贴些overdue的照片
生日的时候收到Jady寄来的书,Rilke的诗集,不过因为考试一直没能坐定读过正文。前言倒是仔细看了,既然是和我们一般年纪时写的应该更有年轻人的共鸣。虽然是宗教色彩浓烈的作品,但有些句子包涵的意象是不需要信仰这种显微镜来观测的,就算理解有所不同也是精神上的一针强心剂。啊,我是真的超过3年都没有捏到包过书皮的书鸟!!这女人竟然如此细心用polystyrene?(简称塑料)方方整整的包好,害我诚惶诚恐的翻阅,生怕哪边折出个45度的书角!
Susanna请吃的生日蛋糕,名字叫啥的忘了,貌似t打头。意大利+日本式的混合蛋糕?冰冻奶酪和wipped cream味道,怪怪的不过很好吃,被我们刷刷几口就解决了。顺便一说,我可不是庆祝5岁啊,也不是50岁!再插就成马蜂窝了,5根蜡烛意思意思。
生日祈愿,我当时是满怀诚意的想着,我的神啊(你在哪儿?),想想办法让我多赚点钱吧,有了钱,我就可以(),我就可以(),我还可以()<括号内为某人狂想,在此按下不表>。如果很实际的说来年有何期望,我是很需要一个可以跟我同甘共苦的男友,可以跟我衣锦还乡回娘家过日子,仅此而已(吓死一排人了)。可我又不能登征婚启示。。。爸妈最常挂在嘴边的话就是,你多长双眼!我再多长也是近视,还散光呢!(意为到处发光)
毕业舞会和Rebecca的合影,也算是大学最后一年才开始近乎的朋友。还记得大三的期末考试,好像是molecular biology(靠,多么悲惨的记忆!),考完了以后Bec主动过来问我要email和电话号码。当时心里默想,我注意你好久了,也是很想要你的号码,telepathy不成?脸上是装的很平静,但暗地里高兴了好一阵子。有一些你很想认识的人如果不主动搭讪就这样错过了吧,认识了以后才觉得,若是当时错过了真的太可惜了!!所谓日子怎么怎么难忘,都是和朋友一起打铸的回忆啊。(那晚我吃太多了所以看上去油头粉面,找个理由而已)
考试后买的两本书,本来想买bb的a short history of nearly everything,找了半天也没找到,不过有这本也很满足了=D。吼吼二手书店真是太好鸟!!
Saturday, April 28, 2007
Friday, April 27, 2007
Tattered souvenir from global exam tsunami
Gtalk chats between me and Jady, all centered around the quintessential topic 'How to curb sleepiness', or simply just a positive confirmation 'I'm so sleepy I want to die.', with daily and nightly iterations on our end-of-the-world helplessness and zombie states.
Although the exam ain't fully over... I can take a small break right now =D
April 26
4:26 PM Jade: ahh so tired...
4:27 PM me: rest for a while, nap nap
4:28 PM Jade: can't nap--i'll be sleeping beauty for a day..
me: i know, nap on ur desk
Jade: 伸懒腰ing..
me: then u feel ur whole body's drunk like dead
4:29 PM Jade: neck and waist GONE..totally stiffened, MAN!thank you, exactly!
me: u r welcome
4:32 PM Jade: nonstop yawns.., anything anti-yawn anti-tear...
4:33 PM me: try pepper spray
Jade: walau, that calls for anti-sneeze stuff..
me: sneeze is a lesser problem
4:34 PM Jade: sighs, me want neither..
4:35 PM me: bang ur head, self mutilation
4:36 PM Jade: i've pulled out at least two hundred hairs tonight..scratched skin to pieces..
2:59 AM me: yo pal offline?
3:04 AM Jade: in hiding. how ye doing?
me: i just want to CRY
Jade: get a pillow and scream real long and hard into it
me: exam in 4 hours, my brain's bursting with information
3:05 AM Jade: i TOTALLY know the feeling, fill a basin and scream underwater. that helps too
3:06 AM me: 555 i'm just gambare till i'm slaughtered
3:18 AM Jade: that's the spirit, drink tea!
3:19 AM me: wat a delay i almost forgot abt it
Jade: got thrown offline and still appearing online!
3:20 AM me: i see...
3:22 AM Jade: i'm only just starting on my notes now, gonna pull all nighter again...slept a freaking 15 hrs yesterday!
me: whens da test
Jade: 9am
me: tmr?
3:23 AM Jade: yup
me: o my, gambare. u r repeating my 'today'
Jade: yes yes, same deep shit time warp, lol
me: i finished my test at 5, rushed home, and now my test is 9am in the morning
Jade: tat is HORRIBLE
3:24 AM me: fight, fight to the death!!! (- fox, from you've got mail)
Jade: yes keep going keep going, that's the best ye can do! your brain can still function to get out a quote..impressive!
3:25 AM me: ... now is not the time to compliment
Jade: ..no no. back to mugging.
April 25
3:13 PM Jade: weirdest thing: mind across the universe has been playing in my head since this morning...and now getting louder..
me: FOCUS!!! now is not the time
3:14 PM Jade: =''( it's in my head...........
3:15 PM me: get rid of it, kill it
3:17 PM Jade: night is falling down soon there would be no more light day across the universe...........
3:18 PM me: u r torturing urself dude, concentrate
Jade: 555, yes madame
4:09 PM Jade: made tea..
me: leisurely u
Jade: leisurely desperation!
April 24
3:06 PM me: pal shouldn't u be getting some sleep???
Jade: not v sleepy..
me: listen to some sleepy ab.
Jade: ...
5:55 PM Jade: haha absolutely, recommend its auto tag fr amazon function, supports all amzon domains, pretty damn powerful'
6:00 PM me: tried, mistagged, turned it off
6:01 PM Jade: haha, works great most of the times though, not sure with the japanese side...
6:04 PM ah nearer than heaven...so drugging..
6:05 PM me: Ah i know, ok switched to amazon tag, have to choose amazon.jp
Jade: lol, you didn't huh..
6:06 PM me: o powerful powerful i bow
Jade: 赞吧!
6:07 PM me: en na
6:12 PM me: auto tag changes all my GARNET CROW to Garnet Crow, -.- (silenced)
6:40 PM Jade: do ye think i should sleep two hours..
6:41 PM me: OF COURSE, crazy woman, sleep now now
Jade: i'm over the tire limit alr, no sleepiness, only kind of heaviness
6:43 PM i'll have to stay up again tonight..hmm...i go get some shut eye liao..
me: go go go, i need to study too liao or else suicide
Jade: aza aza fighting!
Although the exam ain't fully over... I can take a small break right now =D
April 26
4:26 PM Jade: ahh so tired...
4:27 PM me: rest for a while, nap nap
4:28 PM Jade: can't nap--i'll be sleeping beauty for a day..
me: i know, nap on ur desk
Jade: 伸懒腰ing..
me: then u feel ur whole body's drunk like dead
4:29 PM Jade: neck and waist GONE..totally stiffened, MAN!thank you, exactly!
me: u r welcome
4:32 PM Jade: nonstop yawns.., anything anti-yawn anti-tear...
4:33 PM me: try pepper spray
Jade: walau, that calls for anti-sneeze stuff..
me: sneeze is a lesser problem
4:34 PM Jade: sighs, me want neither..
4:35 PM me: bang ur head, self mutilation
4:36 PM Jade: i've pulled out at least two hundred hairs tonight..scratched skin to pieces..
2:59 AM me: yo pal offline?
3:04 AM Jade: in hiding. how ye doing?
me: i just want to CRY
Jade: get a pillow and scream real long and hard into it
me: exam in 4 hours, my brain's bursting with information
3:05 AM Jade: i TOTALLY know the feeling, fill a basin and scream underwater. that helps too
3:06 AM me: 555 i'm just gambare till i'm slaughtered
3:18 AM Jade: that's the spirit, drink tea!
3:19 AM me: wat a delay i almost forgot abt it
Jade: got thrown offline and still appearing online!
3:20 AM me: i see...
3:22 AM Jade: i'm only just starting on my notes now, gonna pull all nighter again...slept a freaking 15 hrs yesterday!
me: whens da test
Jade: 9am
me: tmr?
3:23 AM Jade: yup
me: o my, gambare. u r repeating my 'today'
Jade: yes yes, same deep shit time warp, lol
me: i finished my test at 5, rushed home, and now my test is 9am in the morning
Jade: tat is HORRIBLE
3:24 AM me: fight, fight to the death!!! (- fox, from you've got mail)
Jade: yes keep going keep going, that's the best ye can do! your brain can still function to get out a quote..impressive!
3:25 AM me: ... now is not the time to compliment
Jade: ..no no. back to mugging.
April 25
3:13 PM Jade: weirdest thing: mind across the universe has been playing in my head since this morning...and now getting louder..
me: FOCUS!!! now is not the time
3:14 PM Jade: =''( it's in my head...........
3:15 PM me: get rid of it, kill it
3:17 PM Jade: night is falling down soon there would be no more light day across the universe...........
3:18 PM me: u r torturing urself dude, concentrate
Jade: 555, yes madame
4:09 PM Jade: made tea..
me: leisurely u
Jade: leisurely desperation!
April 24
3:06 PM me: pal shouldn't u be getting some sleep???
Jade: not v sleepy..
me: listen to some sleepy ab.
Jade: ...
5:55 PM Jade: haha absolutely, recommend its auto tag fr amazon function, supports all amzon domains, pretty damn powerful'
6:00 PM me: tried, mistagged, turned it off
6:01 PM Jade: haha, works great most of the times though, not sure with the japanese side...
6:04 PM ah nearer than heaven...so drugging..
6:05 PM me: Ah i know, ok switched to amazon tag, have to choose amazon.jp
Jade: lol, you didn't huh..
6:06 PM me: o powerful powerful i bow
Jade: 赞吧!
6:07 PM me: en na
6:12 PM me: auto tag changes all my GARNET CROW to Garnet Crow, -.- (silenced)
6:40 PM Jade: do ye think i should sleep two hours..
6:41 PM me: OF COURSE, crazy woman, sleep now now
Jade: i'm over the tire limit alr, no sleepiness, only kind of heaviness
6:43 PM i'll have to stay up again tonight..hmm...i go get some shut eye liao..
me: go go go, i need to study too liao or else suicide
Jade: aza aza fighting!
Thursday, April 26, 2007
[NEWS]GARNET CROW Livescope 2006 DVD + New Single
明天还有一门考试,昨天一共听了12小时之长的lecture recordings,觉得自己死啊活啊都好几回了,刚看到wikipedia上一张细胞横截面图竟然有呕吐冲动。今天估计要通宵了!凭良心说句话,我觉得我们学校吧,理科生真的好作孽啊,尤其同情我们生化系,engscience也是够呛。文科的人真是逍遥在天堂,搞个art student每天都在我眼前晃我估计会爆青筋,还好圈内的朋友都是理科生,虽然也是很想结交艺术科的,但是,考试阶段千万不要在我眼前出现,绝对不要,一定不要。
从料理店转来的新闻,要买,买,买!口水初会版的现场cd!
★☆2006年的演唱会“LIVESCOPE 2006”DVD和新单曲终于发售决定!!☆★
2006 年12月に大阪・東京で行われたライブツアー「GARNET CROW LIVESCOPE 2006 ~THE TWILIGHT VALLEY~」より、12月20日 東京中野サンプラザの模様が完全収録され、2007年6月27日、待望のLIVE DVDとしてリリースされます!!
「これまで“聴かせること”で精一杯だったが、初めて“魅せること”にチャレンジできたライブ」とメンバーが語るように、衣装を始め、弦楽四重奏との共演、LEDのイメージ映像、照明など、従来のライブより楽曲の世界観をより強く具現化するためのこだわりが感じられる内容となっています。
さらに今回は、“音だけでもライブを楽しんで欲しい”という意向により、このライブ音源からメンバーが選んだ、特にベストテイク数曲を収録したCDを初回生産分のみ封入!2通りの楽しみ方ができる仕様となっています!!
