Saturday, March 1, 2014

Entry 8 (3/1/14): In Which Artists Are Somehow Better On The Other Side

Entry 8: In Which Artists Are Somehow Better On The Other Side

The world lost another good man last week.


1994-2014
On Monday, February 24, 2014, Harold Ramis, the man behind films such as "Groundhog Day", "Caddyshack", and the "Ghostbusters" series, passed away.

It's always a painful thing to have to deal with death in our lives, especially if the recently departed had formed especially close relationships, not just with friends and family, but with all of their fans and followers, as well.

In a way, though, it's actually kind of fascinating to hear about the many things the average person would learn about someone only after they're no longer around to hear it.

I'll admit, up until a few days ago, I'd only recognized Ramis' efforts in the Ghostbusters movies. It was only after, I'd learned he'd directed things such as National Lampoon's Vacation, and had a hand in writing Animal House. The only thing is, while I plan on watching those movies at one point, now there'll always be that twinge of bittersweet hindsight that comes with the trope of Author Existence Failure.

What's interesting about this whole thing to me, though, is that in a way, death is a sort of freeing process for the person being dead.

Many artists, actors, and musicians, I've learned, don't seem to be all that amazing until after they're gone, at which point, everyone seem to revere them as gods. 

Take Michael Jackson, for instance. For a good amount of time prior to his death, most people wrote him off as being excellent in the past, but eventually becoming a has-been that was responsible for a few "unpleasant" child cases. While him perishing just before his comeback tour may have had something to do with it, eventually the man dies, and for a good while after, everyone very quickly forgot the "has-been" part, and put him on a high horse that wouldn't come back down to Earth for two years or so after the fact.

Personally, I want to keep living to make that kind of thing happen. Being recognized is nice and all, but, there's no point in having everyone hail your work as the best thing since butter on toast, if you're not around to enjoy hearing about it!

Having given my opinion on living, however, I still find it significant that, even after someone passes away, they leave behind things that many people never knew about them, and thing that they won't soon forget.

There's one quote from the anime "One Piece" that actually makes my point perfectly, more so because, in the context of the story, the character who said the quote died and left behind a legacy of his own!

"When does a man die? When he is hit by a bullet? No! When he suffers a disease? No! When he eats a soup made out of a poisonous mushroom? No! A man dies when he is forgotten!"

Keeping that quote in mind, in a way, people like Harold Ramis could effectively be immortal, as long as people never forget what he has done, not just for movies, but for the people in his own life, as well.


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Saturday, February 22, 2014

Entry 7 (2/22/14): In Which I Update My Comic Projects Finally

Entry 7: In Which I Update My Comic Projects Finally

I don't just mean the projects I've listed on this blog either, this entry features several projects I've been working on of my own accord for some time now, as well as a few things I've been up to lately with my work...

One thing about this blog that you should know is that it's linked closely with my DeviantArt profile. Many of the things I speak of in this and future entries can be found there, and only there. Fortunately, I have posted a link to my page up on the bar beneath the logo, so if you want to understand many of the events I talk about, you can either head there, or follow the direct links I provide throughout the blog!

For convenience sake, I'll break it down with my main three projects, and then my other comic work. If that sounds confusing, don't worry, It'll get easier to see...from the standpoint of...

My Main Three Projects!

Paragon-R and Graphite both have their concept scripts written out, which will give me structure on how to make them work further down the road.

Paragon-R will have its story laid out in full in the next entry, and Graphite will be a project that will take time, effort, and manpower for the coming months...

As for Clash of the Stickmen, its first page is nearly finished, with the page itself going live on my DeviantArt page by tomorrow. When that happens, I'll post a link to Clash of the Stickmen's gallery on this very blog. I'd give it a look, if you have the time, as it actually has access to a complete prequel comic to the story!

My Other Two Projects!
By "My Other Projects", I speak of two things in particular:

VS. Universe, a crossover comic which I've been working on for the past two years is also going to be continued this weekend, and for the rest of February!



This is something I've been trying to get done independently for a while now, but I've never really found the time apart from all my work to do it. This time, I've decided to power through the next few pages of the story and upload them both to dA and the Official VS. Universe Site.


 
Also in the works is Sonic Championship, a Sonic story which has been in production for almost as long as VS. Universe, but also held back because of other obligations, finally reaches the end of its first chapter this weekend as well!

