Episode 337 - Interview with AmeliaP of Kings Club

Aug 28, 2017

This week we interview the artist and creator of the comic Kings Club, AmeliaP! Her comic was featured and Gunwallace also gave it a theme tune that was featured in Quackcast 335. AmeliaP is a talented professional comic creator and game designer. We couldn't interview her directly because she's not confident enough in her spoken English, so what we've done instead is read out a written interview that I did with her especially for this Quackcast. Amelia has some surprising and valuable insights for comic creators. You can read the full text of her interview bellow. Gunwallace's theme for the week was for Abejitas - This tune bounces in like a wild thing, spinning and buzzing crazily, full of black striped yellow techno sweet honey madness and rapid wingbeats of energy, this will sting you into full awareness!

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Topics and Show Notes

Topics and shownotes

Featured comic:
ZINC COMIX - http://www.theduckwebcomics.com/news/2017/aug/22/featured-comic-zinc-comix/

Links:
Kings Club - http://www.theduckwebcomics.com/Kings_Club/
AmeliaP - http://www.theduckwebcomics.com/user/AmeliaP/
Quackcast 335, Kings Club theme and feature - http://www.theduckwebcomics.com/quackcast/episode-335-dialoguecast

Special thanks to:
Gunwallace - http://www.virtuallycomics.com
Banes - http://www.theduckwebcomics.com/user/Banes/
Tantz Aerine - http://www.theduckwebcomics.com/user/Tantz_Aerine/
PitFace - http://www.theduckwebcomics.com/user/PIT_FACE/
Ozoneocean - http://www.theduckwebcomics.com/user/ozoneocean

Featured music:
Abejitas - http://www.theduckwebcomics.com/Abejitas/, by Lazarinho, rated E.


INTERVIEW WITH AMELIA.P

PART I


1.So your name is Amelia Pessoa but you go by Amelia Woo for your US work, why is that?

-Thanks to my grandmother, who changed the surname when her family was running away from Spain, I have a Portuguese surname ahahaha!
Woo…
Like any kid, I started to draw comics in manga style. One of my first jobs in inside industry was “manga”, but in that time, the audience had a rage against any Western trying to do a manga, so I chose a name from a director I grew up watching his movies, John Woo. I know, it's Chinese, not Japanese, but… it was an Eastern name at least. After that, I did some important jobs under this name, so, for publishers track me, I had to keep this. Slowly, I'm trying to be ME, and erasing this surname from industry.


2. You've had a LOT of work professionally in comic publishing, how did you break into that? I'm assuming you're Brazilian, was it hard to break into the US market from outside like that?

- My Glasshouse Graphics portfolio, Comic Vine profile and ComicDB are way too outdated. I have more works on my belt than that. After a boring experience from a 9 to 5 job in my college days, I pretty decided it wasn’t my path, so I stepped into the comics industry. I believe in the momentum, so everything I should do is just to start. But before I enter into the comics word, I searched for the easiest way to enter. There were too many barriers to writers (besides the language) and their salary was horrible… AND I didn't want to tell a story about the universe and characters from other creators. It's hard for me having the same agenda. I had to enter on it one way or another. So I improved my art skill enough to be paid for it, because I really wanted to be a professional visual storyteller. (Bachelor degree in Arts at one of the best colleges in my country, doing a lot of personal projects to train myself, all those things).

-Yeah, I'm Brazilian. Believe or not, we must be around 30% of the US comic book artistic force. Brazilians are like doppelgangers, with Italian, German, Japanese and other surnames. Even a Brazilian doesn’t know if you are Brazilian by surname (pretty different from my case. But, if wasn't for my grandma, you could think I'd be Spanish or Mexican). I found many artists I didn't know they are Brazilians before, like Greg Tocchini and others. I think it's hard to break into US market no matter the country an artist comes from. Even for a North American it's a hard task unfortunately. Many factors make this a hard task, since the unstable incoming to the social contempt. You know, most parents want your kids to grow up as a doctor, or lawyer, etc. Parents encourage their children to get into Arts (or writing) as a hobby usually.

CONTINUE IN PART II


PART II

3. What was your first professional comic?

-I have a double debut, a one shot at Yaoi Press (yeah, it was my first manga experience. Yaoi… not my cup of tea, but, hey, I like to see “Bara” guys in beautiful drawings) and some pages in The Avengers (special edition to military forces).


4. How long have you been in the industry?

-About 12 years.