演唱会DVD 「GARNET CROW LIVESCOPE OF THE TWILIGHT VALLEY」
■演唱会收录场次:2006年12月20日 东京中野广场演唱会
■発売日 : 2007年6月27日
■価格 : 3990日元(税入) [初回盤]ONBD-7078
■初回特典 : 2006年演唱会中,由GC成员选出数首经典歌曲收录进CD(只限初回限定版)
■収録内容 :
01.Anywhere
02.Rusty Rail
03.Holding you, and swinging
04.かくれんぼ
05.HAPPY DAYS?
06.向日葵の色
07.やさしい雨
08.WEEKEND
09.call my name
10.君の思い描いた夢 集メル HEAVEN (冈本ver.)
11.籟・来・也
12.まぼろし
13.Holy ground
14.Timeless Sleep
15.夢・花火
16.風とRAINBOW
17.夢みたあとで
18.マージナルマン
19.Last love song
20.空色の猫
21.今宵エデンの片隅で
Encore
E1.A crown
E2.この手を伸ばせば
E3.僕らだけの未来
最后,在7月4日(中村由利生日)决定发售新单曲『涙のイエスタデー』(泪之往昔)<暂译>。
爽朗快节奏的歌曲,让人感到GARNET流夏日的曲子!具体情报请等待进一步更新。
从料理店转来的新闻,要买,买,买!口水初会版的现场cd!
★☆2006年的演唱会“LIVESCOPE 2006”DVD和新单曲终于发售决定!!☆★
2006 年12月に大阪・東京で行われたライブツアー「GARNET CROW LIVESCOPE 2006 ~THE TWILIGHT VALLEY~」より、12月20日 東京中野サンプラザの模様が完全収録され、2007年6月27日、待望のLIVE DVDとしてリリースされます!!
「これまで“聴かせること”で精一杯だったが、初めて“魅せること”にチャレンジできたライブ」とメンバーが語るように、衣装を始め、弦楽四重奏との共演、LEDのイメージ映像、照明など、従来のライブより楽曲の世界観をより強く具現化するためのこだわりが感じられる内容となっています。
さらに今回は、“音だけでもライブを楽しんで欲しい”という意向により、このライブ音源からメンバーが選んだ、特にベストテイク数曲を収録したCDを初回生産分のみ封入!2通りの楽しみ方ができる仕様となっています!!
演唱会DVD 「GARNET CROW LIVESCOPE OF THE TWILIGHT VALLEY」
■演唱会收录场次:2006年12月20日 东京中野广场演唱会
■発売日 : 2007年6月27日
■価格 : 3990日元(税入) [初回盤]ONBD-7078
■初回特典 : 2006年演唱会中,由GC成员选出数首经典歌曲收录进CD(只限初回限定版)
■収録内容 :
01.Anywhere
02.Rusty Rail
03.Holding you, and swinging
04.かくれんぼ
05.HAPPY DAYS?
06.向日葵の色
07.やさしい雨
08.WEEKEND
09.call my name
10.君の思い描いた夢 集メル HEAVEN (冈本ver.)
11.籟・来・也
12.まぼろし
13.Holy ground
14.Timeless Sleep
15.夢・花火
16.風とRAINBOW
17.夢みたあとで
18.マージナルマン
19.Last love song
20.空色の猫
21.今宵エデンの片隅で
Encore
E1.A crown
E2.この手を伸ばせば
E3.僕らだけの未来
最后,在7月4日(中村由利生日)决定发售新单曲『涙のイエスタデー』(泪之往昔)<暂译>。
爽朗快节奏的歌曲,让人感到GARNET流夏日的曲子!具体情报请等待进一步更新。
Tuesday, April 24, 2007
梁邦彦
全都是Jady的错!
昨晚做了好长一个梦,梦见LP的作品似乎在南美发行了,看新闻说是“有史以来销量最为惊人的单曲”。Aha!一周内卖出100万张,但不久后边境出现动乱,那个地方的人似乎得了某种瘟疫。还梦见Bush蹦极跳,电视现场直播时全美国人在笑。然后再切回LP,我兴冲冲打电话给Jady说我看到Rain的歌词了,写的还不错的样子,然后就没下文了。
唉,我看可以归为噩梦了。
贴几个以前看到的梁邦彦的现场演出视频。笛子,竖琴,手鼓这些轻巧的乐器搭配起来总给人空灵的感觉,音符跳跃着很动听。个人作品中他一般都不会用管弦乐啊,同样要表现雄伟的气势久石让铁定会搬出大提琴。都说梁邦彦的音乐是“New Age”,其实什么是新世纪音乐呢?相对于古典创作套路不同的配乐么?反正他的音乐里中国民乐因素较多,《十二国记》就是这一风格的代言。还有,梁邦彦祖籍是韩国人,虽然他在日本出生发展,名子看着又像中国人,也曾当过Beyond的制作人。This's Asian stuff... 改天再重贴到ukulele去。
下面三个全是05年在汉城的表演
Flowers of K
Prince of 'Cheju'
Mint Academy
昨晚做了好长一个梦,梦见LP的作品似乎在南美发行了,看新闻说是“有史以来销量最为惊人的单曲”。Aha!一周内卖出100万张,但不久后边境出现动乱,那个地方的人似乎得了某种瘟疫。还梦见Bush蹦极跳,电视现场直播时全美国人在笑。然后再切回LP,我兴冲冲打电话给Jady说我看到Rain的歌词了,写的还不错的样子,然后就没下文了。
唉,我看可以归为噩梦了。
贴几个以前看到的梁邦彦的现场演出视频。笛子,竖琴,手鼓这些轻巧的乐器搭配起来总给人空灵的感觉,音符跳跃着很动听。个人作品中他一般都不会用管弦乐啊,同样要表现雄伟的气势久石让铁定会搬出大提琴。都说梁邦彦的音乐是“New Age”,其实什么是新世纪音乐呢?相对于古典创作套路不同的配乐么?反正他的音乐里中国民乐因素较多,《十二国记》就是这一风格的代言。还有,梁邦彦祖籍是韩国人,虽然他在日本出生发展,名子看着又像中国人,也曾当过Beyond的制作人。This's Asian stuff... 改天再重贴到ukulele去。
下面三个全是05年在汉城的表演
Flowers of K
Prince of 'Cheju'
Mint Academy
Monday, April 23, 2007
漫画
BL/GL/全龄的漫画我都看。但是!我还是不太能接受GL的,主要原因是我讨厌LOLI!! 非要把女的画成那样嘛啊啊啊???个个跟没脑白痴似的,接受不能-.-!! 慢着,画GL的到底是男的还是女的啊?目前还没看到过符合自己审美观的GL画风。再说全龄,这几年也是没看到过精彩的作品了,荒漠啊荒漠。喜欢的还是那几部老的,北条司的城市猎人和非常家庭,再来就是成田美名子的Alexandrite和Cipher,桂正和的电影少女。这几部作品对我影响都很大。BL的喜欢今市子,円陣闇丸,高嶋上総。后两位的画风真是让人羡慕。。。
其实只是想跑上来吼一句:我讨厌LOLI!!!!!!
补一句,我也同样厌恶SHOTA!!!!!
其实只是想跑上来吼一句:我讨厌LOLI!!!!!!
补一句,我也同样厌恶SHOTA!!!!!
Saturday, April 21, 2007
咎井淳 (Jo Chen)
很早前就接触了这个漫画家,曾误认为是个韩国人,后来又误认是日本人,原来是台湾同胞。看了半天“他”的作品发现,啊??原来是“她”!标准一个美女画家。这一连串的误会大了,不仅仅是我个人这么认为。这也算是偏见吧,谁说好的漫画家就一定要在日本了,又谁说画少年漫的都是男的了!初识咎井淳大概是高中,很欣赏她网站上贴的几张铅笔素描,洗炼的笔法让人觉得执笔的定是个性格分明的人,筋骨突兀,画的相当流畅且有力道。后来有这么一两年没关心过这个人了,最近看到新动向,似乎她在美国市场也打下个小天空,开始兼职画插画。像Buffy the vampire, Runaways几部有名的卡通杂志都是她负责画的扉页,最有名的是Fable游戏的封面设计,算是她在美国观众中的立名之作。Sherry看到后惊讶不已,继而愤愤不平说“NND,Fable是她设计的!”。愤愤不平有几个原因:性别误解,当意识到作者是和自己一般的女性时有强烈的反差和挫败感;再来,对于一个亚洲人单枪打入欧美市场觉得是很了不起的成就;又,问及咎井淳芳邻,和我们是同一辈的,绝倒!敢问你现在在做什么,人家在做什么,画功上的差距需要多少光阴填补??
黑白画来说印象最深的就是她的透视,很不寻常的取镜角度。牛逼的漫画家最喜欢画超难度的死角,标新立异的同时毫不掩饰的向你炫耀“怎样,你画不出来吧?”。采访中她说,她也没怎么练习,透视是天分,这更让人受刺激!
贴些资料和图上来。
笔名:咎井淳
外号:G.P、饭桶
籍贯:浙江省诸暨县
学历:复兴商工毕业,目前在NORTHERN VIRGINIA COMMUNITY COLLEGE学习正统美术。
生日:7月4日
星座:巨蟹座
血型:容易紧张的A型
个性:少根筋、冒失、一着急就开始胡言乱语、乐天,但有时会为无聊的芝麻小事钻牛角尖、容易想入非非、喜欢倒胃口的话题
嗜好:听摇滚乐、弹吉他、看电影。
如何进入漫画界:同人志
首次发表处女作:《无聊剧场》、《维纳斯童话》(金星战记同人志)
最欣赏漫画家:安彦良和、多田由美
愿望:儿时想成为漫画家,现在想成为暴发户
最喜欢的运动:曾经喜欢篮球,现在偏好不动
最喜欢的音乐:CLASSIC ROCK(60-70年代)
最喜欢的歌星:NUNO BETTENCOURT
最欣赏的影星:艾尔柏西诺
影响最深的人:姐姐
最喜欢的颜色:黑、蓝
最喜欢的服饰:T-SHIRT、牛仔裤、靴子
主要作品:《镜子的另一边》
Links
专访漫画家咎井淳 (摘录自东立星少女1998七月号)
颓废风吹袭漫画界,跳槽到商业志的同人漫画家咎井淳,刚出版的首作《镜子的另一边》,也采取颓废风,内容描述一对在纽约黑街相遇的落魄情侣,同病相怜的故事,画风充满冷冽的色彩。
亲眼见到咎井淳时,觉得她和这种超酷的风格完全不上线。长发及腰、身上还穿着件超人T恤的她,话匣子一开,遍劈哩叭啦的停不了口,丝毫不见作品里阴沉的气氛。怎么想到这么严肃的题材呢?咎井淳自称是:"为赋新词强说愁',耍酷而已。"
从国小便开始画画的咎井淳,国中便混进同人界,二十三岁的她,还是同人社团"秘密结社"的正式社员。"其实,我以前都画打杀搞笑的少年漫画,最喜欢的是安彦良和的《金星战记》、《亚利安》,《钢弹》之类少年漫画,即使中学时上了女校,没有女同学要鸟我的作品,我还是爱画。"连她也没想到,日后她竟然会以冷冽画风发表商业志。
从同人创作者跃上商业志,有何不同呢? "专业画家有稿压,我曾边哭边赶稿,虽然赶出来后心里会很爽,毕竟还是不一样。"因此咎井淳建议同人志玩家:"要恶搞就要彻底,能玩的时候尽量玩!"虽然被爸爸骂虚荣,她还是从美国搭飞机回来举行签名会,移民已有五年的她,和漫迷们面对面时,紧张的连名字都签错了,让签名会拖拉了超长的时间。
想看看镜子的另一边有什么吗?咎井淳邀你来分享一个同人画家的成长。
星少女专访
文:张正颖
上午11点,咎井淳踏着轻快的脚步迈进编辑部,穿着一件简单的深色上衣、一件LEVIS牛仔裤,背着一个小背包,提着一个大画袋,一头长发随着她走路时特殊的节奏微微飞扬,大大的眼珠闪着点点亮晶晶的光芒,对于这次访问似乎相当的兴奋,这样的"咎井淳"形象和小编的想象中那个画风透明冷冽,空间感十足的"咎井淳",几乎无法作同一个人想象。但从她闪亮眼神中暗藏着的沉稳中,似乎又隐约看到了"镜子的另一边"的影子。
小编:"咎井淳",我一直觉得你的名字很特殊,有什么特殊的意义吗?
