ll each pick their top ten Kirby covers from Fantastic Four 1-101 and Annuals 1-7. Learn the secrets and untold tales behind some of these covers at this graphics-filled presentation! FREE limited edition Tales From My Spinner Rack booklet and button for the first 100 attendees!

Neon Ichiban: The Future of Digital Comics and Manga
Discover Neon Ichiban, a new all-in-one digital comics and manga hub from Comixology vets David Steinberger and Chip Mosher. Launching with a stellar lineup of publishers (Dark Horse Comics, DC, DSTLRY, Kodansha, Marvel Comics, Oni Press, Vault Comics) and more to be announced, Neon Ichiban lets fans read, buy, sell, and collect digital comics like never before. This panel offers a first look at key features, including same-day releases, limited digital collectibles, re-sellable digital comics, and Neon Ichiban's exclusive remarques technology, where creators can sign and sketch on your digital comics.

Abrams ComicArts: Redefining Graphic Storytelling
Abrams ComicArts, a division of Abrams Books, provides an inside look at how they're reshaping the graphic novel landscape. Known for literary adaptations, curated collections of classic comics, genre-defying originals, and captivating manga, Abrams ComicArts continues to push the boundaries of visual storytelling. Panelists will share behind-the-scenes insights into the creative and editorial processes, talk through their approach to publishing and promoting diverse content, and give an exclusive preview of what's coming next. Featuring Chris Ryall (Megalopolis: An Original Graphic Novel), Charlie Kochman (editor-in-chief, Abrams ComicArts), Joseph Montagne (Abrams ComicArts), Chip Kidd (The Essential Peanuts, The Avengers in the Veracity Trap!), Nate Powell (Fall Through, Save It for Later, Run), John Jennings (Kindred, Parable of the Sower, Parable of the Talents), Grant Snider (Thinking About Thinking, The Art of Living, I Will Judge You by Your Bookshelf), and moderator Jacq Cohen (director of marketing and publicity, Abrams ComicArts).

The Art of SHAG: Visual Storyteller of Tiki, Midcentury Style, Fandom, and Polynesian Pop
Join the hosts from TheTikiFreaks.com to experience the retro decadence of SHAG (Josh Agle), an artist whose distinctive style perfectly blends midcentury modern design with some of our biggest fandoms, including Back to the Future, Pulp Fiction, Batman 66, Star Wars, Vintage Disney, and, of course, Tiki. His art incorporates tropical vibes and a sly sense of humor to create a world filled with lavish parties, eccentric characters, and a Polynesian sensibility. Join fellow art lovers, pop culture fans, and tiki enthusiasts at this rare retrospective of the art of Shag.


Friday:

Legends in the Making: DC's Teen Heroes and Beyond
Explore the legacy and evolution of the beloved sidekicks and teen heroes of the DC Universe with an expert panel featuring Mark Waid (writer, World's Finest: Teen Titans), Phil Jimenez (artist, JLA/Titans), Todd Nauck (artist, Young Justice), Joe Illidge (editor, Batgirl), Tim Sheridan (writer, Teen Titans Academy), and Barbara Kesel (editor, New Titans). Moderated by TJ Shevlin (publishing content specialist, Upper Deck).

The Birth of Comics: How Anarchy and Innovation Led to the Comics of Today
Elements of modern comic strips, comic books, and graphic novels can be observed in the earliest efforts of early newspaper comic artists. Through the newly revised volume Society is Nix (Fantagraphics/Sunday Press), a panel of historians and artists look back at a time when there were no set rules or formats for comics. The early creators built on this freedom to establish a new artform, leading to the artistic and technological evolutions that followed. Peter Maresca (Sunday Press), Paul Karasik (Paul Auster's The New York Trilogy, How to Read Nancy), Peter Kuper (Insectopolis, Wish We Weren't Here), and Bruce Simon (Hoo-Hah Press) discuss the influence of the past on artists of the present, with a Q&A to follow.

The Groo Panel
Since 1981, Groo the Wanderer -- the creation of cartoonist Sergio Aragon&eacute\;s -- has wandered from comic book to comic book, company to company, and weird adventure to weirder adventure. Where did he come from? What's he up to now? And most important, how do we avoid him? Sergio's accomplice Mark Evanier will tell you all about the stupidest character in any multiverse anywhere, aided by the comic's longtime letterer Stan Sakai (the creator of Usagi Yojimbo) and its newest colorist, Carrie Strachan. And they may even try to get Sergio on the phone.

Spotlight on Todd Klein
Your favorite comic book would be nothing without a skilled letterer, and one of the most skilled (and most honored with awards) is Todd Klein, who is also an expert on all those who have plied his craft, past and present. Come hear Todd interviewed by Comic-Con Special Guest Mark Evanier and learn all about this too-often-unappreciated part of just about every comic book you've ever loved.

Two Marks Explain Everything
Do you have a burning question about the world of comics? About some character or writer or artist or publisher? Well, if writer Mark Waid doesn't know the answer . . . and if writer Mark Evanier also doesn't know the answer . . . then probably no one knows. The two of them fielding questions from the audience made for one of the most popular panels at WonderCon earlier this year, and they've agreed to give more of you the opportunity to get the answers you seek.