5. Is it hard work?

-Hell YEAH! This isn't for weaklings. You have to work under pressure (if you don't meet the deadline day, that super expensive booth from your client will suffer). Long hours working keeps you away from other people (between 10 to 16 hours daily, rare days off). Plus, the financial instability makes an artist a financial wizard… or a control freak of his/her own finances. No health insurance in the Americas (different from Germany, the Estate gives a health insurance for a certified artist). It isn’t a glamorous life people think it is. But, I prefer to endure all those things than staying in a job I don't have a slight affinity.


6. Why did you embark on a videogame version of your work? Please tell us about the game.

- Games are my passion, since my childhood. I think it's one of the greatest media you can tell a story, because the player has a feedback in real time, in a deep layer.
Also, I'm a hardcore gamer, but being a player and being a developer are two different things. After testing the waters, I discovered I like it much more than playing a game. My preferred genre is the third person shooter, and I was pretty unsatisfied about the games with the same gameplay being reproduced over and over again. So I had a vision. After I established the main gameplay, I thought about using one of my ready-to-use stories, and Kings Club fits well. So I polished the gameplay from the idea and I finished with something like that:

PC Third Person Adventure Shooter with 4 general skills and a cover system in a Non-Linear Open Level, facing the enemies on your own terms and pace. This first mission takes on Mexico. The player has to discover where the narcos are, taking them off the hideouts, picking a fight or provoking them until they lead to their leader. Exploration and combat mixed into an experimental hybrid game genre.
The player skills are based on playing card suits
Hearts = Stealth/Infiltration
Spades = Assault
Club = Escape/Extraction
Diamonds = Protection/ Scout

The player character will be announced in the last chapter of the comic book (that’s why I’m rushing to finish the Graphic Novel and go back to the game. I’m dealing with a limited time; I'm still a comic book artist as my day job).

Before focusing on the Graphic Novel, I was building the levels to send to testers before exposing it to the public. (The internet is a goddamn viral thing. If you put an ugly video from your game any place online, it can be spread and your first time to impress will be compromised. I saw it happen to some game dev buddies of mine, with people downloading their WIP videos and posting online. It isn’t fair…).


7. What kind of work are you doing on the game? Did you have to learn any new skills to be able to do it?

-Other than music/soundtrack/voices, everything. From programming to animation. I'm still in solo production; it's a small, indie and a short introductory game in the series, no big shot here. This first game is a practice to understand the players, the marketing (and how to deal with big operations in the future) and test my skills as game designer and level designer. I just want to know where areas I’m a failure and in what areas I have to hire new members for the next game. I can finish the first game in solo mode, but I'm not sure if I want to. Slowly, I'm changing my mind and considering bringing investors to build a small team after I finish the demo. After the demo game launching, I’ll be sure of what path I have to take.

-I did. A LOT of them. I still think one of the HARDEST things a person can do is a video game. So many hats to use…
I past 5 years studying HOW to do a game before thinking about doing one. And, the basic skills. Now I'm putting the things together, I have to bring testers to adjust the gameplay rhythm. Game devs say you must have a tester for the day one usually. But I had to learn how to make a functional game before someone test it.


8. Why did you choose Drunk Duck to host the Kings Club on? And what did you think if the theme music that Gunwallce did for it? What's the story behind your potato avatar? :)

- When I decided Kings Club would be digital-first, I started to search for cool webcomics hosting. I was shocked I didn't find a place where a non-manga esque title could find its audience. The internet is totally dominated by its visual style (I like manga too, but guys, c'mon! It's like a zombie attack!). I was desolated… Ironic, isn't it? My agent oriented me I had to adapt myself or I wouldn't survive in the early days. He was right! In the “printed realm”, if I hadn't adapted myself from manga to something more naturalist/stylized realist, my career would have sunk. And online, we have this. I was unmotivated to release Kings Club online and almost contacting publishers and some buddy editors to a printed edition, forgetting going digital-first… When I remembered Drunk Duck. A decade ago, or so, before being a comic book professional, I was a DD member. No bullshit, but this was the place which motivated me to follow a professional path. Here was the place I exercised my art (I did a fanzine at that time, that's about Warcraft, ugh). I mirror Kings Club to other hosting, but Drunk Duck is one of my favorites, considering a house for Kings Club. One of the reasons I like Drunk Duck is because there are readers and creators with a wide taste here (well, I read ALL comics, Eastern and Western, so I don't understand limited preferences to visual style. For me, the story comes first).