咎井淳:哈哈,这个名字是翻字典凑出来的!!因为当时我相当喜欢上条淳士,所以那个"淳"就是上条淳士的"淳";而"咎"这个字......我很喜欢它,觉得这个字很美;至于"井"嘛......,因为当时不知道"咎"、"淳"这两个字该怎么连接,于是我姐姐说"就用‘井'字连接吧!"这就是我的比明"咎井淳"的由来。
小编:刚开始我还以为"咎井淳"是个日本人。
咎井淳:变成很像日本人的名字;我也是史料未及的。(哈、哈)其实,我父母是有"仇日情结"的。因为受到父母的影响,小时候还曾经发生过一件很糗的事!有一次姐姐在买"贝露莎"的卡通原声带(......记得这部卡通吗?),我还跪在地上大声哀求姐姐"不要做汉奸!"(哈、哈)搞的整家店的顾客全都再看我们,好糗喔!
小编:你姐姐对你的影响很深?
咎井淳:对。我喜欢漫画、会入这一行,都是受她的影响。对我来说,姐姐就像是个"启蒙灯塔"一样。小时候,我们就常常拿着一大张白纸,我坐一边、姐姐坐一边,先设计出几个人物;姐姐会先就其中几个角色安排他们之间的剧情、发展、对话,之后便轮我安排我手上角色的剧情、发展、对话,有点像"纸上即兴创作",这也是我创作的起源。
小编:姐姐是你的漫画导师?
咎井淳:其实不仅只漫画、连在生活上都受她的影响很深。今天能有这样的"咎井淳"她也是最大功臣。我和姐姐之间就像"光与影"(当然,我是影。)无论画漫画、买日本漫画杂志、加入同人志社团......,姐姐总是站在我的面前,为我披荆斩棘的开出一条光明大道。我认为,在创作的摸索过程中是需要被鼓励的,不能对一个初出的创作者太严苛,对我而言,姐姐就扮演了这样的角色,在我年纪小、绘画技巧还不好的时候,她总是一直在旁边鼓励我;让我有信心走到今天的地步。
小编:你现在的画风色彩相当类似多田由美,受她的影响很重?
咎井淳:嗯......我是个很容易受环境影响的人,喜欢的作品风格会很容易的表现在自己的作品里。国小的时候很喜欢安彦良和(金星战记、亚利安等等),当时的绘画风格就很"安彦",很少年;长大一点之后,因为姐姐的关系也喜欢上条淳士,大概有一年的时间,我的画风都受到他的影响,大约在同人志时代,当时读者还认为我的作品"线条很流利,可是人好丑!"!之后,又从ASUKA杂志上发现了多田由美,让我大为惊艳!!现在的作品视角、取景风格,受她的作品影响相当大。
小编:你创作的灵感从哪里来?
咎井淳:梦。(小编呈现呆滞状)真的!我觉得梦是属于每个人最独一无二的东西,在我的床边有一本"梦笔记",记录我作过的梦境,我的很多短篇的作品都是由我的梦境发展出来的。
小编:你的作品分镜相当流畅、空间透视相当立体,一般所谓的少女漫画风格中算是相当特殊,在这方面是特别受了谁的启发吗?
咎井淳:我的空间透视是一种直觉上的天份,并没有特别学习。但是以后会学习一些摄影方法,让自己的透视感更好。至于分镜方面......应该是受到电影的影响吧!
小编:你喜欢什么样的电影?
咎井淳:我喜欢充满异色、潮湿、古老气息、仿佛颓圮的街头死角般的电影。像"龙族战神"(李国豪主演)、the city of lost children等等。或者是黑色幽默的电影,像昆汀塔伦堤诺"黑色追缉令"或卢贝松的电影我都很喜欢。
小编:你喜欢的电影和你的作品感觉很像。
咎井淳:我很容易受环境影响。(哈)现在在美国我每天不是画漫画、看电影、就是看影集。有两个影集是我必看的:X档案和NYPD.blue。(此时小编的眼睛突然亮了起来,两个人开始讨论X档案的剧情,访问因此中断。)
小编:(咳、咳!)嗯......你喜欢的创作类型是什么?
咎井淳:我觉得一个创作者应该尝试不同类型的创作题材,再从中发现最适合自己的类型。像我之前比较擅长幽默搞笑的作品,在"龙少年"上的短篇"森林奇谭"就是一部那样的创作;或者是人生历炼还没到一个阶段,对于情感戏就完全不行,这篇"镜子的另一边"是我第一次尝试这样类型的作品。
小编:你当初创作这篇故事的动机是什么?为什么要叫这个名字?
咎井淳:这其实是我和表妹一同讨论出来的东西。因为之前大部分只画短篇作品,这是第一次尝试长篇的东西。或许是现在我的生活环境的文化冲突的影响吧,让我开始思考有关"认知"与"存在"的问题,所以才有这一篇作品。由"镜子的另一边"这个篇名就代表了这篇作品的主旨。我希望藉由一个性格晦暗的男主角,面对事情的态度,来讨论人类思想的价值观念。"幸"与"不幸"是一体两面,而镜子代表了所见世界的藩篱,一种人类价值观的认知。人的命运往往是自己造成的,遭遇事情的时候,男主角往往只看到"不幸"的那一面,并没有发现,只要跨过那面"镜子"
又能发现另一个世界。
小编:最后,和所有的读者说句话吧!
咎井淳:这篇"镜子的另一边"是我第一次尝试的类型,很多不成熟的地方希望大家多多包含,多多给予我鼓励,我会继续磨练画技、多多充实,会创作更好的作品让大家欣赏,请大家拭目以待!
One of the most up-and-coming Manga and comic-book artists in the U.S. is Jo Chen. More recently known for her Racer X comic-series work, Jo had the opportunity to work on the packaging art for the highly anticipated Xbox game Fable, due out this summer. From publisher Microsoft Game Studios and developer Big Blue Box, Fable is one of the most hyped and long-awaited video game releases of 2004. The promotion story for the game states: “Fable is a ground-breaking role-playing adventure game from Peter Molyneux, in which your every action determines your skills, appearance, and reputation. Create your life story from childhood to death. Grow from an inexperienced adolescent into the most powerful being in the world. Choose the path of righteousness or dedicate your life to evil….” JIVE Magazine had the chance to discuss the new game’s box-art development with Jo and share how it differs creatively from any other type of comic-art project. You can find out more about Jo Chen and browse her galleries at www.jo-chen.com.
When did you first learn about the game Fable and how did the package-art project come about?
Todd Elhart of Hubris Studios contacted me in the spring of 2003 and pitched the idea. We had a couple of initial telephone conversations in which he described the game and what he had in mind for me. At first, he only wanted me to illustrate the packaging. But as the scope of the project expanded and became clearer, they asked me to do an Xbox Fable magazine cover and some promotional stuff like point-of-purchase art and in-store stand-ups. They even asked me to work with the British developers on the menu guts for the game itself, but that was too much for me to accept given my other commitments to D.C. and Marvel for cover work.
How did you develop your first ideas for the artwork? Were you given a prototype of the game to play or something else like storyboards? Also, how free were you to express your own creativity in terms of how the characters on the box looked?
The developers already had some pretty concrete ideas about how the characters should look. They sent me some pre-production art and some screen captures of the game itself to work from. The main illustration on the front of the packaging was undecided. The original idea for the package, I think, was to show the clean-cut protagonist dressed for war, with his arms folded in front of him. I honestly can't recall if they were already toying with the idea of the boy staring into rippling water and seeing a reflection or not. In the end, it was agreed that the most dramatic piece would be the wide-eyed, innocent boy starring at the reflection of the evil, leering adult. I did some rough work that was apparently well received and I remember participating in a nerve-wracking phone conference with the guys at Hubris, some designers in London (from Big Blue Box, I think), and some Microsoft personnel. I was so nervous and often I couldn't discern who was speaking or if they were addressing me. As a result, I often spoke out of turn, confusing everybody. In hindsight it was comical, but at the time it wasn't. I'm no good in those types of situations. Most of the time, the developers and Microsoft would relay their likes and dislikes of my work through Todd at Hubris, who would then convey them to me, whereupon I would modify the paintings accordingly. For the most part, I had a free hand rendering the established characters in my style. Conversely, I was constrained by some design concepts that had already been approved before I came aboard, such as armor and weaponry. Mainly, it was my style of drawing people that they were after.
What are some of the things or styles of the characters you would have changed if you were free to do so?
If I had had complete freedom and creative control, I probably would have changed some things. The current packaging's focal point is the little boy, despite the antagonist's presence in the murky reflection of the water. I might have made the villain the locus of the piece. In fact, I did one sketch of the metamorphosis of the main character in which each incarnation is breaking through the shell of the previous incarnation, something like a moth breaking through the shell of its cocoon, only several iterations occurring in the same illustration, depicting spiritual and physical devolution. But this is all just personal preference. In fact, the final painting I did that appears on the box, we all agree, captures the spirit of Fable very well.
Do you enjoy creating characters or drawing existing characters more? Which is more difficult for you?
Of course I thoroughly enjoy putting my mark on existing characters like those in Fable and Batman and Robin, etc., but I love and live for creating my own characters and my own stories. And although it's much harder, it's extremely rewarding. I've been so busy painting for other publishers that I've let my own stuff languish, which I regret. But all that regret goes sailing out the window and is forgotten when somebody approaches me and tells me how much they like my work on Fable or The Runways or Street Fighter. It makes me so happy to hear that my art is appreciated and it keeps me out of the emotional troughs. I've come to the conclusion that I need to work on a mixture of existing characters and my own. Professionally, it's a nice, healthy balance.
What is your typical process of creating such an art piece and what type of technology do you use?
First, I usually create multiple rough—very rough—thumbnails from which I or my editor can choose. I hate drawing something infinitely detailed and then having to return to it over and over again to modify it as suggestions are made. It's a lot of unnecessary work and slows down the entire process tremendously. From the thumbnail, I create a larger rough pencil and ensure proper perspective and dynamics. Then I sketch a detailed pencil, with sharp lines, which gets scanned into Photoshop, where I apply base colors. All of the actual painting (i.e., brush strokes) occurs in Painter. In fact, I keep both programs open simultaneously and toggle between them to work on a piece. Many people ask me how I create these images, thinking this is a filter or some effect in Photoshop or Painter. But the images really are paintings. I paint them exactly as I would paint in oils or acrylics. The brush strokes are real and done with my graphic stylus rather than a brush. Only the special effects, like neon, lightening, or auras, are done with software gimmickry. The biggest advantage of this process is that I'm not covered in dabs of colored paint, smelling of turpentine and linseed oil. On the other hand, the disadvantage is that there is no original physical canvas since it is a digital image. I can never really have a gallery exhibition of my work that isn't composed of prints.
After completion of your first draft of the work, how many iterations occurred due to input from the developers or publishers of Fable before it was finalized?
Quite a few. However, the modifications were usually small things: making the eyes wider, making the thumbs bigger, making the dagger sharper and more sinister, etc. By far, the most difficult piece of art for me was the rippling effect in the water. I wanted to keep the package illustration as a one layer file in the software, but the requirements dictated that different characters had to appear in the reflection of the water, beneath the boy, for different promotional purposes. In the end, the artists at Hubris lent a hand in manipulating the ripples after my various illustrations were applied. There was no simple way around the problem, and it was a bit of a headache, but challenges are always good.
What is the hardest thing about doing artwork for a video game as opposed to other types of projects? And likewise, what is the easiest?
The hardest thing about games is that because of the size of the investment, a greater number of people are involved and have a say in the final version of the art. You have to please everyone: the developers, the marketers, the distributors. That said, the easiest thing about working on a game are these same people. They are artists, too, after their own fashion and everybody has a hand in creating the product. With Fable, everybody couldn't have been nicer—Todd Elhart at Hubris, especially. He really gave me a free hand, or at least the pleasant illusion of a free hand, and for that I am grateful. I would love to work with him again. The creative process on the whole, at least for me, is pretty much the same with any type of product. With comic books, I usually deal with a single editor, or an assistant editor, who rarely contacts me, except to give deadlines or a few instructions as to the type of illustration they're looking for. With games, there is much more conferencing to brainstorm, to ensure that instructions are clear and that required modifications are being attended to. Oh yeah, and the pressure. On Fable, it wasn't overt, but I felt its presence. I imagine that everybody involved was acutely aware that a lot was riding upon the work of each of the project's participants. And you don't want to be the one who blows it for everyone by missing a deadline or doing a bad job.
