RMH
trying on a metaphor
Andulka
❣ Chile in a Photography ❣
★
untitled
bliss lane
Aqua Utopia｜海の底で記憶を紡ぐ
oozey mess
ojovivo
I'd rather be in outer space 🛸
Not today Justin
Keni
YOU ARE THE REASON
pixel skylines
sheepfilms
Sade Olutola
Kiana Khansmith
Origami Around
Game of Thrones Daily
seen from Türkiye
seen from Suriname
seen from United States
seen from Canada
seen from Malaysia
seen from Luxembourg
seen from Liberia
seen from Türkiye
seen from Chile
seen from Malaysia
seen from Ireland
seen from United States
seen from Norway
seen from United States
seen from Brazil
seen from Colombia
seen from Türkiye
seen from Malaysia
seen from United States
seen from Germany
@mckido-blog
One of the coolest artists that I've got to meet in 2014 was edpiskor the creator of Hip Hop Family Tree. I snagged my first copy of HHFT at fantagraphics bookstore in Seattle, WA. I'm a little bit of comic snob, but I don't think I've ever seen someone pull off music in comics so well. It's so cool to see the artist working on what he wants to work on, and achieving the vision from scratch.
More comic snobbery by mckido
Happy Halloweeeeeeeen (Oct 2014)
I did some whiteboard art for decoration & zombie makeup for costume.I also really liked las artistas group (Van Gough, Dali, Banksy, Frida, Warhol) for their costumes & concepts.
Hatsune Miku live painting at Miku Expo LA (Oct. 2014)
More Art by Müse
will there be season 4 of bakuman?
Bakuman Season 4: Internatinal & Rights...meh :b every great manga must come to an end.
Do you attend any anime conventions and speak with artists, con-goers, panelists or even the special guests?
All the time. I just went to Anime Expo, SDCC, and Otakon.I love talking to people at cons-- artists, industry peeps & fans.My next stop is most likely going to be AWA.Hope I'd come across you in the non-internet world one day. :)
Interview: Godzilla vs. Ultraman vs. Zombie
Haruo Nakajima—Godzilla. Satoshi Furuya—Ultraman. These are the men inside the suits of the most legendary icons in cinematic history, the “suit actors.” Men of mystery buried deep within their respective flamboyant outer armor, little has been known about them—until now. Invited as guests of honor to Kirk von Hammett’s Fear FestEvil in San Francisco, Nakajima and Furuya shed their skins for us to show a bit of their human side. Still, monstrous reputations lent them, even san suits, enormous presence. These are, after all, the founding fathers of the great tokusatsu tradition, far ahead of its time, even to this day. Would Godzilla and Ultraman finally get it on? And what was I doing there? Facing the greatest monster and superhero of all time, my instinct told me just to fight—in zombie costume.
Zombie: How’d you get into the world of acting?
Haruo Nakajima (Godzilla): I used to be a delivery truck driver for the US army after the war. After I got caught for speeding, I got fired. That’s around when I saw an ad in the paper about acting school, so I decided to apply for it.
Satoshi Furuya (Ultraman): I loved movies ever since I was a little kid. So I always wanted to become an actor. It was always my dream and a goal to accomplish.
Zombie: Have you two worked together in the same movie?
Godzilla: Yes.
Ultraman: We’ve worked on hundreds of films together. I mean, he was my senpai at Toho, and it was a strict place. We shared the same backstage, but most of the younger actors were only allowed to say “hi” to him, and move on.
Godzilla: I remember him being this tall and skinny guy. He was sort of perfect for gangster roles. Me, I was more like a samurai. Anyway, we were all in the same business, so in that sense, we’re kind of the same.
Zombie: Do you remember the first time seeing your character suit?
Godzilla: To me, it was like any other movie costume. Any role that was given to me, I’d do my best. And depending on the role, I’d be wearing different costumes.
Ultraman: I’d seen the Ultraman costume in the design stage. But when I saw the real thing for the first time, it sort of looked like a Buddhist sculpture to me. The entire suit was made of rubber, so it made me want to to stay physically fit.
Zombie: Before Godzilla or Ultraman, there were no other monsters or superheroes like them. What did you study to get the ideas for the movements of your character? Did you study other films?
Godzilla: I was given a script with suggested action. All I could think about was trying not to screw up. For me, there’s only one shot in acting.