Focus on Don Glut
Don Glut is the writer/creator of the popular comics Dagar the Invincible, The Occult Files of Doctor Spektor, and Tragg and the Sky Gods. For Warren Publishing, he authored tales for Creepy, Eerie, and Vampirella, and for Marvel, his writing could be found in, among others, Captain America, The Invaders, Kull the Destroyer, Solomon Kane, Star Wars, and What If&hellip\;? Don also has more than 80 books to his credit, including The Dinosaur Dictionary and the authorized novelization of the movie The Empire Strikes Back. This year, he's receiving the coveted Bill Finger Award for Excellence in Comic Book Writing, and he'll discuss his amazing career in this spotlight interview with Finger Award chairman (and Comic-Con Special Guest) Mark Evanier.

Walt Kelly and Pogo
Walt Kelly (1913-1973) was one of the most honored cartoonists of his day, primarily (but not exclusively) for his popular newspaper strip, Pogo. He brought to life not only the highly quotable possum Pogo but also all the creatures Pogo fraternized with in the Okefenokee Swamp, including Churchy LaFemme, Howland Owl, Mam'selle Hepizbah, and Albert the Alligator. Walt Kelly was also a Disney animator, a writer-illustrator for Dell Comics, and a pretty quotable guy himself. His work and legacy will be discussed by cartoonist Liniers, writer Paul Dini, and the folks who bring you Fantagraphics' award-winning reprintings of The Complete Pogo: Maggie Thompson, Eric Reynolds, and your moderator, Mark Evanier.

This Panel Has Been Banned!
Shock! Gasp! Horror! You'll be astounded with talk of censorship, book burnings, and book bans through the lens of comics and their history of being at the forefront of fighting back for free speech. Using the story of legendary EC Comics in the '50s and their titles like Tales from the Crypt as a backdrop, Ben Dickow (comics historian), Jeff Trexler (Comic Book Legal Defense Fund), and a city librarian will explore how it reverberates today. The idea seems staunchly anti-American, so why is it still happening? The panelists will be joined by members of LA's Captured Aural Phantasy Theater, who have turned the story of Bill Gaines and EC Comics into an absurd Broadway musical, Tales from the Comic Book Crackdown. Members of the group will punctuate the discussion by dramatically reading excerpts from some of the forbidden comics of then and now.


Saturday:

The Wonderfully Weird World of Gumball
Welcome back to Elmore, where the laws of reality are a joke, and family life is anything but ordinary. Members of the creative team and voice cast share a sneak peek at the wild stories, big twists, and surreal humor involving Gumball, Darwin, and the other quirky residents of Elmore in "The Wonderfully Weird World of Gumball," coming soon to Hulu in the U.S., Cartoon Network international channels, and HBO Max (outside the U.S.). Produced by Hanna-Barbera Studios Europe, the series marks the long-awaited return of these beloved characters.

Quick Draw
It's the battle you wait for every year, as three speedy cartoonists cross Sharpies to prove who's the fastest and the funniest. They create cartoons right before your very ideas, based on suggestions and challenges they've never heard before -- suggestions and challenges that come from you in the audience and from your Quick Draw! quizmaster, Mark Evanier. Competing are Scott Shaw! (Sonic the Hedgehog), Tom Richmond (MAD magazine), Emma Steinkellner (Nell of Gumbling), and several surprise cartoonists. No Sergio this year, but he may try to phone something in. See why this is one of the most popular events in all of Comic-Con!
http://www.bguthriephotos.com/graphlib.nsf/keys/2025_07_26B2_SDCCP02

Cartoon Voices 1
Once again, your host Mark Evanier has assembled a panel of some of the hardest-working folks in the colorful profession of speaking for animated characters. They'll show you what they do, tell you how they do it, and probably massacre a beloved fairy tale in the process. On the panel this year are Gregg Berger (Transformers), Audrey Wasilewski (Monster High), Fred Tatasciore (The Hulk), Jim Meskimen (Thundercats), Benni Latham (Transformers: Earthspark), and Dana Gould (The Simpsons).
 
Scott Shaw!’s Oddball Comics Live
Scott Shaw! (cartoonist/writer/animation producer/historian/SDCC co-originator) will once again present the craziest comic books ever published. Scott's been doing this since 1978, so he'll be showing the classic Oddball covers that his audience wants to see again. And this year, Scott will be joined by his pal Jim Roche, the producer of MeTV's Svengoolie! (If you've never seen Scott's show, it's a smart idea to wear an adult diaper.).

The Essential Peanuts by Charles M. Schulz: The Greatest Comic Strip of All Time
A distinguished panel of contributors to The Essential Peanuts (Abrams ComicArts, October 2025) offer a heartfelt and insightful conversation about the legacy of Charles M. Schulz. Panelists include Mark Evanier (author of The Essential Peanuts), Chip Kidd (graphic designer), Paige Braddock (creative director emeritus at Charles M. Schulz Creative Associates), and Alexis E. Fajardo (editorial director, publishing & experiences at Charles M. Schulz Creative Associates). Moderated by Charles Kochman (editor-in-chief, Abrams ComicArts), the discussion will explore Schulz's artistic genius, the enduring cultural impact of Peanuts, and how this landmark volume frames the iconic strip with fresh historical and cultural context.