Do you play video games, and if so, which ones?
I played them before when I was younger and less busy, but rarely play now. I realized how much time a person can spend playing, leaving time for little else, and I had a career to start! I enjoy watching other people play, though. Let's see, in the past I've played Tekken, Tenchu, Resident Evil, and Grand Theft Auto. I always get killed so quickly in these games and usually end up with a sore hand from pressing buttons so hard. Not good for a painter.
What are your current projects and what future projects are you excited about?
I am just finishing up my series of covers for Marvel's The Runways series; I'm working on the last one now. I am continuing to create covers for Udon Comics' Street Fighter series. Mostly, I've been taking a break and working on my own stuff and trying to update my Web site. I've done a few doujin for publication in Asia and I continue to work the kinks out of the story arc for my epic tale of Chinese mythology, tentatively titled “The Specter King.” It's been five years since I published anything substantial in Asia and people who bother to write me indicate that they would like something new from me. So, I am working hard to get “The Specter King” off the ground. It is my intention to publish this in multiple languages, including English.
What is the most inspirational piece of advice you could give to a budding artist who sees you as a true success story, especially for working in gaming, Manga, or traditional comic-book industries?
Practice, practice, practice! I've been drawing and refining my style since I was five or six years old, and I'm still not perfectly happy with it. That drives me to improve myself through constant practice. This is my pragmatic advice to the budding artist. Also, study to be an artist and not just a comic-book or anime artist. The fundamental skills one learns in art classes will transfer into your work in the various popular industries like comics and video games. The work of the masters is far more valuable than any “How to Draw Manga” book ever will be. I refer constantly to the works of John Singer Sargent, Vermeer, and Georges De La Tour when I'm creating covers for comic-book and video game packaging. My second piece of advice is to get your work on the Internet. It seems pretty obvious but I don't know how many people I've met at cons who aspire to be working artists who don't have a site on the Web! I’m kind of stunned when I hear this. Honestly, it's the cheapest way to advertise in history. For $10 or less per year, you can secure a domain and build a full-color gallery site to showcase your work to millions of—scratch that—billions of people. And some of those people just might approach you with work; that's exactly how I got my first professional job in the U.S. Now, get pencilling and good luck!
黑白画来说印象最深的就是她的透视,很不寻常的取镜角度。牛逼的漫画家最喜欢画超难度的死角,标新立异的同时毫不掩饰的向你炫耀“怎样,你画不出来吧?”。采访中她说,她也没怎么练习,透视是天分,这更让人受刺激!
贴些资料和图上来。
笔名:咎井淳
外号:G.P、饭桶
籍贯:浙江省诸暨县
学历:复兴商工毕业,目前在NORTHERN VIRGINIA COMMUNITY COLLEGE学习正统美术。
生日:7月4日
星座:巨蟹座
血型:容易紧张的A型
个性:少根筋、冒失、一着急就开始胡言乱语、乐天,但有时会为无聊的芝麻小事钻牛角尖、容易想入非非、喜欢倒胃口的话题
嗜好:听摇滚乐、弹吉他、看电影。
如何进入漫画界:同人志
首次发表处女作:《无聊剧场》、《维纳斯童话》(金星战记同人志)
最欣赏漫画家:安彦良和、多田由美
愿望:儿时想成为漫画家,现在想成为暴发户
最喜欢的运动:曾经喜欢篮球,现在偏好不动
最喜欢的音乐:CLASSIC ROCK(60-70年代)
最喜欢的歌星:NUNO BETTENCOURT
最欣赏的影星:艾尔柏西诺
影响最深的人:姐姐
最喜欢的颜色:黑、蓝
最喜欢的服饰:T-SHIRT、牛仔裤、靴子
主要作品:《镜子的另一边》
Links
- Official site of Jo Chen
- Jo's Wiki page
- Jo Chen's MySpace page
- Cover of the first issue
- Previewof the Robotech: Love and War miniseries
- Inteview with Jo Chen about XBOX FABLE game
专访漫画家咎井淳 (摘录自东立星少女1998七月号)
颓废风吹袭漫画界,跳槽到商业志的同人漫画家咎井淳,刚出版的首作《镜子的另一边》,也采取颓废风,内容描述一对在纽约黑街相遇的落魄情侣,同病相怜的故事,画风充满冷冽的色彩。
亲眼见到咎井淳时,觉得她和这种超酷的风格完全不上线。长发及腰、身上还穿着件超人T恤的她,话匣子一开,遍劈哩叭啦的停不了口,丝毫不见作品里阴沉的气氛。怎么想到这么严肃的题材呢?咎井淳自称是:"为赋新词强说愁',耍酷而已。"
从国小便开始画画的咎井淳,国中便混进同人界,二十三岁的她,还是同人社团"秘密结社"的正式社员。"其实,我以前都画打杀搞笑的少年漫画,最喜欢的是安彦良和的《金星战记》、《亚利安》,《钢弹》之类少年漫画,即使中学时上了女校,没有女同学要鸟我的作品,我还是爱画。"连她也没想到,日后她竟然会以冷冽画风发表商业志。
从同人创作者跃上商业志,有何不同呢? "专业画家有稿压,我曾边哭边赶稿,虽然赶出来后心里会很爽,毕竟还是不一样。"因此咎井淳建议同人志玩家:"要恶搞就要彻底,能玩的时候尽量玩!"虽然被爸爸骂虚荣,她还是从美国搭飞机回来举行签名会,移民已有五年的她,和漫迷们面对面时,紧张的连名字都签错了,让签名会拖拉了超长的时间。
想看看镜子的另一边有什么吗?咎井淳邀你来分享一个同人画家的成长。
星少女专访
文:张正颖
上午11点,咎井淳踏着轻快的脚步迈进编辑部,穿着一件简单的深色上衣、一件LEVIS牛仔裤,背着一个小背包,提着一个大画袋,一头长发随着她走路时特殊的节奏微微飞扬,大大的眼珠闪着点点亮晶晶的光芒,对于这次访问似乎相当的兴奋,这样的"咎井淳"形象和小编的想象中那个画风透明冷冽,空间感十足的"咎井淳",几乎无法作同一个人想象。但从她闪亮眼神中暗藏着的沉稳中,似乎又隐约看到了"镜子的另一边"的影子。
小编:"咎井淳",我一直觉得你的名字很特殊,有什么特殊的意义吗?
咎井淳:哈哈,这个名字是翻字典凑出来的!!因为当时我相当喜欢上条淳士,所以那个"淳"就是上条淳士的"淳";而"咎"这个字......我很喜欢它,觉得这个字很美;至于"井"嘛......,因为当时不知道"咎"、"淳"这两个字该怎么连接,于是我姐姐说"就用‘井'字连接吧!"这就是我的比明"咎井淳"的由来。
小编:刚开始我还以为"咎井淳"是个日本人。
咎井淳:变成很像日本人的名字;我也是史料未及的。(哈、哈)其实,我父母是有"仇日情结"的。因为受到父母的影响,小时候还曾经发生过一件很糗的事!有一次姐姐在买"贝露莎"的卡通原声带(......记得这部卡通吗?),我还跪在地上大声哀求姐姐"不要做汉奸!"(哈、哈)搞的整家店的顾客全都再看我们,好糗喔!
小编:你姐姐对你的影响很深?
咎井淳:对。我喜欢漫画、会入这一行,都是受她的影响。对我来说,姐姐就像是个"启蒙灯塔"一样。小时候,我们就常常拿着一大张白纸,我坐一边、姐姐坐一边,先设计出几个人物;姐姐会先就其中几个角色安排他们之间的剧情、发展、对话,之后便轮我安排我手上角色的剧情、发展、对话,有点像"纸上即兴创作",这也是我创作的起源。
小编:姐姐是你的漫画导师?
咎井淳:其实不仅只漫画、连在生活上都受她的影响很深。今天能有这样的"咎井淳"她也是最大功臣。我和姐姐之间就像"光与影"(当然,我是影。)无论画漫画、买日本漫画杂志、加入同人志社团......,姐姐总是站在我的面前,为我披荆斩棘的开出一条光明大道。我认为,在创作的摸索过程中是需要被鼓励的,不能对一个初出的创作者太严苛,对我而言,姐姐就扮演了这样的角色,在我年纪小、绘画技巧还不好的时候,她总是一直在旁边鼓励我;让我有信心走到今天的地步。
小编:你现在的画风色彩相当类似多田由美,受她的影响很重?
咎井淳:嗯......我是个很容易受环境影响的人,喜欢的作品风格会很容易的表现在自己的作品里。国小的时候很喜欢安彦良和(金星战记、亚利安等等),当时的绘画风格就很"安彦",很少年;长大一点之后,因为姐姐的关系也喜欢上条淳士,大概有一年的时间,我的画风都受到他的影响,大约在同人志时代,当时读者还认为我的作品"线条很流利,可是人好丑!"!之后,又从ASUKA杂志上发现了多田由美,让我大为惊艳!!现在的作品视角、取景风格,受她的作品影响相当大。
小编:你创作的灵感从哪里来?
咎井淳:梦。(小编呈现呆滞状)真的!我觉得梦是属于每个人最独一无二的东西,在我的床边有一本"梦笔记",记录我作过的梦境,我的很多短篇的作品都是由我的梦境发展出来的。
小编:你的作品分镜相当流畅、空间透视相当立体,一般所谓的少女漫画风格中算是相当特殊,在这方面是特别受了谁的启发吗?
咎井淳:我的空间透视是一种直觉上的天份,并没有特别学习。但是以后会学习一些摄影方法,让自己的透视感更好。至于分镜方面......应该是受到电影的影响吧!
小编:你喜欢什么样的电影?
咎井淳:我喜欢充满异色、潮湿、古老气息、仿佛颓圮的街头死角般的电影。像"龙族战神"(李国豪主演)、the city of lost children等等。或者是黑色幽默的电影,像昆汀塔伦堤诺"黑色追缉令"或卢贝松的电影我都很喜欢。
小编:你喜欢的电影和你的作品感觉很像。
咎井淳:我很容易受环境影响。(哈)现在在美国我每天不是画漫画、看电影、就是看影集。有两个影集是我必看的:X档案和NYPD.blue。(此时小编的眼睛突然亮了起来,两个人开始讨论X档案的剧情,访问因此中断。)
小编:(咳、咳!)嗯......你喜欢的创作类型是什么?
咎井淳:我觉得一个创作者应该尝试不同类型的创作题材,再从中发现最适合自己的类型。像我之前比较擅长幽默搞笑的作品,在"龙少年"上的短篇"森林奇谭"就是一部那样的创作;或者是人生历炼还没到一个阶段,对于情感戏就完全不行,这篇"镜子的另一边"是我第一次尝试这样类型的作品。
小编:你当初创作这篇故事的动机是什么?为什么要叫这个名字?
咎井淳:这其实是我和表妹一同讨论出来的东西。因为之前大部分只画短篇作品,这是第一次尝试长篇的东西。或许是现在我的生活环境的文化冲突的影响吧,让我开始思考有关"认知"与"存在"的问题,所以才有这一篇作品。由"镜子的另一边"这个篇名就代表了这篇作品的主旨。我希望藉由一个性格晦暗的男主角,面对事情的态度,来讨论人类思想的价值观念。"幸"与"不幸"是一体两面,而镜子代表了所见世界的藩篱,一种人类价值观的认知。人的命运往往是自己造成的,遭遇事情的时候,男主角往往只看到"不幸"的那一面,并没有发现,只要跨过那面"镜子"
又能发现另一个世界。
小编:最后,和所有的读者说句话吧!
咎井淳:这篇"镜子的另一边"是我第一次尝试的类型,很多不成熟的地方希望大家多多包含,多多给予我鼓励,我会继续磨练画技、多多充实,会创作更好的作品让大家欣赏,请大家拭目以待!