So yeah...this weekend's going to be pretty comic heavy, so if you want to see what the fuss is about with these projects, follow this way for more on <a href="http://vsuniverse.uphero.com/VSU%20Main%20Page.html">VS. Universe</a> (<a href="http://xero-j.deviantart.com/gallery/38577713">Chapter 1: The Fated Trio</a> and <a href="http://xero-j.deviantart.com/gallery/46805666">Chapter 2: Angel's Melody</a>), <a href="http://xero-j.deviantart.com/gallery/37022337">Sonic Championship</a>, and <a href="http://xero-j.deviantart.com/gallery/34946972">Clash of the Stickmen!</a>

And of course, if you want to learn even more about my projects, you can always follow me using the links below!

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Saturday, February 15, 2014

Entry 6 (2/15/14): In Which I Break Down The Way I Work Step-By-Step

Entry 6: In Which I Break Down The Way I Work Step-By-StepIn light of the series of snowstorms that keep crowding us out, I had a pretty short work week, so for once, I don't really have that much to talk about.

To occupy this time instead, I'm gonna give you an in-depth look into the art I create and the way I create it!

The way it's all broken down is actually quite simple, which gives me the ability to use it to get a lot of ideas out pretty quickly if I put in the effort.

For now, I'll just get into how I usually do things; the most commonly used method for me and my work.

Step 1: The Sketch

This is where it all starts. Practically every day, I get a new idea in my head, and at one point or another, I hold onto it long enough for me to draw it out with pencil and whatever blank pieces of paper I can find. Once it's drawn to where I believe it's...well, believable, everything is put through the scanner, uploaded to the cloud, and stuffed onto my computer.

The sad thing about this phase is, while I initially intend to upload everything I draw, many, many, sketches end up by the wayside. It's a painful part of the process, but we don't have cutting room floors for nothing.

Those that I do manage to continue, however, go into...

Step 2: The Lineart



Having just drawn and uploaded my shiny new sketch, I then go through the painstaking process of redrawing it digitally.

Exactly how this is done depends on my location at the time; primarily it's done through Adobe Photoshop CS5.5 with a Wacom Tablet, but if need be, I will use whatever program I have access to at the time. Even if that means...*shudder*...MS Paint...

Fortunately, it hasn't yet come to that, and the work that gets past this part will go into...

Step 3: The Color



This is my favorite part of creating artwork, the part where I bring life and color into it. This is almost exclusively done in Photoshop, as it's the program I've used the longest.

It also gives me a chance to reuse certain assets, as many of the things I draw have their own color schemes that can keep on using...

So, after tracking down every single blank spot and paint-bucketing it as often as necessary, the color is finished! Still, just color seems a bit bland by itself...which leads me to...

Step 4: The Finishing Touches

This is where I add all the little bells and whistles the art needs to pop!

Things such as shading, lights and darks, extra lines, gradients, and text, if you can name it and make the art look more realistic (or un-realistic, I'm not picky), I'll probably throw it on there.

Actually, throw's not exactly the best word, as I usually spend as much time here as I do actually coloring it. It's all worth it, though, as I once this is finished, more or less...

The Work Is Complete!...And I am free to do with it as I please! Of course, "as I please" usually means "upload the sketch, lines, and refined color to deviantART to be judged by others".

This isn't to say this is my only way of making art, because, mind you, I have many more mediums to work with than this process implies.

Even so, this method is my favorite way of making art, and it's a practice that's been improved over the many years I've been an artist.

You could almost say the way it works is an art in itself...

...I do apologize if that came off as pretentious, but really, I'm running out of things to say at this point, so I'll just sign off now, while I'm still able to remain somewhat modest...

~Jalen @Xero-J Johnson
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Saturday, February 8, 2014

Entry 5 (2/8/14): In Which The Term "Reboot" Is Not Used To Describe The Show From Mainframe Entertainment

Entry 5: In Which The Term "Reboot" Is Not Used To Describe The Show From Mainframe Entertainment
No, readers, I speak of the more general term. The definition of "Reboot" in my case is to take an established franchise or series or such, and start again, from the beginning, this time taking a direction in tune with the more popular aspects of that time period.

For a good example of this, take a look at the series created by companies like DC and Marvel. Every so often, as times and the ideas and morals change, and as new writers and artists are hired, we see the stories of tried and true characters like the Justice League and the X-Men come to a decisive conclusion, only to resurface some time later, with a new Issue #1, a new storyline, and old characters with new looks.




The idea of restarting a story is not exclusive to just comics either. All types of media, from TV shows and movies, to regular books, to video game series, have at least one example where someone's decided to hit the reset button and wipe the slate clean.

What I intend to do here today is give a few examples of why this strategy shines, examples where it fell flat, and a couple of times of my own where I've had to hit the reset button on my work.