I Have to Live with This Person!
How does a comics collector, cartoonist, or retailer juggle their hobby or career with their committed relationship? Cartoonist and moderator Eddie deAngelini (Collectors), his wife Kristen Parraz (Comadres y Comics), retailer Ambrose Quintanilla (Diggers Comics & Collectibles) and his wife Carey Quintanilla, and Bob Bretall (Guinness world record holder, largest comic collection) with his wife Janine Bretall share their funny, frustrating and heartfelt stories of love, commitment, and of course, comics!

Peter David: A Celebration of His Life, Work, and Legacy
The comic book and science fiction communities recently lost a true titan when Peter David passed away. While Peter's works will be celebrated for decades to come, panelists invite you to join them for a lively celebration of Peter, the longtime convention presence, and amazing "Writer of Stuff." Panelists will include comic legends, friends, and collaborators, including Paul Levitz, George Takei, Mark Evanier, Chris Ryall, and J. K. Woodward. Moderated by Peter's longtime Comics Buyer's Guide friend, Maggie Thompson.


Sunday:

The Annual Jack Kirby Tribute Panel

It's a Comic-Con tradition to honor the man they call The King of the Comics, creator or co-creator of a staggering number of comic book characters, universes, and trends. If you don't know who he was and what he did, just look around the exhibit hall and you'll see his influence everywhere. Talking about Jack this year are Paul Levitz (former president of DC Comics), &ldquo\;Jack Kirby: Heroes and Humanity' curator Patrick A. Reed, attorney Paul S. Levine,, Marvel editor Tom Brevoort, and Tracy Kirby and Jeremy Kirby from the Kirby family. Your host, as always, is former Kirby assistant Mark Evanier.

Explore Disney Amphibia with Matt Braly
Creator Matt Braly and others go behind the scenes of the hit Disney+ show Amphibia and talk about the new graphic novel continuation, Strange Voyages. Moderated by Kae Winters.

Cartoon Voices II
Yesterday's Cartoon Voices panel was such a hit that we're doing another one with more people who speak for some of your favorite cartoon characters. On the dais for this one are Michael Scott Action (The Seven Deadly Sins: Four Knights of the Apocalypse), Kaitlyn Robrock (Minnie Mouse), Vincent Martella (Phineas and Ferb), Abby Trott (Demon Slayer), Gabe Kunda (Barbie: A Touch of Magic), Maurice LaMarche (Futurama), and at least one surprise guest. Your moderator is, of course, Mark Evanier.

Vam PD New Podcast from Big Finish
Leading Vam PD's star-studded cast is Juliet Landau (best known for playing Drusilla in Buffy the Vampire Slayer and its spin-off Angel) as Catrin, alongside Alimi Ballard (Numb3rs, Sabrina the Teenage Witch) as her partner in crime-fighting, Magnus. Nineties icon Mara Wilson (Mrs. Doubtfire, Miracle on 34th Street, Matilda) guest stars as Jane, the Office of the Night's human liaison. Featuring director Ursula Burton and producer Lizzie Worsdell.

Cover Story
Maybe you can’t judge a book by its cover, but no book was ever harmed by having a great cover. So, what makes a great cover? Does the idea precede the interiors, or is it the other way around? And why have covers become more varied and artistic in the modern age of comics? These and other related topics will be discussed by a group of artists who’ve drawn some acclaimed covers in the last few years, including Rick Hoberg, Michael Cho, and Dan Jurgens. And it’s all moderated by Mark Evanier.

Business of Cartoon Voices
Are you considering (or maybe even actively pursuing) a career providing voices for animated cartoons, video games, and other related fields? You can find many people who will teach you -- for a price. But how do you know who's any good? And how does the business work? And what are the odds against you? In the interest of preventing wanna-be voice actors from being exploited, overcharged, or otherwise ripped off, this annual panel answers these and any other questions you may have for free. No one is going to try to sell you anything at this panel, which features voice actors Kaitlyn Robrock and Fred Tatasciore, as well as agent Julie Thompson of the prestigious agency, Sutton, Barth, and Vennari. The panel is moderated by Comic-Con mainstay (and professional voice director) Mark Evanier.
 
 


SDCCA_250723_249.JPG -- Ward Sutton and Peter Kuper

SDCCA_250723_314.JPG -- Stan Sakai

SDCCA_250725_10.JPG -- Paul Karasik and Matt Groening

SDCCA_250726_05.JPG -- Gene Luen Yang in the Gaslamp District

SDCCOP_250727_092.JPG -- promotion for The Naked Gun remake

SDCP02_250724_522.JPG -- wrestler Nightmare Azteca with one of his masks promoting an exhibit at the Comic-Con museum in Balboa Park

SDCP07_250726_115.JPG -- George Takei at a tribute for writer Peter David


SDC02B_250726_154.JPG -- Tom Richmond drawing of Sergio Aragonés in absentia for the Quick Draw panel

SDC03B_250726_459.JPG -- Mari Shimizu (the original  1963 Japanese voice of Astro Boy) joined by Candi Milo, who was the American voice of the 2013 series

SDC03B_250726_548.JPG -- photo shoot with a whole bunch of voice artists

 8/12 update: I was glad Mark Evanier posted something on his blog identifying all of the voice artists in that massive group shot.
 