Sketching a Fable - The Jo Chen Interview(Original article here)
Written By: Jewels
Posted: 05/25/2004
Photography: Photograph courtesy of Jo Chen, Box Art by Jo Chen and courtesy of Microsoft Game Studios
One of the most up-and-coming Manga and comic-book artists in the U.S. is Jo Chen. More recently known for her Racer X comic-series work, Jo had the opportunity to work on the packaging art for the highly anticipated Xbox game Fable, due out this summer. From publisher Microsoft Game Studios and developer Big Blue Box, Fable is one of the most hyped and long-awaited video game releases of 2004. The promotion story for the game states: “Fable is a ground-breaking role-playing adventure game from Peter Molyneux, in which your every action determines your skills, appearance, and reputation. Create your life story from childhood to death. Grow from an inexperienced adolescent into the most powerful being in the world. Choose the path of righteousness or dedicate your life to evil….” JIVE Magazine had the chance to discuss the new game’s box-art development with Jo and share how it differs creatively from any other type of comic-art project. You can find out more about Jo Chen and browse her galleries at www.jo-chen.com.
When did you first learn about the game Fable and how did the package-art project come about?
Todd Elhart of Hubris Studios contacted me in the spring of 2003 and pitched the idea. We had a couple of initial telephone conversations in which he described the game and what he had in mind for me. At first, he only wanted me to illustrate the packaging. But as the scope of the project expanded and became clearer, they asked me to do an Xbox Fable magazine cover and some promotional stuff like point-of-purchase art and in-store stand-ups. They even asked me to work with the British developers on the menu guts for the game itself, but that was too much for me to accept given my other commitments to D.C. and Marvel for cover work.
How did you develop your first ideas for the artwork? Were you given a prototype of the game to play or something else like storyboards? Also, how free were you to express your own creativity in terms of how the characters on the box looked?
The developers already had some pretty concrete ideas about how the characters should look. They sent me some pre-production art and some screen captures of the game itself to work from. The main illustration on the front of the packaging was undecided. The original idea for the package, I think, was to show the clean-cut protagonist dressed for war, with his arms folded in front of him. I honestly can't recall if they were already toying with the idea of the boy staring into rippling water and seeing a reflection or not. In the end, it was agreed that the most dramatic piece would be the wide-eyed, innocent boy starring at the reflection of the evil, leering adult. I did some rough work that was apparently well received and I remember participating in a nerve-wracking phone conference with the guys at Hubris, some designers in London (from Big Blue Box, I think), and some Microsoft personnel. I was so nervous and often I couldn't discern who was speaking or if they were addressing me. As a result, I often spoke out of turn, confusing everybody. In hindsight it was comical, but at the time it wasn't. I'm no good in those types of situations. Most of the time, the developers and Microsoft would relay their likes and dislikes of my work through Todd at Hubris, who would then convey them to me, whereupon I would modify the paintings accordingly. For the most part, I had a free hand rendering the established characters in my style. Conversely, I was constrained by some design concepts that had already been approved before I came aboard, such as armor and weaponry. Mainly, it was my style of drawing people that they were after.
What are some of the things or styles of the characters you would have changed if you were free to do so?
If I had had complete freedom and creative control, I probably would have changed some things. The current packaging's focal point is the little boy, despite the antagonist's presence in the murky reflection of the water. I might have made the villain the locus of the piece. In fact, I did one sketch of the metamorphosis of the main character in which each incarnation is breaking through the shell of the previous incarnation, something like a moth breaking through the shell of its cocoon, only several iterations occurring in the same illustration, depicting spiritual and physical devolution. But this is all just personal preference. In fact, the final painting I did that appears on the box, we all agree, captures the spirit of Fable very well.
Do you enjoy creating characters or drawing existing characters more? Which is more difficult for you?
Of course I thoroughly enjoy putting my mark on existing characters like those in Fable and Batman and Robin, etc., but I love and live for creating my own characters and my own stories. And although it's much harder, it's extremely rewarding. I've been so busy painting for other publishers that I've let my own stuff languish, which I regret. But all that regret goes sailing out the window and is forgotten when somebody approaches me and tells me how much they like my work on Fable or The Runways or Street Fighter. It makes me so happy to hear that my art is appreciated and it keeps me out of the emotional troughs. I've come to the conclusion that I need to work on a mixture of existing characters and my own. Professionally, it's a nice, healthy balance.
What is your typical process of creating such an art piece and what type of technology do you use?
First, I usually create multiple rough—very rough—thumbnails from which I or my editor can choose. I hate drawing something infinitely detailed and then having to return to it over and over again to modify it as suggestions are made. It's a lot of unnecessary work and slows down the entire process tremendously. From the thumbnail, I create a larger rough pencil and ensure proper perspective and dynamics. Then I sketch a detailed pencil, with sharp lines, which gets scanned into Photoshop, where I apply base colors. All of the actual painting (i.e., brush strokes) occurs in Painter. In fact, I keep both programs open simultaneously and toggle between them to work on a piece. Many people ask me how I create these images, thinking this is a filter or some effect in Photoshop or Painter. But the images really are paintings. I paint them exactly as I would paint in oils or acrylics. The brush strokes are real and done with my graphic stylus rather than a brush. Only the special effects, like neon, lightening, or auras, are done with software gimmickry. The biggest advantage of this process is that I'm not covered in dabs of colored paint, smelling of turpentine and linseed oil. On the other hand, the disadvantage is that there is no original physical canvas since it is a digital image. I can never really have a gallery exhibition of my work that isn't composed of prints.
After completion of your first draft of the work, how many iterations occurred due to input from the developers or publishers of Fable before it was finalized?
Quite a few. However, the modifications were usually small things: making the eyes wider, making the thumbs bigger, making the dagger sharper and more sinister, etc. By far, the most difficult piece of art for me was the rippling effect in the water. I wanted to keep the package illustration as a one layer file in the software, but the requirements dictated that different characters had to appear in the reflection of the water, beneath the boy, for different promotional purposes. In the end, the artists at Hubris lent a hand in manipulating the ripples after my various illustrations were applied. There was no simple way around the problem, and it was a bit of a headache, but challenges are always good.
What is the hardest thing about doing artwork for a video game as opposed to other types of projects? And likewise, what is the easiest?
The hardest thing about games is that because of the size of the investment, a greater number of people are involved and have a say in the final version of the art. You have to please everyone: the developers, the marketers, the distributors. That said, the easiest thing about working on a game are these same people. They are artists, too, after their own fashion and everybody has a hand in creating the product. With Fable, everybody couldn't have been nicer—Todd Elhart at Hubris, especially. He really gave me a free hand, or at least the pleasant illusion of a free hand, and for that I am grateful. I would love to work with him again. The creative process on the whole, at least for me, is pretty much the same with any type of product. With comic books, I usually deal with a single editor, or an assistant editor, who rarely contacts me, except to give deadlines or a few instructions as to the type of illustration they're looking for. With games, there is much more conferencing to brainstorm, to ensure that instructions are clear and that required modifications are being attended to. Oh yeah, and the pressure. On Fable, it wasn't overt, but I felt its presence. I imagine that everybody involved was acutely aware that a lot was riding upon the work of each of the project's participants. And you don't want to be the one who blows it for everyone by missing a deadline or doing a bad job.
Do you play video games, and if so, which ones?
I played them before when I was younger and less busy, but rarely play now. I realized how much time a person can spend playing, leaving time for little else, and I had a career to start! I enjoy watching other people play, though. Let's see, in the past I've played Tekken, Tenchu, Resident Evil, and Grand Theft Auto. I always get killed so quickly in these games and usually end up with a sore hand from pressing buttons so hard. Not good for a painter.
What are your current projects and what future projects are you excited about?
I am just finishing up my series of covers for Marvel's The Runways series; I'm working on the last one now. I am continuing to create covers for Udon Comics' Street Fighter series. Mostly, I've been taking a break and working on my own stuff and trying to update my Web site. I've done a few doujin for publication in Asia and I continue to work the kinks out of the story arc for my epic tale of Chinese mythology, tentatively titled “The Specter King.” It's been five years since I published anything substantial in Asia and people who bother to write me indicate that they would like something new from me. So, I am working hard to get “The Specter King” off the ground. It is my intention to publish this in multiple languages, including English.
What is the most inspirational piece of advice you could give to a budding artist who sees you as a true success story, especially for working in gaming, Manga, or traditional comic-book industries?
Practice, practice, practice! I've been drawing and refining my style since I was five or six years old, and I'm still not perfectly happy with it. That drives me to improve myself through constant practice. This is my pragmatic advice to the budding artist. Also, study to be an artist and not just a comic-book or anime artist. The fundamental skills one learns in art classes will transfer into your work in the various popular industries like comics and video games. The work of the masters is far more valuable than any “How to Draw Manga” book ever will be. I refer constantly to the works of John Singer Sargent, Vermeer, and Georges De La Tour when I'm creating covers for comic-book and video game packaging. My second piece of advice is to get your work on the Internet. It seems pretty obvious but I don't know how many people I've met at cons who aspire to be working artists who don't have a site on the Web! I’m kind of stunned when I hear this. Honestly, it's the cheapest way to advertise in history. For $10 or less per year, you can secure a domain and build a full-color gallery site to showcase your work to millions of—scratch that—billions of people. And some of those people just might approach you with work; that's exactly how I got my first professional job in the U.S. Now, get pencilling and good luck!
Apathetic
我一直觉得自己是超级事不关己高高挂起的人,新闻闲来也读读,时事略知一二,主要也就读科学热门头条和动画新作的news feeds。就说前阵子的枪杀事件,第一个反应是“又来了”,隔两天接到苏中领导发来的问候邮件,让我们在外小心谨慎之类。我看了看只觉得无里头的好笑。谁来告诉我该有怎样的反应,愤怒不平,悲痛,倡导世界和平?我相当脱轨,只觉得这是件“发生过了的事”,仅此而已。如果世界上充斥着我这类人不知是何景象,想来也毛骨悚然。按照父母的话该说“你这小孩子缺乏社会意识。”,完全可以把我划分到80后的Apathetic Youth。但我也担心过关于油价飙涨的预测,坐在椅子上呆想了很多可能,最后脑子里出现一团巨大的蘑菇云。交通问题,经济的不济,从美国开始接而影响到整个世界,股票,医疗,政治和平,不幸事件像多米诺搬倾倒。想想自己还能和平过几年就忍不住叹气,难不成这个世纪充满了灾难。此般庸人自扰比起枪杀事件感受却真实的多,手心还真捏了把汗,以后若赚多了钱一定要投资到新能源开发项目去。
其实我本来想blog的不是这个,刚从树那里转了一圈看到悼念的图片才又想起。你小子还真冷血!!是的,我缺乏慈悲。唯一能说的就是,希望无辜受难者的家属及亲朋好友节哀顺便。人走了就走了,活着的更需要勇气支撑下去。
嗯,本来要贴画家资料的突然觉得贴在这篇日志里显得格格不入了,另起一篇。
其实我本来想blog的不是这个,刚从树那里转了一圈看到悼念的图片才又想起。你小子还真冷血!!是的,我缺乏慈悲。唯一能说的就是,希望无辜受难者的家属及亲朋好友节哀顺便。人走了就走了,活着的更需要勇气支撑下去。
嗯,本来要贴画家资料的突然觉得贴在这篇日志里显得格格不入了,另起一篇。
Friday, April 20, 2007
Thesis defense update
简短的说就是 “去死吧”,老子不想管了,虽然造成了一定心理阴影,but life goes on...
I'm not sure if I'm in fact really not good enough or I redeem myself not good enough. It's a matter of confidence and subjective evaluation... One thing you can learn during thesis defense is, DO NOT look at your own prof's face, especially chinese profs who have high expectations of you. I can tell you his long poker face is like a visualizable performance meter that flashes satisfaction indexes in real time. Right after you answered a question, good or bad, you'll see his face shouts 'What the heck is this?C'mon' sign. But he did try to help me by asking questions I could answer with certain competence. I should thank him for that. O, but overall, it's rather screwed. I don't know how screwed is screwed. Right now I feel it's screwed.