The Old Batman Movies to The Dark Knight Saga


In 1989, Tim Burton had brought us a new Batman on the big screen. One that was dark, edgy, powerful, and didn't have shark repellent. Ever since then, Batman's been featured in numerous silver-screen movies over the years; some emphasizing the grim and gritty (such as Batman Returns) and some focus on the sillier and kid-friendly markets (Batman Forever, and yes, Batman & Robin).

Then came Christopher Nolan in 2005 with Batman Begins, which put Batman deep into the grimdark, heavy-voiced, villain-driven storylines that people had then come to expect from him in this age of comics. This continued with The Dark Knight, which pit Batman against old enemies the Joker and Two-Face, and finally The Dark Knight Rises, which served to fit as a conclusion.

To me, the most notable differences between these two sagas is their tone, the direction they took going forward, and how the people behind the films made their decisions on their sequels.

As the Original Batman films slowly became denser and wackier (culminating in Batman & Robin), the Dark Knight Saga became progressively darker the more the films went on, as Batman's past constantly came back to haunt him, and how he had to get past that.


JoJo's Bizarre Adventure to Steel Ball Run


JoJo's Bizarre Adventure is a long-standing manga/anime series, worked on by one Hirohiko Araki ever since 1987.

Chronicling a very long bloodline of warriors and their fight against all manner of violent supernatural villains, the manga has a 20 year backlog of over a hundred volumes and still counting!

The first six parts of the story followed a different descendant of the original protagonist (or at least someone really close to the descendant) at a different place and period in time, from 18th century England, all the way to 21st century America in the present day (well, up to 2011, anyway).

The reboot part of the story came in the form of Steel Ball Run, whereupon the universe the story was originally set in was literally reset, returning the world as we knew it to the 18th century.


This new universe featured new versions of certain characters and their abilities and powers, but in a new light, taking the story of a bloodline fighting evil monsters and minions and turning it into a transcontinental race, (alongside the fighting evil monsters and minions) with some very interesting conspiracies behind it...(the race, I mean, not the story itself. The actual manga, I imagine has no conspiracies behind it whatsoever...)

The new story has since moved into 2012 in it's timeline with a new narrative, but, by now, the point's already been made; the universe we once knew from the past had a gallon of turpentine chucked over it, and had an upgraded can of paint thrown back over it just as quickly.


 
Spyro the Dragon
to Skylanders


If you invested time in the Sony Playstation consoles in the mid-1990s, chances are you've heard of Spyro the Dragon. From that time, up to 2008, the character and the series had appeared through many action-adventure platforming games, of varying quality, builiding a universe with its own locations, heroes, enemies, and mythos.

Created by Insomniac Games, the Spyro name was passed along to different studios and systems as the years went on, and the series began to slip slowly into decline...

Come 2011, though, Activision was handed the rights, and what they did with Spyro's world was indeed, one of the more polarizing examples in gaming, as of late...


Many a child who's visited a toy or game store over the past three years has heard of the Skylanders series of video games, which are driven solely through separately sold real-life figurines. This series and the strategy it employs has earned Activision millions of dollars in profit, both from the games, and the toys.

Spyro himself, and a few other elements from his series were fully absorbed into the Skylanders universe, with a considerably different appearance (Many of Spyro's original fans, myself included, are in agreement that the new look...takes some getting used to).


Though the Skylanders franchise was in fact built using Spyro's name as a foundation, it has since found its own footing, and the characters in that universe now share equal importance with the video game veteran. (Provided of course, you can find his figure in stores...)


My Own Work

I've drawn my fair share of characters and stories in my time, and I'd be lying if I said I didn't have more than a few ideas wind up on the cutting room floor. I do, however, have a tendency to bring my work back into the light when I've put a bit more though and effort into the subject.

Mostly, this comes in the form of a fresh update to something I've done once before, be it to my original characters...



Pictured: My original character, Raleno from 2011-2013

Or to my stories...

  
Pictured: VS. Universe Page 29 :"Original" and "Redone after Critique":

...Somedays, it seems all you need to make something look brand new is a new coat of paint.

Finally, I bring this blog to a close, with this simple point.

Whether they're better or worse than the old stories is often a matter of heated debate amongst fans. One thing that is certain though, is that these kinds of characters have enough history and popularity to last decades; more than enough time for the characters, worlds, and storylines to change hands between creators.

~Jalen @Xero-J Johnson
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Saturday, February 1, 2014

Entry 4 (2/1/14): In Which I Question My Identity On The Internet

Entry 4: In Which I Question My Identity On The Internet

This is really more of a piece that concerns my take on random events rather than any actual developments in my work. Just pointing that out, in case anyone thinks I'm just rambling for no reason...