SDC06B_250724_528.JPG -- Shag drawing

SDC08B_250725_023.JPG -- members of LA's Captured Aural Phantasy Theater reading a Tales from the Crypt story

SDCC_250723_114.JPG -- a Star Wars Boba Fett fan with his car and cosplay outfit


--

Bruce Guthrie
Photo obsessive
http://www.bguthriephotos.com

Tuesday, June 24, 2025

Book Talk And Signing With Matt Braly at Fantom Comics With Erin Lisette

Audio file is online now; photographs will be added soon.

Book Talk And Signing With Matt Braly at Fantom Comics With Erin Lisette

Matt Braly; Erin Lisette
Washington, DC: Fantom Comics June 24 2025

Here's the original Facebook post:

Interviewed by Erin Lisette.

June 24 @6:30 pm

2010 P St NW, Upper Floor, Washington D.C., DC

MATT BRALY will be in conversation with Fantom Comics for his debut graphic novel, FAMILY FORCE V! Now out today so place an order to get your copy in-store or online 😎

After the discussion get FAMILY FORCE V signed, as this is a fully in-person event.

Fighting alien kaiju with your family on a Friday night is a totally normal part of being a teenager...right?

Well, it is for Maise, who, despite her protests, continues the family legacy of keeping the world safe, all while trying to get good grades, impress her crush, and balance extracurriculars. But growing up in this family means Maise must live up to the expectations of those she's destined to protect while not losing herself in the process.

MATT BRALY (@radrappy) and AINSWORTH LIN (@apple_cork) team up for the YA graphic novel of the year full of action and charm in FAMILY FORCE V!

Matt Braly is an Annie Award winning Thai/American animator, writer, director, producer, voice actor, and storyboard artist. He is most well known for creating and showrunning Disney's Amphibia - a cult classic Emmy nominated animated show about three teen girls who get sent to a magical & dangerous world of talking frogs. With over 12 years of experience in the industry, Matt has worked on hits such as Gravity Falls, Steven Universe, Mitchels Vs The Machines, and Big City Greens

Book Talk and Signing with Matt Braly at Fantom Comics with Erin Lisette

Thursday, January 16, 2025

Jan 18: National Children's Museum welcomes Animationland to our Visiting Exhibit Hall

Discover Your Story - Animationland Opens at National Children's Museum

WASHINGTON – Calling all budding stop-motion animators, directors and sound artists! Animationland opens at National Children's Museum on Saturday, January 18, 2025. Guests are introduced to Tracey the pencil dog and her cast of fantastical friends as they make their way through the colorful and immersive environments of the exhibit, learning animation techniques along the way. Developed and produced by the Oregon Museum of Science and Industry (OMSI), this exhibit seeks to educate young learners about how art and science intersect in the making of animation.

Hosted in the Museum's Visiting Exhibit Hall, Animationland is designed for guests of all ages and artists of all skill levels. The exhibit focuses on the basics of the animation process featuring interactive experiences including a sketching studio, a sound effects booth, and the opportunity to plan and star in a stop-motion production.

Through immersive experiences, visitors learn to use animation as a gateway into the world of math and science. This allows children to understand the interplay that occurs between art and science and how they can apply those skills to tell their own stories in innovative and dynamic ways.

As guests journey through Animationland, they explore the following realms and animation techniques:
  • Turtleback Island: Visit Tracey's Studio to learn about storyboarding, draw characters using transparent light tables, and make your own storyboard template.
  • Prickle Desert: Play with a model Mutoscope, an early motion picture device, and learn about frame rates and frame isolation.
  • Comfort Peaks: Create stop-motion animations at four stations supplied with a variety of props and colorful backdrops.
  • Blub-Glub Village: Dive into full-body stop-motion animation using a gridded floor plan and creative image capturing.
  • Forgotten Forest: Engage with new senses and props in a Foley sound artist studio.

"We are thrilled to host an exhibit that supports our mission to promote STEAM education, dynamically connecting the creative world of art with the scientific world of physics and math," said Kiryn Hoffman, President and CEO of National Children's Museum. "Animationland allows children to be curious and inventive in a positive space where all ideas are supported. Everyone can be an artist and bring their own stories to life."

Animationland is included in the cost of Museum admission. Tickets to the Museum are $18.95 for adults and children 1 and older and are free for children under 1 and Museum members. For more information about the exhibit at National Children's Museum, please visit the Museum's website: www.nationalchildrensmuseum.org/explore/exhibits/animationland/.

Located at 1300 Pennsylvania Avenue NW off the Woodrow Wilson Plaza, National Children's Museum is open 9:30 am – 4:30 pm every day except Tuesdays.

Animationland was created by the Oregon Museum of Science and Industry and is locally supported through the District of Columbia Executive Office of the Mayor – Office of the Deputy Mayor for Planning and Economic Development.