-The theme he did was PERFECT! With an urban and gritty touch, love it!I found it so amazing that I asked his permission to add this theme in the game. He was so nice he only didn't ask for payment or royalties and gave me the permission, as he offered me a rearrange in the theme if is necessary.

-“Even when something is considered low quality, this thing can produce cool results” or “Never, ever, underestimate someone”. It's a letter of love to indie production ^^ (And it's a real photo I took from a potato with a toy military helmet, because it had to be a real thing!).

CONTINUE IN PART III


PART III

9. What are the materials and or programs that you use to make your art?

-My Wacom Intuos Pro, Photoshop CS2 (old stuff), Sculptris, Blender and an old version of 3DS MAX. I'm goddamn fast 3D modeler and I take advantage of it, doing some background with 3D (and sometimes, I do “freehand”, it depends how many times a background will be present in the story. I modeled N.Y. Central Park Belvedere castle in some hours when it was present in an entire issue of Gates of Midnight. It saved me days and days of work). But, my “analogical” arsenal is: pen, pencil, paper, brush and ink (my favorite technique). If I have to color on paper, I like acrylic, gouache and watercolor. I love Prismacolor markers too.


10. Do you prefer analogue or digital methods of comic creation? .e. pen and ink VS a Wacom tablet and a computer.

- Despite being faster on paper and ink, I prefer a digital way to save paper and storage space.


11. How long does it take you to make a comic page?

-It depends on the genre and audience my client is aiming for. When it demands a crazy detailed artwork, it took me around 2 days to finish a page. For my simplified and neo noir Kings Club comic, it took around 1 to 3 hours (but much more time to think how the page will look like).


12. What is your comic making process like? i.e. coming up with a script, plots, characters etc,. How does creation a comic for yourself differ for your professional jobs.

-Like a bull in a China shop hahaha! For publishers, I read the script and start to walk around my house, thinking and evoking images in my mind before going to paper. I try to remember all references the audience is used to the thing I'm working and extract something they can be related to, but done on my way. After that, I start the thumbnails, defining the composition and keeping the author's storytelling in mind. Then, I do the layout, when it's a new client, or I go to the inking part if it's a client who already knows me and my modus operandi. I do the thing and wait for the editor follow-up. If I have the greenlight, I send the high resolution to the editor, if not; I fix what have to be fixed. Usually I don't have to change a drawing more than 2 times, with the most of part doing no changing in the drawing. It sounds methodical, but as I said, it's like a bull in a china shop, with all those steps happening at once, in high speed in my mind. Sometimes I stop everything and study another technique to improve the results, simply.

When I’m creating my own comic, it's an entirely different story. That's the moment I AM the storyteller. My steps to create this Graphic Novel were:
-World creation, followed by characters creation, polishing the background first. Everything had to be connected, for me. Establishment of the visual part.
-Plot Overview
-Some research from real to fictional events to thicken the story. Book time! (Blackwater and Rainbow Six were two different examples used as documentary and fiction work I'm referring to).
-Breaking plot to arcs
-Check the consistency
-Breaking arcs to scenes
-Check the pace, overhauling the ideas
-Breaking scenes to micro points, dealing with dialogues
-Come back again and adjust the pace, having the whole picture in mind.
- Thumbnails associated with the script, checking the scenes rhythm while I'm doing the whole chapter. Sometimes I have to change something in a previous chapter or in the next chapter to create a solid link.
-Draw! Directly to the digital paper, with minimum sketching.
-Color Time!
- Lettering (sometimes I check again the dialogue here, changing it. I like to see how it looks like after everything was set up).
-Wrap it and happy time to publish online (a sort of. Because I have to slice the pages and dialogues to make a mobile version).

YEAH! Game development had a great impact in the way I organize a story. I became an organized bastard.


13. What's in the future for the Kings Club? Will you publish it as is, do a film treatment and sell the rights, release it though a publisher or self publish and sell it that way?

- This first Graphic Novel will establish Kings Club series future. I don't like the way I’m doing it now, as a print format and digital format at the same time. An online comic and printed comics can't be treated in the same way. At least, I can't! I saw two different beasts here. It can work for other creators, but not for me. Digital and printed-version, I’m testing test both. I don't want to kill the online version after the first Graphic Novel, even with a printed version, but testing the two versions will give me the necessary feedback to check what the most well received version is.
I have some tricks up my sleeve (and an agent) and I'll use it to find a good publishing house for Kings Club. I don't want to do it by myself. I prefer someone helping me with the promotion. I have a game to finish, and a comic publisher will save me some time. I'll bring on board an (famous) editor buddy, who I worked with before, to edit this first Graphic Novel (surprise, surprise. it'll be revealed later).
It's interesting a movie being mentioned because I have more contact with this kind of thing than many artists could have, but, I never been thought about a movie. Well, if a contract comes to me; fine! But when I created Kings Club, I had only the comic in mind; the game is being a nice bonus for this IP.