天气一下子转暖了,暖和的能把头发烤出碳来。坐在阳光充裕的窗前打字,可以看见细微的灰尘飘忽闪烁,突然想打喷嚏,连打两个,难受的感觉肺都快咳出来了还是意犹未尽,有谁咒我不成?!第三个喷嚏将至,突然又犯困哈欠往上涌,在决定怎样sneeze and yawn at the same time的时候眼泪水花花往外冒。以前有人好像跟我说,某次胡文欣同时干了三件事:打喷嚏,打哈欠,哈哈笑。结果下巴脱轨。
春天啊春天,有够蠢的,谁可以一棒子把我打醒好专心温课。
I'm not sure if I'm in fact really not good enough or I redeem myself not good enough. It's a matter of confidence and subjective evaluation... One thing you can learn during thesis defense is, DO NOT look at your own prof's face, especially chinese profs who have high expectations of you. I can tell you his long poker face is like a visualizable performance meter that flashes satisfaction indexes in real time. Right after you answered a question, good or bad, you'll see his face shouts 'What the heck is this?C'mon' sign. But he did try to help me by asking questions I could answer with certain competence. I should thank him for that. O, but overall, it's rather screwed. I don't know how screwed is screwed. Right now I feel it's screwed.
天气一下子转暖了,暖和的能把头发烤出碳来。坐在阳光充裕的窗前打字,可以看见细微的灰尘飘忽闪烁,突然想打喷嚏,连打两个,难受的感觉肺都快咳出来了还是意犹未尽,有谁咒我不成?!第三个喷嚏将至,突然又犯困哈欠往上涌,在决定怎样sneeze and yawn at the same time的时候眼泪水花花往外冒。以前有人好像跟我说,某次胡文欣同时干了三件事:打喷嚏,打哈欠,哈哈笑。结果下巴脱轨。
春天啊春天,有够蠢的,谁可以一棒子把我打醒好专心温课。
AHHHHHHH
论文答辩in 4 hours!!
好紧张紧张紧张紧张紧张紧张紧张紧张紧张紧张紧张 -.-!!!!!!!!!!
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不行一定要发泄一下,啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊!!!!!
好紧张紧张紧张紧张紧张紧张紧张紧张紧张紧张紧张 -.-!!!!!!!!!!
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不行一定要发泄一下,啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊!!!!!
Thursday, April 19, 2007
过日子
日子过得有点心惊胆战。如果问,活着的目的,追求的目标,为之快乐的源泉,我估计一样都答不上来。也许是知道答案的,但缺乏信心和毅力。这些事情如此重要,我会付出大半辈子的光阴去肯定自己的存在价值。
最近嘴角一直脱皮,真恶。。。
最近嘴角一直脱皮,真恶。。。
Wednesday, April 18, 2007
Tuesday, April 17, 2007
Tuesday lunch
This only proves how slow they serve you at Kachi (a Korean restaurant). I doodled and doodled and my food was still not coming. My internet was cut off again. Miraculously however (well, maybe not miraculously surprising, but miraculously functional), I'm leeching off an unclaimed wireless which works pretty smooth despite 'low signal' description.
Me and Sherry went sushi buffet again last night and wolfed down 36 pieces of Hokkigai sashimi (surf clam). It was 6, 10, 10, 10 to be exact coz Sherry thought it's too embarrassing to ask for 20 at a go. What difference does it make really? In the final round of hokkigai, the waitress set down the plate with a loud 'bang', as if saying 'you pigs should've had more than enough!'.
x 36
Me and Sherry went sushi buffet again last night and wolfed down 36 pieces of Hokkigai sashimi (surf clam). It was 6, 10, 10, 10 to be exact coz Sherry thought it's too embarrassing to ask for 20 at a go. What difference does it make really? In the final round of hokkigai, the waitress set down the plate with a loud 'bang', as if saying 'you pigs should've had more than enough!'.
x 36
九型人格分类
怎么说呢,分析的似乎很对,不过是我的极端版本,个人认为近几年生存方式和原则已有大改变。被别人要求帮忙做事的时候是要charge小费的!
第二型 助人型
二号特性:帮助者
基本恐惧:不被爱,不被需要
基本欲望:感受爱的存在
对生命的要求:如果有人爱我及有人被我爱护,我就 OKAY 了。
特质:感性,热心,友善,取悦人,时常感觉自己付出得不够,乐于助人,甘于牺牲,占有欲强,有 ( 感情帐簿 ) 。
顺境 ( 可以爱人及被爱时 ) :富于同情心,体恤别人的处境,付出无条件的爱。
逆境 ( 没有爱或被背叛时 ) :横蛮无理,操纵性强,对人有过分的要求。
处理感情的方法:过分强调别人的需求,而忽略了自己的需求。否认:本身的需求,对生命的失望,愤怒感,被伤害的感觉。
身体语言:柔软而有力,愿意与人有身体接触;面部表情;柔和,多笑容;讲话方式 / 语调:速度倾快,声线较深,自嘲,有幽默感。
常由词汇:你坐着,让我来;不要紧,没问题;好,可以;你觉得呢 ?
工作环境:强调合作性,大家同向一个目标迈进,没有人际纠纷。
不能处理逆境时出现的特征;戏剧型性格:
骄傲:对爱的极度需求;享乐主义;具高度诱惑性;任性;戏剧化 ( 吸引注意 ) ;不要求 / 不容许别人帮助;感情易受牵制;反智主义。
二号警钟:取悦人;表现过分友善;太关怀别人的处境;太过慷慨;过分阿谀奉承;填补内心的空虚;不能确定别人的好感是否真的;不懂得接受别人的赞誉。
座右铭: 施比受更有福
典型冲突点: 偏袒某些同事,引起其它人的不满,小圈子
优点: 令人觉得特别 / 被欣赏
缺点: 听话就有好日子过,否则不管你
最适应工作环境: 很多人际沟通,被重视,被爱戴
不适应工作环境: 缺乏正面的人际沟通
管理方式: 感性,助人成长,全都往肩上扛
令人不安地方:2 号的爱有时令人窒息;缺乏客观评估标准;爱人变成害人
沟通要点: 保护人性化;清楚二号的盼望;帮助二号讲出本身的真正需求;不要让二号为你付出太多;小心二号将你的批评当作人身攻击;恰当时有一定的身体接触
激发要点: 让二号感觉伟大;在可能的范围内,尽量暖二号的心;注重一对一的沟通;帮助二号提升自我价值;二号害怕当众出丑,容许二号有足够的时间及资料去学习新事物; 二号害怕冲突;向二号确保冲突不会影响别人对他的好感;
时间管理: 时间不属于自己的;解救方案;防止二号越帮越忙,令他们分辩出他们想付出的未必是别人需要的;二号不容忍人际空间,提醒二号有时要袖手旁观,给予别人成长机会;鼓励二号先作好自己的工作;提点二号不要将人家的问题扛在肩上;
达成协议: 二号要面子,令二号有下台阶
常见问题: 扮演牺牲者,事事个人化
解救方法: 不要容许 2 号承担太多的责任;将事与人分清楚;
第二型 助人型
二号特性:帮助者
基本恐惧:不被爱,不被需要
基本欲望:感受爱的存在
对生命的要求:如果有人爱我及有人被我爱护,我就 OKAY 了。
特质:感性,热心,友善,取悦人,时常感觉自己付出得不够,乐于助人,甘于牺牲,占有欲强,有 ( 感情帐簿 ) 。
顺境 ( 可以爱人及被爱时 ) :富于同情心,体恤别人的处境,付出无条件的爱。
逆境 ( 没有爱或被背叛时 ) :横蛮无理,操纵性强,对人有过分的要求。
处理感情的方法:过分强调别人的需求,而忽略了自己的需求。否认:本身的需求,对生命的失望,愤怒感,被伤害的感觉。
身体语言:柔软而有力,愿意与人有身体接触;面部表情;柔和,多笑容;讲话方式 / 语调:速度倾快,声线较深,自嘲,有幽默感。
常由词汇:你坐着,让我来;不要紧,没问题;好,可以;你觉得呢 ?
工作环境:强调合作性,大家同向一个目标迈进,没有人际纠纷。
不能处理逆境时出现的特征;戏剧型性格:
骄傲:对爱的极度需求;享乐主义;具高度诱惑性;任性;戏剧化 ( 吸引注意 ) ;不要求 / 不容许别人帮助;感情易受牵制;反智主义。
二号警钟:取悦人;表现过分友善;太关怀别人的处境;太过慷慨;过分阿谀奉承;填补内心的空虚;不能确定别人的好感是否真的;不懂得接受别人的赞誉。
座右铭: 施比受更有福
典型冲突点: 偏袒某些同事,引起其它人的不满,小圈子
优点: 令人觉得特别 / 被欣赏
缺点: 听话就有好日子过,否则不管你
最适应工作环境: 很多人际沟通,被重视,被爱戴
不适应工作环境: 缺乏正面的人际沟通
管理方式: 感性,助人成长,全都往肩上扛
令人不安地方:2 号的爱有时令人窒息;缺乏客观评估标准;爱人变成害人
沟通要点: 保护人性化;清楚二号的盼望;帮助二号讲出本身的真正需求;不要让二号为你付出太多;小心二号将你的批评当作人身攻击;恰当时有一定的身体接触
激发要点: 让二号感觉伟大;在可能的范围内,尽量暖二号的心;注重一对一的沟通;帮助二号提升自我价值;二号害怕当众出丑,容许二号有足够的时间及资料去学习新事物; 二号害怕冲突;向二号确保冲突不会影响别人对他的好感;
时间管理: 时间不属于自己的;解救方案;防止二号越帮越忙,令他们分辩出他们想付出的未必是别人需要的;二号不容忍人际空间,提醒二号有时要袖手旁观,给予别人成长机会;鼓励二号先作好自己的工作;提点二号不要将人家的问题扛在肩上;
达成协议: 二号要面子,令二号有下台阶
常见问题: 扮演牺牲者,事事个人化
解救方法: 不要容许 2 号承担太多的责任;将事与人分清楚;
Sunday, April 15, 2007
fushigi...
也许是连续三天写论文没休息了,也许是大学最后一天,又也许什么的了,今天奇怪的觉得很不安。也不是说烦躁,但胸口就又无法排泄的感情塞着难受。觉得也许开始讨厌我不想再跟我联系的人发来email祝福,桂子也许出于不方便买了生日礼物却似乎又不想和我见面,上msn有网友开始跟我聊superflat,听fonogenico的shalala好像闻到春天的味道,老爸说投资了点股票还赚到了。许多乱七八糟的事情堆积起来,我想哭想笑想哭想笑想哭想笑想哭想笑想哭想笑想哭想笑想哭想笑想哭想笑。这到底是怎么了。
Monday, April 09, 2007
Sorry,papa鸭和卷筒纸君have to go
已经不是用(肢体)语言能形容的怒火冲天了。。。电脑crash三次!!第一次卷筒纸君才刚有个底稿就被彻底埋葬,说“网络故障或硬盘问题无法保存”,两行热泪与君别,别前咔嚓一留念。第二次,papa鸭画到一半突然想到,先存稿吧,不要又死机。Click 'Save as',还没等反应过来Painter早已电光火速自动关闭,啊???。。。 不要紧,初稿还存着在,再把头发涂一遍。这次想,干脆Print Screen,然后帖到photoshop再另存。画啊画,PrtSc啊PrtSc,Ctrl+V啊Ctrl+V,就是没有Ctrl+S,等到大功告成想来个Ctrl+S 了,死机!!!看着屏幕发呆,聪明反被聪明算,我可怜的papa鸭就这样尸骨无存。。。留得mugshot一张永垂青史。。。
卷筒纸君。。。原题为" Procrastination" or "Hyper Stress"
Papa鸭初稿
papa鸭遗照
上周末吃的真正的papaya
老爸买的一套餐具,虽然是给小孩子用的不过做的就是精致。刀叉上有小王子和青蛙公主的图案,本来留着观赏的,但一直都没有叉最近终于忍不住拿出来用了。。。
卷筒纸君。。。原题为" Procrastination" or "Hyper Stress"
Papa鸭初稿
papa鸭遗照
上周末吃的真正的papaya
老爸买的一套餐具,虽然是给小孩子用的不过做的就是精致。刀叉上有小王子和青蛙公主的图案,本来留着观赏的,但一直都没有叉最近终于忍不住拿出来用了。。。
Sunday, April 08, 2007
This sucks...