###


About Oregon Museum of Science and Industry
Founded in 1944, the Oregon Museum of Science and Industry (OMSI) is one of the nation's leading science museums, a world-class tourist attraction, and an award-winning educational resource for the kid in each of us. OMSI operates the largest museum-based outdoor science education program in the country and provides traveling and community outreach programs that bring science learning opportunities to schools and community organizations in nearly every county in Oregon. OMSI is located at 1945 SE Water Avenue, Portland, OR 97214. For general information, call 503.797.4000 or visit omsi.edu. Connect with the museum on Facebook, Twitter, and Instagram.

About National Children's Museum
Celebrating five decades of play in 2024, STEAM adventure awaits at National Children's Museum, located in the heart of downtown Washington, D.C. With a mission to inspire children to care about and change the world, the Museum sparks curiosity and ignites creativity for children under the age of twelve and their families. Through playful science, technology, engineering, arts and math (STEAM) based exhibits, programs and virtual offerings, the Museum reaches millions of people each year. Learn more and plan your visit at nationalchildrensmuseum.org.

Wednesday, January 01, 2025

Comic Arts Deaths in 2024

 This will be updated as notices continue to come in. The list is an annual feature of the Comics Research Bibliography. Links to obituaries or information on most of these creators can be found in CRB posts here throughout the past year. Updates are marked with *