Episode 333 - Retcon the retcon

Jul 24, 2017

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The thing with retcons is that the author tends to get an idea which makes them want to go back over their story and redo or tweak the whole thing again, that's what's happened here… well sort off. Banes had some more ideas on the subject that he wanted to share, so we dove into the whole thing again! We were helped by a Websnark article on the subject linked to us by Kam in a comment on the last retcon Quackcast. It's a useful guide, breaking down the different kinds of retcon into five types: Category One: Now Revealed! A Lost Tale of the Hero! Category Two: The Story You Thought You Knew! Category Three: The Real Story You Thought You Knew! Category Four: The Story You Thought You Knew Was Right, But Now There's Been A Change! Category Five: Meet the New Hero, Not The Same As The Old Hero Because That Never Happened! In this Quackcast we expand upon those concepts. Gunwallace's theme for the week was for Lego Space - It’s Block time! The sound here brings to mind the techno-mechanistic world of Lego, and especially the bright and glittering transparent blocky world of SPACE lego, vectors, angles, and joins!

Episode 331 - Retconning your work

Jul 10, 2017

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Starwars, Ender's game, Captain America… All these are great examples (or bad ones) of “retcons”. But what IS a “retcon”? What it means is that you go back and change an established work by adding new information that has the effect of changing it in a small or significant way. You might do it in your comic, or a director might do it to a movie series, like George Lucas did famously with Star Wars: introducing concepts like “midi-chlorians” as an explanation for the force, having Han shooting Greedo second, sticking Hayden Christiensen in Return of the Jedi, among other things. A lot of the time this has the effect of pissing off audiences who've consumed the story and enjoyed it because it alters or even destroys the understanding they've built up based on it and the relationship they have wit the work. Retcons happen frequently in the comic world because publishers have to keep their franchises interesting and saleable to audiences, so origin stories get updated all the time for example. A huge recent retcon was Captain America revealing he'd been a long time sleeper agent for Hydra, which has the effect of messing up stories going back over 50 years… The writer Orson Scott Card had a great deal of success with his novel “Ender's Game”, but for some reason he can't stop retconning it, going back and adding and editing new bits and re-publishing it every few years, and most egregiously penning prequels from another character's perspective that retcon the original story entirely. As web comic creators we have the role of god-author so we all have the temptation to retcon at one stage or another. Can it ever be a good thing? Is it worth pissing off readers who have an emotional investment? Gunwallace's theme for the week was for Optimum: the future is here and it’s in space! This tune is so upbeat, positive, fun and futuristic, it really exemplifies the cute colourful graphics of Skreem’s comic.

Episode 323 - A space of your own

May 15, 2017

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Drawing in public can be a pain! You really need to find somewhere comfortable, with lots of space, good lighting, and the right atmosphere to be able to settle down and work on your drawings… It can be tricky to find just the right posy. But it also depends on the types of materials you use and the atmosphere that you want to experience while you're working. In this Quackcast we talk about Hyena Hell's newspost on the subject and people's comments, as well as our own experiences with trying to draw in public places and the annoyances of public harassment. Speaking of knowing where to draw, there's the cautionary tale of Canadian Archie artist Gisele Lagace, who was detained and body-searched by US border guards for carrying unfinished drawings! She was intended to finish them at her hotel so she could sell them at the convention, but according to the US border guards and their extremely “strict” interpretation of the regulations due to the current political climate in the US, that constituted “doing work” while on US soil, so she was denied entry and missed out on the convention she was booked to appear at. So there are other considerations to finding the right place to do your drawings! The music for this week by Gunwallace is for Slaughter at Camp Notamoovi - Dark, suspenseful, mounting dread… it’s dark outside and something horrible is lurking, but it turns out to be a man with no trousers on chasing a raccoon with a pair of pants on its head… who are then both BRUTALLY MURDERED!!!!

Episode 319 - Roll out the photocomics!