Finally some explanation on Takashima's sudden disappearance. This's outrageously tragic and what I'd label in capital letters WHAT THE FUCK case. Didn't know a mangaka's career could be ruined by possible 'political coercion'. This is just, unimaginable! I feel bad accusing her with all the wrong reasons I thought of like lazy, child birth, amputations etc... I was really just joking anyway... and sad of losing her from the scene. It's good she's coming back. Maybe they lifted the ban recently.
Evidence of the other bastard's plagiarism. You don't call that an INCIDENCE! Geez, this's dirty play >>here
Quote from this blog
apparently she got involved in a big plagiarism case a while back where a SHOUJO artist was plagiarising HER works. Unfortunately, the shoujo artist was the daughter of a very famous mangaka, and Takashima-sensei lost her case. My friend was translating from a Japanese article so we couldn't work out all the specific details, but it seems like Takashima-sensei was barred from completing a lot of her current work, and as we haven't seen anything new from her for a few years now (aside from random magazine covers here and there), she may still be under a ban of some sort.
Evidence of the other bastard's plagiarism. You don't call that an INCIDENCE! Geez, this's dirty play >>here
Quote from this blog
apparently she got involved in a big plagiarism case a while back where a SHOUJO artist was plagiarising HER works. Unfortunately, the shoujo artist was the daughter of a very famous mangaka, and Takashima-sensei lost her case. My friend was translating from a Japanese article so we couldn't work out all the specific details, but it seems like Takashima-sensei was barred from completing a lot of her current work, and as we haven't seen anything new from her for a few years now (aside from random magazine covers here and there), she may still be under a ban of some sort.
Saturday, April 07, 2007
百鬼夜行抄 & fonogenico
今市子的漫画原作,连载超过十年还在画。而且她老人家有好多projects同时进行中,百鬼估计会拖到20多本。二月起被电视化,总共12集,每集20多分钟。前9集在深夜段播出,后3集作为DVD发售。电视里的情节和原画稍稍有点出入,虽然是小成本不太引人注目的电视剧,我倒觉得拍的真不错。演员选的很到位,主角律第一眼的印象虽然很奇怪(研究出来是因为头有点扁,刘海太长,让头看上去更扁了,而且整个人有点傻乎乎的),不过看了几集觉得和原设神似,平和的个性下不乏灵气和果断。司活泼的多(在漫画里性格偏阴沉,个性有时也有点欠扁)。youtube上搜“百鬼夜行抄”,1-8话都有。
说穿了是日本版的聊斋,在今市子的漫画世界里却到处是怀旧的味道。故事是围绕一个家庭的,有很多搞笑角色,每个小故事都有破案的味道(Jady说像conan),所以不是纯粹的鬼故事吓人吓死拉倒。
介绍 & 人物关系 (ZT Tuotu.com,月影蝶舞的BLOG)
【劇名】:《百鬼夜行抄》
【主 演】:细田义彦/酒井彩名/渡边一计
【電視台】:日本電視
目前《百鬼夜行抄》漫畫目前已連載至今人氣不衰,漫畫單行本已發行至14卷,第15卷也將在2007年1月23日開始發售。而其5卷廣播劇CD、《百鬼夜行抄》第二畫集《夜隱》等都在FANS中獲得了很高的呼聲。就在2006年12月28日,《百鬼夜行抄》漫畫還被日本文化廳作為優秀漫畫作品受賞.
將於2月3日開始播出的日本TV系恐怖電視劇《百鬼夜行抄》(每星期六深夜1:20),擔任主演的演員細田義彥(18歲)和參與共同演出的酒井彩名(21歲)等人,最近在東京·練馬區的東映攝影所舉行會見,談了靈異感應的感想。《百鬼夜行抄》這部作品主要是描寫能看見鬼怪的少年·飯島律(細田義彥)等飯島一家的不可思議的日常故事。在劇中能夠看見妖怪的細田義彥,表示自己遇到靈異感應的情況“好像是自己被緊緊地捆綁住一樣!”
另一方面,酒井彩名則看起來很遺憾的表示“自己從前有靈異感應,但20歲過去後就全然消失了”。出演飯島律母親的石野洋子(38歲)說自己的靈異體驗是 “發生著日常性的各種事情”。扮演附體於飯島律父親的妖怪角色的渡邊一計(44歲)更是不甘心的說“非常喜歡幽靈,但卻沒有看過”。
【漫画介绍】 :
《百鬼夜行抄》讲述的也是一个个在黑暗中的故事,但是不同的是,她笔下的鬼怪和人总有着微妙的亲切关系。故事还要从主人公饭崎律的父亲忽然死亡又忽然复活开始入手,从小就有着较高灵力的律常常可以看见普通人看不见的东西(说东西会不会不太尊敬?),而他的外公——笔名叫蜗牛的鬼怪小说家则常常教导律以平常心来看待他们,或者就根本装作没有看见。而和他们不同,律的母亲和父亲都是普通人,可某一天律的父亲一回到家就猝死在门口,医生诊断为心脏病突发。但是更奇怪的是,这位死去的父亲在葬礼上忽然复活而且性情大变。本来的一个老实谨慎的上班族不见了,出现在律眼前的是性格古怪任性甚至连筷子都不会用的陌生人“那其实是你外公蜗牛的安排。”律的父亲,其实是借宿在律父亲尸体中的食鬼族青岚这么告诉他。
原来,蜗牛之所以可以写出那样活灵活现的鬼怪小说,很大程度上是得益于他本人就是个可以驱使鬼神的灵能者,而他可以驱使的最厉害的鬼就是青岚——本型是个以鬼为食的龙。律在很小的时候就显示出了他的灵力可又不知道如何控制,而灵能高的人除了可以驱使鬼,其肉体和灵魂也是鬼怪们向往的美食。蜗牛在一次驱使鬼怪中出了意外,被其驱使的鬼摆脱控制愤怒地攻击了律的父亲,出于内疚,也出于对律的安全担心,蜗牛同意让青岚寄宿在律父亲的身体中,条件就是保护律一辈子。
后面的故事就是断断续续地捉鬼过程了,自己的房间,老家的屋子,表姐的身体,诡异的盆景,野外郊区的池塘……那些地方都有着鬼怪在黑暗中闪闪烁烁地出现。被鬼怪缠身的人有痛苦也有无奈,甚至还有人爱上了可爱的蛇精。在《百鬼夜行抄》中,人和鬼的关系是非常奇妙的,说白了,和人之间的相互关系也差不了多少。而任性的青岚和略显木讷的律无疑也是对不错的好搭档。
今市子的画风和典型的少女漫画不同,她既没有白马王子型的男主人公也没有大眼睛洋娃娃型的女主人公,但看过她彩页的人都知道,她的写实性是很强的。在《百》中,值得一提的是她的恐怖气愤渲染,在黑暗中不知道何时会出现的鬼怪似乎在你身边微微笑着看你……那是个可以让你一口气读完的好故事,只可惜……今市子的出书速度太慢了
主题曲ねがいごと(negaigoto,願い事?)是某fonogenico组合唱的,很浓厚的声线,每集看完了听这首歌觉得意犹未尽呐。听了一下他们的同名mini album(ねがいごと),大概是soft pop和jazz的结合吧。官网:www.bmgjapan.com/fonogenico/
fonogenico的资料 (ZT 这里,稍有改动。原作者:华夏义 )
音楽: Fonogenico(高山奈帆子,川口润)
所属公司:BMG JAPAN
目前为止他们二人出过两张SINGLE,,一张 MINI ALBUM,后者是2007/02/07发售的。那专辑的名字就是:ねがいごと。
全cd长27分钟
价钱:1,890
收录曲目有:
1. Reason 「xxxHOLiC」主題歌
2. ねがいごと 「百鬼夜行抄」主題歌
3. 遠い街
4. lovers
5. Free
6. Shalala
-additional movie-
1. リズム(Video Clip)
高山奈帆子(vocal)
生日:12月17日
出生地:和歌山県
血型:A型
喜爱的艺术家:ホリー·コール、リッキー·リー·ジョーンズ、アリシア·キーズ、ビョーク、ホイットニー·ヒューストン、松任谷由実、大沢伸一、EGO-WRAPPIN’ and more…
川口润(piano/keyboard/compose)
生日:1月10日
出生地:大阪府
血型:O型
喜爱的艺术家:ベイビーフェイス、インコグニート、Soulive、バート·バカラック、エンニオ·モリコーネ、SING LIKE TALKING、塩谷 哲
Fonogenico (フォノジェニコ)
高山奈帆子(vocal)与川口润(piano/keyboard/compose)组合而成的男女二人组。
「在人们的心中依然残留着我们期待美好旋律的这种感觉,…” 」、那是在2002年から楽曲制作的[raivu]活动中。関西的二人组出道会在大概约6,500组应选者之中选出“特别赏”时,并且他们的的估价。
在2003年、这暂名为Fonogenico(フォノジェニコ)的组合、并以东京为拠点开始演唱活动。当时还在自己刻碟于会场卖的他们开始受到关注。
在2005年、与音乐制作公司BMG JAPAN签约。同年5月在演唱「Reason」正是对外发表“Fonogenico”这个名字、二人也真正地走上了其愿望所期待的音乐之路。
说穿了是日本版的聊斋,在今市子的漫画世界里却到处是怀旧的味道。故事是围绕一个家庭的,有很多搞笑角色,每个小故事都有破案的味道(Jady说像conan),所以不是纯粹的鬼故事吓人吓死拉倒。
介绍 & 人物关系 (ZT Tuotu.com,月影蝶舞的BLOG)
【劇名】:《百鬼夜行抄》
【主 演】:细田义彦/酒井彩名/渡边一计
【電視台】:日本電視
目前《百鬼夜行抄》漫畫目前已連載至今人氣不衰,漫畫單行本已發行至14卷,第15卷也將在2007年1月23日開始發售。而其5卷廣播劇CD、《百鬼夜行抄》第二畫集《夜隱》等都在FANS中獲得了很高的呼聲。就在2006年12月28日,《百鬼夜行抄》漫畫還被日本文化廳作為優秀漫畫作品受賞.
將於2月3日開始播出的日本TV系恐怖電視劇《百鬼夜行抄》(每星期六深夜1:20),擔任主演的演員細田義彥(18歲)和參與共同演出的酒井彩名(21歲)等人,最近在東京·練馬區的東映攝影所舉行會見,談了靈異感應的感想。《百鬼夜行抄》這部作品主要是描寫能看見鬼怪的少年·飯島律(細田義彥)等飯島一家的不可思議的日常故事。在劇中能夠看見妖怪的細田義彥,表示自己遇到靈異感應的情況“好像是自己被緊緊地捆綁住一樣!”