Deaths in 2024 (with thanks to Bruce Guthrie’s Wikipedia mining, Ramin Zahed’s Animation Magazine list, *DD Degg’s Daily Cartoonist list,)  ) included *Lima Ohio’s monthly water bill cartoonist David Adams, Platinum Age comics scholar John Adcock, Thomas Nast biographer John Adler, Shamsuddin H. Akib aka Sham of Singapore, comic collector and Overstreet advisor Bill Alexander, Palestinian artist/cartoonist Mahasen al-Khateeb, *Thomas the Tank Engine producer Britt Allcroft,  Brazilian comic artist  Walmir Amaral, British comics consultant Irving Anderson, Hinako Arishara, Yū Asai, Italian comic book artist Sergio Asteriti, Graphic Policy podcaster Steven Attewell, G. Fawzi Baghdadli, Henson Shop creative supervisor David Barrington-Holt, shop owner Adam Barsa, Dan Dare fanzine “Spaceship Away” founder Rod Barzilay, Wildstorm editor Sarah Becker, animator and animation teacher Howard Beckerman, comic book dealer and historian Bob Beerbohm, American animator Peter Bennett, *comic book store worker and ICv2 columnist Steve Bennett, sports and editorial cartoonist Phil Bissell, occasional comics writer Terry Bisson, Sam Blanchard aka Shlepzig, Joyce Brabner, Jacques Bredy, Mark D. Bright, Chance Browne, animator Jan Browning, ‘Backyardigans’ creator Janice Burgess, British colorist John Michael Burns, British animator Emma Calder, Filipino comics artist Carlo J. Caparas, John Cassaday, Italian comics writer and historian Alfredo Castelli, Sergio Bonelli Editore secretary Ornella Castellini, Swiss cartoonist Daniel Ceppi, Marvel Studios art director and production designer Ray Chan, Pierre Christin, British comic artist Andrew Chiu, British comics writer Richmond Clements, co-founder of Bardon - a Barcelona-London comics artists agency Barry Coker, 1950s editorial and sports cartoonist Alex Cook, British comics writer Roger Noel Cook, Canadian animator Curtis James Crawford, British advertising comic Signal artist Roy Cross, *Tidalwave Comics writer Scott Davis, voice actor Diane Delano, Jose Delbo, Swiss animator Étienne Delessert, French comics artist Fred Dewilde, Scott Donaldson the inspiration for Bananaman, Starhead Comix and Brownfield Press publisher Michael Dowers, animation artist Shigeko Doyle, animation background designer Maurice Edwards, editorial cartoonist Tom Engelhardt, Jerry Fearing, comic book cover painter Max Fellwalker, Charlie Hebdo webmaster Simon Fieschi, animation background artist Martin Forte, cartoonist and animator Bob Foster, Ramona Fradon, newspaper cartoonist Charles Fredrick, Italian cartoonist Massimiliano Frezzato, Oregon cartoonist Bill Friday, art collector Keif Fromm, Disney animation manager Randy Fukuda, Verotika #9 single issue comic book writer Ray Garton, Disney technical director Christopher W. Gee, *British comics fan Kenny Gibson, Peter Gillis, French cartoonist Christian Godard, animator Brad Goodchild, Ripley’s Believe It or Not artist John Graziano, Adirondack Daily Enterprise cartoonist Phil “Bunk” Griffin, Marvel and DC marketing & licensing executive Francine Grillo, stop motion animator Mark Gustafson, editorial cartoonist Ed Hall, Superman Museum founder Jim Hambrick, Swedish editorial cartoonist Riber Hansson, British socialist cartoonist Alan Hardman, British cartoonist Merrily Harpur, TV animation writer Reid Harrison, anime voice narrator Doc Harris, co-founder of the D.C. Conspiracy Art Haupt, British comic book artist Jon Haward, voice actor and director Dan Hennessey, editorial cartoonist Jack Higgins, Greg Hildebrandt, animation effects and visual development artist Sean Pin Ho, gag cartoonist Wayne Horne, anime and game artist Mutsumi Inomata, African American cartoonist Tim Jackson, animator Jean-Guy Jacques, Heritage Auction vice president Ed Jaster, Galaxy Of Comics comic book store founder Warren Jaycox, Yakari co-creator Job aka André Jobin, Boston Globe sports cartoonist Larry Johnson, André Juillard, Belgian colorist Dina Kathelyn, Disney layout artist Karen Keller, Congolese cartoonist Yves Kulondwa alias Kayene, David Kunzle, pioneering Japanese indie animator Yōji Kuri, Michael Leunig, Washington Post architectural cartoonist Roger K. Lewis, voice actor Rachael Lillis, voice actress Morgan Lofting, colorist Tom Luth, editorial cartoonist Bob Lynch, Simpsons’ Spanish-language voice actor Nancy MacKenzie, British cartoonist Ed MacLachlan, Playboy cartoonist Don Madden, Peter Maddocks, Spanish cartoonist Martí aka Martí Riera Ferrer, Japanese voice actor Taiki Matsuno, Fantagraphics book designer Ryan McCardle, English cartoonist Ed McLachlan, National Lampoon and Mad writer Brian McConnachie, Maryland fan historian Stuart McIntire, animation producer John McKenna, animator Bob McKnight, Disney animation painter Harlene Mears, animation sculptor Kent Melton, Scottish cartoonist John G. Miller, CG animator Mike Milne, animation model designer and storyboard artist David Mink, Canadian animation layout artist Chris Minz (aka Dr. Minz), Bernie Mireault, Canadian editorial cartoonist Ron Moffatt, Karl Moline, animator Don Moore, Razor comic book writer James A. Moore, South African comic book artist Karl Mostert, *manga scholar Tomohiko Murakami, Japanese voice actor Yasuo Muramatsu, writer of “The Girl Who Sang” Estelle Nadel, Israeli web cartoonist Revital Bornstein known as "Navy Bird", Paul Neary, San Diego Comic-Con volunteer Clydene Nee, clay and sand stop motion animation pioneer Eli Noyes, comic book writer Wes Ochse, ‘Doraemon’ Japanese voice actress Noriko Ohara, Spanish comics artist Jose María Ortiz Tafalla (aka Jaimie Ortiz and J.M Ortiz), Japanese voice of Doraemon Nobuyo Oyama, the Latino Comics Expo co-founder Ricardo Padilla, animation checker Gloria Palter, *Lowell Sun sports cartoonist Leo Panas, Don Perlin, Canadian animator Don Perro, Polish animation director Andrzej Piliczewski, Ed Piskor, Marvel Comics artist Brian Postman, Comicstorian YouTuber Ben Potter, Johnny Mutton creator and animator James Proimos, voice actor Peter Renaday, Disney animation producer Daniel Ridgers, Trina Robbins, Enric Badia Romero (aka Enrique Badía Romero), Comics Journal news editor turned comics scholar John Ronan, French cartoonist Stéphane Rosse, animator Harry Sabin, Russian animation director Vladimir Samsonov, Top Cow VP Elena Salcedo, Japanese manga artist Nanae Sasaya, animator Marty Schwartz, British comics artist Dave Shephard, Disney animation music writer Richard M. Sherman, anime art director and background artist Yukihiro Shibutani, animation assistant director Adam Somner, North Dakota editorial cartoonist Steve Stark, Elena Steier, SILENCE! comics podcast host Mark Stewart aka Amy Poodle, Latvian animator Roze Stiebra, Montreal’s Librairie Astro store owner Paul Stock, British cartoonist Bill Stott, comics writer Frank Strom, animation storyboard artist Michael Swanigan, British “Black” comic autobiography writer Tobias Taitt, Haruo Takahashi, Shojo manga pioneer Macoto Takahashi, Japanese voice actress Atsuko Tanaka, Japanese comics-inspired artist Keiichi Tanaami, anime lyricist and Peanuts translator Shuntaro Tanikawa, Japanese voice actress Tarako, cartoonist turned children’s book creator Mike Thaler, Spanish cartoonist Trini Tinturé, science fiction/fantasy artist and underground/overground cartoonist Larry Todd, Akira Toriyama, *animator Mike Toth, production director for Disney Publishing Marybeth Tregarthen, Italian comic artist Giorgio Trevisan, Dutch comics artist René Uilenbroek, Japanese voice actor Hideyuki Umezu, Kazuo Umezu, Benoît van Innis, Dutch editor and StripNieuws author Peter van Leersum, comic book cover artist Jeffrey Veregge, Russian animator Marina Voskanyants, Comix Connection co-owner Bill Wahl, Toronto fan artist Taral Wayne, first Marvel UK manager Raymond Wergan, Belgian cartoonist Étienne Willem, lesbian underground cartoonist Mary Wings, editorial cartoonist Don Wright, comic book artist John Wycough, animation writer and voice actor Tom Wyner, Japanese voice actor Eiji Yanagisawa, Japanese manga artist Kazu Yuzuki, Michael Zulli …

Wednesday, December 11, 2024

WaPo reviews ‘Secret Level' tv animation

'Secret Level' scores when it goes beyond the game [in print as 'Secret Level' scores when it goes beyond the video games]

Some episodes of the video game-inspired anthology series feel like extended ads. But even ads can make for good storytelling.