One thing that remains constant with the internet, is that online anyone can be whoever or whatever they want in terms of appearance and identity. How people use that power depends from person to person. Many people serve to ignore it, and show their actual face and name for the world to see freely. Others tend to use it for good, using avatars and mascot characters to speak through. Still others use it for evil, by using their anonymity as a shield while they harass others with abandon.

Me? I remain on the side that uses avatars and screen-names for the sake of good. To be completely honest, apart from the random Facebook pictures my family shows online, I've never really let people see my actual face. My name, sure, but never my face.

It's just for the longest time, I've had this aversion to others seeing my real face online, and vice-versa. It's one thing to meet a person in real life and talk with them, but over the internet, there's always this air of intrigue mystery around a person that I feel shatters when I see what they actually look like.

Like I said, many people don't have a problem with this, but it's something I think about often. And it got me thinking about whether I should keep that mentality going forward.

Sure, eventually in the far future, I'm going to have to drop the anonymity and use my real identity and face for everything, but what I wonder is whether I should keep my online identity for now, or just drop it and be myself.

On one hand, I've spent two years building my characters with their own identities and using them to address others online, but on the other hand, actually letting people know who I really am might actually provide a deeper connection with those who follow me...

In the end, it's my hope that I can kick this aversion of mine, and let people see me for who I really am, while being able to identify me by my avatars as well.

Maybe now that I've gotten into social media, that might be a good place to start...

~Jalen Xero-J Johnson
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Saturday, January 25, 2014

Entry 3 (1/25/14): In Which I Bring Up An Age-Old Question, And A Possible Answer

Entry 3: In Which I Bring Up An Age-Old Question, And A Possible Answer 

Can video games be considered an art form?

For as long as the medium existed, the question's had people clamoring on both sides of the argument. On the one hand, video games are often seen solely as a form of entertainment, and I'd be lying if I said I didn't think there were still people out there who thought games were still in the "bleep-bloop 8-bit" era they started from.

On the other, with the kind of technology we have, and with enough time, money, and effort, people end up making stuff like this:




There's no reason for anyone to go this far for the sake of making an already impressive looking game look even more impressive other than
"We want this world and the people in it to look real, feel real, and act real, darn it!"

(unless of course, you count money, which is always a good incentive...)

Having said that, it's pretty easy to show anyone a game like what was shown above these days, and cite that as good evidence in the "Games are art" argument. But what I want to try to establish, and indeed the point of this yarn I'm spinning, is just how far back in the video game era one can go to prove that games are considered art.


Now, everyone can agree that to make a good game that people want to play, it takes time, effort, and money, all of which some developers have a lot more of than others. Those developers that have that kind of investment usually have a vision in mind for their game; a point they want to make, or a sight they want others to see. Even back when game development was an internal, time-consuming affair that didn't always yield the right results, people still had visions for their creations.

To prove this, I'm going to take you guys back a ways, and pick apart a little game by the name of EarthBound, which was released in the US for the Super Nintendo in 1995.



For those who don't know, EarthBound was a role-playing game: You and three other characters travel around the world, fighting monsters, solving quests, going through caves and dungeons, etc. Despite it being made in Japan, the game was created with a very Americanized feel to it (indeed, the game is set in a country called Eagleland...), and much of it's charm lay in it's writing and story (as the main characters are children, they go around defeating monsters with things such as baseball bats, yo-yos, slingshots, and psychokinetic powers. Yes, you read that last part correctly.)

As much good as it's story and script did for EarthBound, it wasn't exactly the most graphic-intensive game, even for the system it was on, and its gameplay and progression didn't do much to set it apart from other games in the same genre.

As a result of this, and poor PR marketing on the Americas' part, the game fell into obscurity until years later, where it resurfaced as a cult hit among gamers.

The reason I bring up EarthBound as an example of whether a game can be considered art, is because the work that went into it was, in fact, part of someone's vision; namely, that of it's developer, Shigesato Itoi.


The kind of details he and the rest of his creative team could match that of the Tomb Raider example above, if the changes were made internally, in the programming of the game itself.

For instance, the battle system, which, contrary to other role-playing games before or after it, featured a life-point counter that could be interacted with in real time, often to recover from serious enemy damage.

The very aesthetic of the game is another example, featuring streets with cars that move as if real cars would on roads, enemies that chase or flee from you depending on how strong your character is, characters with dialogue that changes as you move on in the game, and an item delivery service that works on its own randomized timer system and programming. Even the final boss of the game was inspired directly by a personal (unpleasant, mind you) experience from Itoi's childhood.