另一方面,酒井彩名則看起來很遺憾的表示“自己從前有靈異感應,但20歲過去後就全然消失了”。出演飯島律母親的石野洋子(38歲)說自己的靈異體驗是 “發生著日常性的各種事情”。扮演附體於飯島律父親的妖怪角色的渡邊一計(44歲)更是不甘心的說“非常喜歡幽靈,但卻沒有看過”。
【漫画介绍】 :
《百鬼夜行抄》讲述的也是一个个在黑暗中的故事,但是不同的是,她笔下的鬼怪和人总有着微妙的亲切关系。故事还要从主人公饭崎律的父亲忽然死亡又忽然复活开始入手,从小就有着较高灵力的律常常可以看见普通人看不见的东西(说东西会不会不太尊敬?),而他的外公——笔名叫蜗牛的鬼怪小说家则常常教导律以平常心来看待他们,或者就根本装作没有看见。而和他们不同,律的母亲和父亲都是普通人,可某一天律的父亲一回到家就猝死在门口,医生诊断为心脏病突发。但是更奇怪的是,这位死去的父亲在葬礼上忽然复活而且性情大变。本来的一个老实谨慎的上班族不见了,出现在律眼前的是性格古怪任性甚至连筷子都不会用的陌生人“那其实是你外公蜗牛的安排。”律的父亲,其实是借宿在律父亲尸体中的食鬼族青岚这么告诉他。
原来,蜗牛之所以可以写出那样活灵活现的鬼怪小说,很大程度上是得益于他本人就是个可以驱使鬼神的灵能者,而他可以驱使的最厉害的鬼就是青岚——本型是个以鬼为食的龙。律在很小的时候就显示出了他的灵力可又不知道如何控制,而灵能高的人除了可以驱使鬼,其肉体和灵魂也是鬼怪们向往的美食。蜗牛在一次驱使鬼怪中出了意外,被其驱使的鬼摆脱控制愤怒地攻击了律的父亲,出于内疚,也出于对律的安全担心,蜗牛同意让青岚寄宿在律父亲的身体中,条件就是保护律一辈子。
后面的故事就是断断续续地捉鬼过程了,自己的房间,老家的屋子,表姐的身体,诡异的盆景,野外郊区的池塘……那些地方都有着鬼怪在黑暗中闪闪烁烁地出现。被鬼怪缠身的人有痛苦也有无奈,甚至还有人爱上了可爱的蛇精。在《百鬼夜行抄》中,人和鬼的关系是非常奇妙的,说白了,和人之间的相互关系也差不了多少。而任性的青岚和略显木讷的律无疑也是对不错的好搭档。
今市子的画风和典型的少女漫画不同,她既没有白马王子型的男主人公也没有大眼睛洋娃娃型的女主人公,但看过她彩页的人都知道,她的写实性是很强的。在《百》中,值得一提的是她的恐怖气愤渲染,在黑暗中不知道何时会出现的鬼怪似乎在你身边微微笑着看你……那是个可以让你一口气读完的好故事,只可惜……今市子的出书速度太慢了
主题曲ねがいごと(negaigoto,願い事?)是某fonogenico组合唱的,很浓厚的声线,每集看完了听这首歌觉得意犹未尽呐。听了一下他们的同名mini album(ねがいごと),大概是soft pop和jazz的结合吧。官网:www.bmgjapan.com/fonogenico/
fonogenico的资料 (ZT 这里,稍有改动。原作者:华夏义 )
音楽: Fonogenico(高山奈帆子,川口润)
所属公司:BMG JAPAN
目前为止他们二人出过两张SINGLE,,一张 MINI ALBUM,后者是2007/02/07发售的。那专辑的名字就是:ねがいごと。
全cd长27分钟
价钱:1,890
收录曲目有:
1. Reason 「xxxHOLiC」主題歌
2. ねがいごと 「百鬼夜行抄」主題歌
3. 遠い街
4. lovers
5. Free
6. Shalala
-additional movie-
1. リズム(Video Clip)
高山奈帆子(vocal)
生日:12月17日
出生地:和歌山県
血型:A型
喜爱的艺术家:ホリー·コール、リッキー·リー·ジョーンズ、アリシア·キーズ、ビョーク、ホイットニー·ヒューストン、松任谷由実、大沢伸一、EGO-WRAPPIN’ and more…
川口润(piano/keyboard/compose)
生日:1月10日
出生地:大阪府
血型:O型
喜爱的艺术家:ベイビーフェイス、インコグニート、Soulive、バート·バカラック、エンニオ·モリコーネ、SING LIKE TALKING、塩谷 哲
Fonogenico (フォノジェニコ)
高山奈帆子(vocal)与川口润(piano/keyboard/compose)组合而成的男女二人组。
「在人们的心中依然残留着我们期待美好旋律的这种感觉,…” 」、那是在2002年から楽曲制作的[raivu]活动中。関西的二人组出道会在大概约6,500组应选者之中选出“特别赏”时,并且他们的的估价。
在2003年、这暂名为Fonogenico(フォノジェニコ)的组合、并以东京为拠点开始演唱活动。当时还在自己刻碟于会场卖的他们开始受到关注。
在2005年、与音乐制作公司BMG JAPAN签约。同年5月在演唱「Reason」正是对外发表“Fonogenico”这个名字、二人也真正地走上了其愿望所期待的音乐之路。
Friday, April 06, 2007
Let sleeping cats lie
Did 2 sketches. Computer crashed twice. Lost one portrait, very sad and defeated. This's the 'incomplete' version since painter refuses to save the final version no matter what. That's why the basket is so sketchy in case you wonder if that's a deliberate brush. It's not!!
Lady Rouge
Today's doodle - Lady Rouge
Painter, 2h
Brushes: Oil (head), Airbrush (dress), Rest (felt pen & pastel)
This yellow faced obasan is inspired by Jiri Trnka's puppet...
Close-up of head
Wanted to do a watercolour wash for background but again, I have absolutely no idea how to use Painter watercolour function. The brushes are all clumped together... I wish I could wave my calligraphy brush on screen, literally...
Thursday, April 05, 2007
Sleepy.ab - fantasia
竟然错过了,原来3月就发行了新专辑! 这是他们第四张碟了。
之前的三张:
traveling fair (?)
face the music (2004.5.26)
palette (2006.3.8)
Official site > http://www.musicaallegra.com/sleepy/
这个好,他们不出单曲,不需把钱一股脑往薄薄的单曲里砸-.-
很喜欢这次的封面设计(按这里看放大图),就觉得很peaceful & dreamy。
从官网上贴来的视听和图。
"fantasia"
WHCD-29 ¥1,800-(incl. tax)
WESS RECORDS/Chameleon Label
2007.03.07 out !!
之前的三张:
traveling fair (?)
face the music (2004.5.26)
palette (2006.3.8)
Official site > http://www.musicaallegra.com/sleepy/
这个好,他们不出单曲,不需把钱一股脑往薄薄的单曲里砸-.-
很喜欢这次的封面设计(按这里看放大图),就觉得很peaceful & dreamy。
从官网上贴来的视听和图。
"fantasia"
WHCD-29 ¥1,800-(incl. tax)
WESS RECORDS/Chameleon Label
2007.03.07 out !!
○ | tracks | ||||||||||||||||||||||||
|
YUI - Can't buy my love
YUI's 2nd album - Can't buy my love, released on April 4th, 2007
wiki
Tracks
1. How Crazy
2. Rolling Star
3. It's All Right
4. I Remember You
5. Ruido
6. CHE.R.RY
7. Thank You My Teens
8. Umbrella
9. Highway Chance
10. Happy Birthday to You You
11. Winding Road
12. Good-bye Days
13. Why?
DVD
1. Feel My Soul
2. Tomorrow's Way
3. Life
4. Tokyo
Some small break through compared to debut. Highway Chance & Umbrella show her different side. Highway Chance has an unconventional structure... Most of the songs on the album are catchy so I would say it maintains the old YUI flavour and would score roughly the same as debut.
Recommendations: Rolling Star, I remember you, CHE.R.RY, Umbrella, Highway Chance
Rolling Star
CHE.R.RY
I remember you
Wednesday, April 04, 2007
Thermo Cat!
Click above banner to get feline weather report on your local area =)
The design is pretty cute!
Html code is here
Today's monochrome doodle
No idea how to color. Sadness. Don't worry zhu you'll get better!!
Original draft
Original draft
Tuesday, April 03, 2007
Pig Parade
Was cleaning up old files and came across the pig doodles I dig last year. Aren't they cute?? (Narcissistic)
Jean-François Laguionie & La Fabrique
Came across this animator in a book... FLAT CARDBOARD STYLE? Hmm let's see...
Animator Profile
Jean-François Laguionie, born on Oct 4 1939 in Besancon, is a realistic animation film maker. Critically acclaimed and award winning, his work has been described as a kinetic combination of "naïf painting and René Magritte." He wasn't initially interested in animation but preferred theatre. It was through meeting Paul Grimault that Laguionie learnt the techniques of animation. Although the two were close, they did not work together.
Jean-François Laguionie made several short films, among which the famous La Traversée de l'Atlantique à la rame (crossing the Atlantic to the oar) was awarded by Cannes and César. During the production of 'Gwen', or 'The Book of Sands' in 1985, Jef (nick) founded the animation studio 'La Fabrique' (The Factory). However the film was met with critiques and did not achieve major success.It was not until 1999 that his second full feature film 'A Monkey's Tale' came out and in 2003, Black Mor's Island was completed.Currently, Laguionie is working on Le Tableau (Table), a full length film mixing animation and real graphics.
'La Fabrique'
Quoted from Official Site:
More than 20 years ago, Jean François LAGUIONIE, director of several short animation films, settled in Saint Laurent le Minier, in an old silk factory to begin work with a few artist friends on a feature film: "GWEN OU LE LIVRE DES SABLES", and from then onto a stream of short films destined for the cinema. All these artists stayed in the Cevennes and in 1987 the Fabrique Association became a production company (although the association structure is still operating in order to ensure the projection of the films and the functioning of animation workshops)
In 1995 the work area was enlarged from 330 m2 to 600 m2 to allow for the production of a second feature film "THE CASTLE OF THE MONKEYS".
And so the adventure goes on , with the goal of having a diverse production activity combining the making and distribution of author's short and feature length films and working on television specials of a top quality level. Animation services for the developpement and production of interesting projets are also available.
Today, La Fabrique counts about one hundred films in it's catalogue, films often coproduced with major television channels and other french and european studios.
La Fabrique Feature Films
La Fabrique Short Films > Refer here
Filmography & Awards (from IMDB)
Synopsis quoted from La Fabrique Official Site
Filmography (as Director)
Île de Black Mór, L' (2004)
... aka Black Mor's Island (literal English title)
Château des singes, Le | Castle of the Monkey(1999)
... aka A Monkey's Tale (UK)
... aka Kwom und der König der Affen (Germany)
Gwen, le livre de sable | Book of Sand (1985)
Behind the ramparts of a city , in the middle of a sandy desert, an ancient civilisation has left a monstrous machine which for centuries has continued to produce gigantic objects only to hurl them in to the desert.. Roseline, a 173 year old woman, like all the other nomades of the desert , does not understand the utility of these objects, sinks, telephones or coffee machines and so they are used in other ways, such as for shelter from the sun and the cold. The forbidden city, looming in the distance, is the haven of the dead and no one has ever come back from there. However GWEN, a thirteen year old girl will be the first to attempt the journey in the hope of finding her friend who has disappeared. Rosaline will be her guide and the journey,full of surprises, becomes a sort of initiation.
La Traversée de l'Atlantique à la rame | The Atlantic Crossing(1978)
At first it was only meant to be an ocean crossing, an exploit like any other. However, some journeys last longer than others…
L'Acteur | The Actor(1974)
In his dressing room a young actor makes himself up as an old man , but under his mask of youth , which is his real face
Une bombe par hasard... | An unexpected bomb(1969)
The town has been abandoned by it's inhabitants who fear the explosion of a diabolical machine. A tramp appears, unaware of the situation….
La Demoiselle et le violoncelliste | The lady and the cellist(1965)
... aka The Lady and the Cellist (France: literal English title)
Down by the sea, a musician unwittingly unleashes a storm which carries off a young fisherwoman catching shrimp.
Awards
1965 La Demoiselle et le violoncelliste (the lady and the cellist) - Grand Prix
1967 L'Arche de Noé - Silver Dragon
1969 Une bombe par hasard... - Special Jury Prize
1978 La Traversée de l'Atlantique à la rame - Golden Palm : Best Short Film
1978 La Traversée de l'Atlantique à la rame - Grand Prize
1979 La Traversée de l'Atlantique à la rame - César: Best short film - animation
2000 Le Château des singes (aka. A Monkey's Tale) - Hollywood Discovery Award: Best Animation
2004 L'Île de Black Mór (Black Mor's Island) - Adult's Jury Award : Cert. of Merit
Nominated
2004 L'Île de Black Mór (Black Mor's Island) - Starboy Award
La Traversée de l'Atlantique à la rame (Crossing the Atlantic)
Part 1
Part 2
Part 3
La Demoiselle et le violoncelliste (The lady and the cellist)
Other videos on youtube
J.F.Laguionie- Le masque du diable(Part 1)
J.F.Laguionie- Le masque du diable(Part 2)
J.F.Laguionie- Potr' et la fille des eaux(Part 1)
J.F.Laguionie- Potr' et la fille des eaux(Part 2)
----------
Reference
IMDB
Wiki (French)
La Fabrique Official Site
Jean-François Laguionie (pdf file in French)
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