Column by

Washington Post December 11, 2024: C1-2

Tuesday, July 02, 2024

Meet a Visiting Cartoonist: Gabriela Epstein (UPDATED!)

Self-portrait (all images from Gabriela's website)

 by Mike Rhode

Gabriela Epstein spoke recently about her 2023 graphic novel, Danny Phantom: A Glitch in Time at Fantom Comics. Unfortunately I missed the talk, which I'm told was great, but I did get there in time to buy signed books and ask about an interview. Gabriela obliged with both, and I think this fairly in-depth interview is a good introduction to her work, except for her animation career which I forgot to ask about (now corrected!). I thoroughly enjoyed her two most recent books, Invisible, and Danny Phantom and recommend them.

What type of comic work or cartooning do you do?

So far, I’ve done adaptation work, graphic novel illustration and now some writing. Running the full gamut!

How do you do it? Traditional pen and ink, computer or a combination?

I draw everything digitally. The first several books I drew for Scholastic were drawn with an old Wacom Tablet and my laptop, but now I draw exclusively on my iPad. It mimics the feel of using a Cintiq at my old job and is a bit more portable.

When (within a decade is fine) and where were you born?

I was born April, 1993, in Pennsylvania.  Spent time in central PA and Philly growing up.

What neighborhood or area do you live in?

I live in Austin, TX, now.

What is your training and/or education in cartooning?

Technically speaking, I don’t have much. Although I studied at two art schools (PAFA and RISD), I never managed to snag a single comics course. All my comic making is self-taught.

That said, comics is an amalgamation of different skills like figure drawing, color theory, perspective, etc. so for those things I’d credit my two years at PAFA for giving me my fundamentals in drawing. All the digital tools I use now I taught myself via online tutorials artists would post on Tumblr and Twitter.

So how did you get into animation? 

I wasn't sure what I wanted to do until my final semester of school. I cobbled together a 2D character design portfolio in my final class (thanks, MJ!) and submitted it to every studio until I got a call-back from Powerhouse Animation.

What did you work on there?

I worked as a character and prop designer on the Nickelodeon series The Adventures of Kid Danger.

Why did you leave for graphic novels?

I'd been getting recruited for lots of comic gigs while I was trying for a career in animation. I'd keep taking smaller ones just to create content, but as it turns out that just made more people think I was a cartoonist. I figured I should lean into that because the competition for jobs in animation is so tough there was no way I'd make it full time. At least, not without my body and soul intact.

Who are your influences?

My early comic influences were Todd Nauck (Young Justice, Teen Titans Go!) and Sean Galloway (Spider-man). Now I look a lot to Mitsuru Adachi (Cross Game) and Haruichi Furudate (Haikyuu!) for paneling and composition, and Satoru Noda (Golden Kamuy, Supinamarada!) for comedic drawing.

If you could, what in your career would you do-over or change?

I’d probably take a break before attending art school to get myself situated mental health-wise. I’ve learned the hard way that no matter where you go, you’re stuck with yourself. If you’re not happy foundationally, you’re not gonna get the full experience of whatever program or job you’ve got going on. I burnt myself out majorly, and that kind of work/life balance is simply unsustainable. I eventually did take a year off in 2015 and it was the best decision of my life. Helped me recenter and see what I actually wanted to do with my time rather than chase ghosts of what I could/should be.

What work are you best-known for?

Haha, probably my Baby-Sitters Club adaptations.

How did you get the job illustrating the Babysitter's Club graphic novels? 

I had been recruited for the book Invisible, which led to me signing on with my first agent back in 2018. In my talks with Scholastic, the opportunity to test for BSC came up and I gave it a shot. Considering that my predecessors were Raina and Gale, I didn’t think I had a good chance of getting the job, but I figured the testing would be valuable practice. I’ve learned so much from my experience working on that series—more than I can put into words.

How did it feel to follow Raina on that series?

I hadn’t read any of her work before signing on, so I went to the library and checked out all her books and read them all in one day. Her style is clear, concise, yet emotive. This is an extremely difficult skill to master, and something I greatly admire. She is a cartooning god, and I’m so humbled to learn and benefit from the creative decisions she made on the first four books of the series. 

Invisible, the book you illustrated with Christina Diaz Gonzalez, is the story of five Latin American school kids who are all from different Latino backgrounds. The story deals with racism, classicism, homelessness and the immigrant experience. How did you get this assignment?

Scholastic reached out to me and several other Latine artists to test for the project. Funny enough, I was originally going to decline because I am a white Latine and didn’t feel qualified to tell a legitimate Latine story. My mom (first gen Chilean immigrant) disabused me of that notion and encouraged me to at least test for the job.

For my test, I took a design pass at the core group of kids and illustrated several pages of comics based on a short test script I was given. Christina opted for my test, and we’ve stuck with my designs with little change.

Did you and Diaz Gonzalex work together, or was there an editor in between you?

Unfortunately, the project was a long game of telephone, haha. I would talk to my agent, who would talk to the editor, who would talk to Christina’s agent, who would talk to her. I think things would’ve moved much easier had we simply been allowed to do direct Zoom meetings. That said, Christina was very chill and graceful with all the changes I brought up to the story and potential designs for characters and locations, and for that I’m very grateful.