Though the game may not look it, and the numbers don't initially account for it, Earthbound was a game that had quite an amount of time poured into it, primarily because Itoi and his team had their own vision for it. It was a game about quirkiness and fantasy, but it had elements to it that made it feel grounded, natural, as if in some twisted way, this might have happened in our own world.

So my overall answer to the question of "Can video games be considered art?" is...

Yes, if you look at it this way:

Art is something that requires time, effort and detail if you want to be good at it. When you show someone art, they need to be able to understand the kind of work that was put into making it.

Video games, by the same token, can be viewed the same way. For a game to be seen as art, one has to consider the kind of work that went into making it, whether it's visible for all to see immediately (as in recent games like Tomb Raider), or slowly revealed throughout the course of the game (such as Earthbound).


~Jalen Xero-J Johnson
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Wednesday, January 22, 2014

Entry 2 (1/22/14): In Which New Ideas Are (hopefully) Cultivated

Entry 2: In Which New Ideas Are (hopefully) Cultivated

One of the many things I've wanted to do with my art career is establish myself as a storyteller. I've wanted (and many times tried) to come up with original ideas, characters, and storylines, the like of which build entire worlds by themselves.

One of the most prominent examples of this happens to be VS. Universe, a crossover fan-comic I've been singlehandedly developing for the past two years now.
VSU Chapter 1 Page 25 by Xero-J VSU Chapter 2 Preview by Xero-J

Now, let me set the record straight: I love drawing these characters, and I want to continue drawing them and comics for the foreseeable future.

But in the end, most of these characters aren't mine, and if I try to profit off of this, I'd have who-knows-how-many legal hurdles to jump through, which brings to my next point...

My original content, which I've simultaneously been working on since I first learned how to draw.

Some of it is old, some new, some simple, some complex. Many a concept has lived (and, sadly, perished or been lost) on my sketchbook.

Today is when I bring at least three of those ideas to light. Whether they become my life's work, or never make it past the pencil sketches, one, at least, can't fault them for their potential, I believe...

Paragon-R
Paragon-R by Xero-J
I'll not mince words here: I'm an anime fan. I've got an entire two shelves in my house dedicated to graphic novels (one-and-a-half of real estate being comprised of the entire up-to-date One Piece series by itself). Those of you who've seen my deviantArt gallery know that 90% of the things I draw is about anime (or at least, video games in an anime-ish style).

Paragon-R The Main Four by Xero-J

Naturally, when coming up with original ideas, I first decided to follow in the footsteps of the tried and true shonen style shows (by "shonen" I mean action-y boy-oriented shows such as Dragon Ball and One Piece).


Raleno X Rona - Swordsman and Sorceress by Xero-J Regen Cinoten by Xero-J DUBSTEP Cannon by Xero-J

Paragon-R is intended to be a comic story in the same vein as your average Saturday-morning cartoon, following four heroes as they defend their world from villainous threats both on and off it.

Graphite


Graphite Logo by Xero-J


If you've ever seen a Disney movie in theaters in recent years, chances are you've also seen one of the little animated cartoon shorts that play directly before it. Graphite is, in a nutshell, my idea for one of those shorts.

Graphite Characters by Xero-J


Imagine, if you will, a young artist, after creating a masterpiece with naught but two colored pencils, turns in for the night. Now imagine if the pencils wanted to keep going of their own accord. And the pencils each wanted their color to have prevalence over the other...

 Graphite Promotional by Xero-J


Graphite
is the simple story of how a simple competition can get out of hand, and how it ultimately takes a team to achieve something truly amazing in the world of artistry.


Clash of the Stickmen: Six Powers


I know what many of you are instantly thinking right now: "Stick-men? Really? That's what you're going with?"

Yes, it's true that anybody who's ever held a pencil has probably drawn a stick figure. Sure, it's good fun when you're bored, but no one could seriously make a narrative about stick-figures look interesting, right? Well...

Clash of the Stickmen: Six Powers :Cover: by Xero-J Six Powers (Premonition) by Xero-J
Six Powers Fighters by Xero-J


Clash of the Stickmen: Six Powers is the idea of intense combat taken to its logical extreme (Or as least as extreme as I can get without showing gore or guts. I have standards, you know) Because these are simple character designs, they can made to do so many things...Which is good, because for this story I intend to have these six warriors all thrown into a battle for supremacy. One that may decide the ultimate path the world will take!

The one power every artist has is the ability to create worlds, universes, mythos, and backstories. My ultimate goal has always been to see them through to their conclusion. From the stuff you see up here, I use these, and with the time, effort, and especially the work ethic, I'm going to make that happen. No matter the cost.

~Jalen Xero-J Johnson
__________
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Or, if VS. Universe has caught your interest, you can learn more about it here!