The free, online version of Tower of Treasure is winding down over at Saturday Morning Webtoons; I’ll be posting the last handful of pages over the next few weeks. But now is the perfect time to read the whole story before The Sign of the Black Rock starts up in its place.
The Corus Building’s 3-storey indoor slide. Sadly, didn’t get to go down it this trip.
Filming a promo video for THE KING’S DRAGON on YTV soundstage.
Behind the scenes in the YTV studio.
At the Corus Entertainment Building in Toronto, home to some of your favourite media brands (including my publisher, Kids Can Press).
My favourite page of Pirates of the Silver Coast so far (page 36, if you’re keeping score at home.) Pro tip: for interesting colour palettes, just set every scene at sunset.
"Painting" shadows into this panel from Pirates of the Silver Coast.
My pals over at Kill Shakespeare have already successfully funded a board game based on their hit comic book series, but you can still help out and pre-order one for yourself by heading over to their Kickstarter page. Eleven days left!
SCOTT CHANTLER is coming to TCAF!
"Scott Chantler is the acclaimed cartoonist of the graphic novels TWO GENERALS (which was long-listed for CBC’s CANADA READS: TRUE STORIES, named one of Chapters-Indigo’s Best Books of 2010, and selected for BEST AMERICAN COMICS 2012), NORTHWEST PASSAGE (which was nominated for Eisner, Harvey, Shuster, and Doug Wright Awards), and the THREE THIEVES series…" - Full Bio at TCAF site
TCAF is The Toronto Comic Arts Festival, taking place May 9-11, 2014, in Toronto, Canada. More at http://torontocomics.com/
It’s all true.
It’s Citizen Kane night in my class at Toronto’s Max the Mutt Animation School. I screen the film for my students every year to underscore the important synergy between story and camera. So much to learn about visual storytelling in every shot.
I saw an interview once with Harold Ramis where he was asked if he was the class clown. He answered, “No, but I wrote for the class clown.” Which pretty much sums it up. Ramis was the unsung hero of ’80s comedy. Take a look at his screenwriting credits and you’ll see what I mean. Animal House, Meatballs, Caddyshack, Ghostbusters. The Generation X male’s sense of humour was pretty well shaped by the words of Harold Ramis coming out of the mouth of Bill Murray.
But even if he’d done nothing else, Ramis would still be a giant for co-writing and directing Groundhog Day, as perfect and poetic a gem of a movie as there’s ever been.
Rest in peace.
Portland, OR (February 21, 2014) – It is with a heavy heart that Oni Press announces the medical retirement of longtime editor Jill Beaton. Since starting with the company in 2007, Beaton has been an integral part of the Oni Press team. Beaton oversaw a body of work that includes acclaimed…
One of Jill’s earliest gigs at Oni was as Assistant Editor on the collected edition of my graphic novel NORTHWEST PASSAGE. She’s a good egg, and I wish her the best.
This chart has already been re-blogged a couple of thousand times, but I couldn’t resist, because I think it’s important for people to understand how comics creators get paid, regardless of what business model they’re part of. I bump into the odd person who assumes I must be a millionaire simply because they’ve heard of my work. But while Two Generals has been a success by any measure (at least here in Canada) it will be years before that book pays me back for the three years I spent working on it — if it ever does. This is one of the reasons why we artists generally aren’t big on piracy.
What we are big on is when you buy stuff from us directly, in our online stores or in person at conventions or signing appearances. In those cases, the creator becomes the retailer, and makes that bigger cut of the profits (like a self-published artist would). You really wouldn’t believe what a single sale means to most cartoonists. Even ones you assume to be millionaires.
Some days I hate the comics biz, but then I remember that I get to draw things like a dude uprooting a tree trunk, and it’s all better.