Apr 17, 2017

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Photocomics don't get nearly enough love. A while ago Banes did a great newspost on the subject where he did some great little promotional reviews of some prominent photocomics on DD. I thought that was a cool idea and I've been meaning to return to the subject for a while. In this Quackcast Pitface and I use funny voices to talk about photocomics. But what ARE photocomics? Well the artist sets up models, toys, artwork, or themselves, and shoots photos of them in certain scenes in order to create a narrative. Later on they'll edit those together in something like Photoshop, adding captions and word bubbles and basically turning them into a conventional comic. People like Bravo1102 go the extra mile to construct elaborate sets and shoot the entire comic as you would a film, taking photos out of sequence because sets have to be broken up and new ones constructed. He even does greenscreen! Gunwallace and and Kdog buy special sets of Playmobile or Space Lego in order to expand and continue their elaborate stories. Trevor Mueller used himself and his friends as models. VinoMas creates really cool artworks out of collage. Rawdale uses stock photos to create his political commentary comics. Sameth uses Superhero figurines… there are so many approaches to the concept. Bellow I've linked a few examples to check out! The music for this week by Gunwallace is for Neander Chan, it's the primal beat of life! This is an utterly danceable sound, driving syncopated rhythm travels up your nerves and down deep into your bones, spiky, distorted electric guitar adds a touch of lyricism.

Episode 317 - Hannagrid Wright Interview!

Apr 3, 2017

4 likes, 2 comments

Today we interview Hannagrid Wright aka 5thezombie! She's the creator of the great Sci-Fi webcomic To The Galaxy And BACK! -featured by Kawaii last year. To the Galaxy and back features Kat and Zoey, two girls that have been drawn together by fate, across the universe, to have all sorts of adventures in outerspace. All Zoey really wants is to get back to her dad, but having a dashing adventurer alien companion is going to make the ride a little more fun. Hanna is a cool person, she's just starting out on webcomics and already she has a nicely pro art style. She's mastered an efficient method of storytelling that's compelling, perfectly balanced for frequent updates, and makes her comic very easy to consume! Pit and Banes did a marvellous job in interviewing Hanna with me! I hope you read her comic (To The Galaxy And BACK!) and then listen to the interview! The music of Gunwallace this week is Sedna: A warm, deep blue, liquid, viscous, underwater outerspace world of wonder, joy, and luminescent glowing alien creatures…

Episode 309 - boring action scenes

Feb 6, 2017

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What makes an action scene boring? Action scenes should be exciting and fun, but often it's just the opposite! In this Quackcast we discuss the topic of Tantz's newspost from the other day and tackle this hard question. These were Tantz's conclusions: - You don’t yet care enough for the characters involved in the action to worry about them; - If the action is introductory you don't get to understand what's happening enough to care; - The action is badly choreographed or ‘cut’ in a way that the audience can’t understand what is going on; - The action is too much too soon, and back to back; In this Quackcast we try to delve a little more into that :) The featured music this week by Gunwallace was for Starfox Adventures The Comic: Firing the main rockets and racing through space, laser pulses and bolts of plasma streak past in glowing lines of destruction as you smoothly barrel roll to avoid them.

Episode 306 - Culture club

Jan 16, 2017

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Patriotism, flags, nationalism, religion, politics, national symbols hijacked by racists! These are some of the unique aspects of our cultural identity and national differences we chat about on this quackcast. I was inspired by HippieVan's newspost on Friday (about Cultural identity and how it defines our writing), to dive further into the subject of cultural differences. We all share the illusion of a single, global culture, but there are regional differences for all of us that mean we don't see things the same way, and often some of the stuff we mean in our comics is influenced by where we come from in a way that people from elsewhere would never quite get in the same way. We chatted about how the use and wearing of national flags is very different depending on what country you're in. For example, in the USA proudly displaying the national flag is seen as normal and mundane, while elsewhere displaying the national flag can be seen as a sign of extreme conservatism or militant nationalism. Wearing the US flag in most countries is seen as something of a fashion statement, a very commercial one; wearing the flag of the USSR is seen as a statement of ironic rebellion; wearing the Union Jack is punk; but wearing the flag of your own country in Australia, Greece, Canada, Cambodia etc (and many other places) is seen as a gauche statement of too-overt patriotism, even though wearing the flags of the USA, USSR or UK is perfectly acceptable. These and other interesting facets of culture are what we chatted about. Gunwallace's musical theme was for Ayla Speaker For The Dead, it's a sad, sepulchral, grieving dirge-like requiem, with an uncomfortable sting of evil jazzy trumpet.


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