Was this just a job, or could you relate to the underlying story and issues?

Yes, I do connect with the characters’ struggles with identity and the unique experience of living with a parent/parents who are immigrants. There is a sense of otherness that is pervasive and isolating—one is not quite American, and yet I could never be thought of as Chilean, either. I think working on the story has made me more secure in my identity and much more aware of my own unique privileges within both worlds.

How was the book received? I was very impressed with it and enjoyed it.

The book has gotten many starred reviews and awards for which I’m grateful. However, those things don’t mean much to me in comparison to what it means for the kids who read it. As long as it helps kids feel like their experiences are validated, I consider the book to have been a worthwhile endeavor.

Additionally, I’m very happy with how the bilingual aspect of the lettering worked out and am hopeful this will be used for more ESL books in the future. [editor's note: When a character speaks in Spanish, it's shown first, and then in English in a second balloon. It works well. I don't know if it's colloquial to each character's country, but I would guess it is not.]

Danny Phantom wrap-around cover art

What work are you most proud of?

The Danny Phantom books. It was my first foray into writing, drawing and art directing all in one go, so they’re always gonna have a special place in my heart.

In your Fantom Comics talk, you spoke of your liking for the Danny Phantom animated series. Can you go into that a bit here?

I was a huge fan of the show since its premiere in 2004. I was just going through some old sketchbooks at my dad’s house and was blown away by the style change in my drawings before and after watching a season of Danny Phantom. I think a lot of the angularity of my style can be attributed to Stephen Silver’s designs on that show.

Danny Phantom was also my first foray into the fandom experience—lurking on forums, reading fanfiction and making fan art, so it would always be special to me in that sense. It’s been a comfort show I’ve rewatched many times and despite its extremely y2k humor, still holds up well!

How did you get this job? Did you pitch the publisher, or did they seek you out?

Abrams gave me a call to see if I’d be interested in illustrating a continuation of the series in comic form back in early 2020. I’d just published a charity Danny Phantom zine with some friends the year prior, so I think that may have had something to do with it, but I honestly don’t know. Looking back, a lot of my portfolio at the time was made up of Danny Phantom fan art, so that could’ve also been a factor.

Is this your first major writing assignment? How does that differ from illustrating someone else's script?

Yes! This was my first time being asked to write and draw a book for an existing IP. I was extremely nervous because I’d never written something that long before and hadn’t taken any formal classes in writing, either. To prepare, I read a few books on the subject and wrote some spec scripts for different shows to get the gist of writing out a full story.

That was the biggest hurdle for me. When I’m adapting books like the BSC, or illustrating for Invisible, I can make many edits and change the story for the better, but the bones of it are already in place. To start from scratch was more daunting, but the team at Abrams was very happy to walk me through everything. The nicest part was getting to draw it, too, so if I thought of better gags or more dramatic ways to stage a scene, I could just go ahead and do it without worrying if the writer would approve. That elasticity in the process made for a fun time!

 Is it the first of the series? Wikipedia says it is, but what is your plan / involvement?

Yes—right now I’m working on a sequel book that is due out in 2025. Future books would depend on how well it sells, but I would love to continue contributing to this franchise. I’ve got some story arcs in mind that would be nice to bring to fruition, so I have my fingers crossed. Even if that doesn’t come to pass, though, I’m so happy to have had this opportunity. It’s truly a dream come true!

What would you like to do or work on in the future?

I’ve wanted to make my own sports comic for years now, but for various reasons it has never felt like the right time. Hopefully that will change soon.  I want to make a hockey series! 

What do you do when you're in a rut or have writer's block?

I take a break. Often, consuming other media can spark ideas to solve your own story solutions. Like, “Man, I forgot how much I hated how x show handled this topic. I’d do it this way!” and all of a sudden you’re running for your notebook with bits of ideas that can totally restructure your story.

What do you think will be the future of your field?

Hard to say, considering how unstable the entertainment industry is right now. I think the market for graphic novels will continue as is, if not get larger. With comics now being used more and more in educational settings, I can’t imagine they’d lose popularity.

That said, I don’t know how this will translate to the creation of said comics. Publishers are already expressing interest in AI, and the labor force that creates comics is already woefully underpaid—both contractors and salaried editors and designers. This post-Covid cloud economy is a shambles. Could this lead to a breaking point in labor relations within the publishing industry? One can only hope. As it is, the contractor model for graphic novel creation in the US is abysmal and only affords those with baked-in financial stability the freedom to create. That’s a recipe for a lot of books that look and sound the same.

What cons do you attend? Any comments about attending them?

I don’t attend cons too much. I would love to go to NYCC again, though, and SDCC if they’ll have me for Danny Phantom 2!

What comic books do you read regularly or recommend? Do you have a local store?

The current series I’m following are Witch Hat Atelier and Dungeon Meshi. I’m mostly discovering old comics for myself now. My favorite local comic shops in Austin are Dragon’s Lair and Tribe!

Do you have a website or blog?

I have a portfolio site where I will post the occasional events that I do. www.gre-art.com


Check Please! postcard art