Ultraman: Ultraman was an original character, so there was no action to refer to. He wasn’t like any other superheroes, like Superman. So I talked to the director a lot, and then I used my imagination to think about what kind of action a martian would make. Eventually it became what’s known today.
Zombie: Do you like watching other movies?
Both: Yes, I do.
Godzilla: Sometimes, I just talk about movies all day.
Ultraman: Almost every actor likes movies, otherwise, they can’t do what they do.
Zombie: If you ever had a chance, would you want to come to Hollywood and make movies?
Ultraman: Well, sure! Growing up, I always dreamed about being in the same film as James Dean. When I was in junior high school, I watched a lot of of his films like Rebel without a Cause, and I loved his acting. So it was always my dream to be in a Hollywood film like that.
Godzilla: One time, the people who made King Kong came to Toho. They’ve asked me to come to Hollywood as a suit actor. But Eiji Tsuburaya (special effects director of both the Godzilla and Ultraman series) said I should be focused on the next movie here and turned down their offer immediately. But this meant that the company trusted me a lot, and there was a place for me. Besides, even if I went to Hollywood, I wouldn’t understand English. [laughs] I was actually glad to hear Tsuburaya had my back.
Zombie: When you started, did you ever think your character and its franchise would’ve been loved by fans all over the world for so long?
Godzilla: Godzilla was suppose to end with the very first movie. Then there was another, and another. It kept on coming back for revenge. [laughs] I guess I feel lucky something that was supposed to last only one year turned out to go on for sixty!
Ultraman: I had no clue. Even in the mid-season of the first year, we all thought that was the only season we’d get. But it’s been supported by the fans for forty-six years. We all loved that character, and hold it dearly to our hearts. There are fans of Ultraman who are now in their 40s and 50s. I hope it’ll keep on going forever.
Zombie: Any words for your fans in America?
Ultraman: It was exciting to meet and see the American fans doing shuwatch [with Ultraman motion]. I hope their kids, and their kids, will enjoy Ultraman as well. I really appreciate your support. Thank you!
Godzilla: You know, I’m really looking forward to the Hollywood version of Godzilla coming out this year. I really want to see the new Godzilla––I really want to see what they come up with this time.
Thank you!
“I really want to see the new Godzilla––I really want to see what they come up with this time.”
––Haruo Nakajima, the original Godzilla
Original suit actor for the lead role of Godzilla and many other monster sci-fi films from the 1950s to 1970s. He is also known to be the first Japanese stuntman to do the fire and wire stunt. Working closely with special effects director Eiji Tsuburaya, he starred in the first twelve Godzilla movies and greatly contributed to the development of the franchise.
“I’ve never been interviewed by a zombie before.”
–– Satoshi “Bin” Furuya, the original Ultraman
Best known for the portrayal of the red and silver alien superhero Ultraman in the original 1966 TV series. No stranger to acting outside of costume, he also played a regular role as Special Agent Amagi in the Ultra Seven series. The sequels and spin-offs of Ultraman continue to this day on big and small screen.
About Misaki C. Kido: The zombie interviewer who has been working in the manga and anime industry since 2007. To see more of her work, visit mckido.com
This article ran in Otaku USA Magazine July 2014 Issue.
@ 2013-2014 Satoshi Furuya All Rights Reserved
@2013-2014 Haruo Nakajima All Rights Reserved Event Photos by Eric Ignacio
About Fantagraphic Bookstore (Seattle, WA)
I was introduced to this wonderful place from an old friend, who is a close friend of Mr. Larry Reid from the old skool Seattleite click (you know... those people who were there before Microsoft and Amazon.)
Larry has very interesting stories. He was a promoter for bands like Big Black and U-Men in the grunge era, made posters and fanzines for SUB POP Records, and owned the legendary rock-n-roll gallery called Rosco Louie in the 70-80's before there was any scenes in Seattle. He was also the curator for the EMP Museum where his job was to acquire the rock music historical specimens.
"Back in the 80's and 90's it didn't cost nearly as much as today to live in the Northwest. So there were a ton of people who made music and art who lived in the area. These bands were all small in the beginning, but they needed art for their album covers and posters and stuff. So we've asked cartoonists who did comic strips for local papers like... oh, maybe you've heard of them... like Matt Groening and Charles Burns."
This story made sense of why I like comics & rock-n-roll music; they sort of come from the same place.
If you're ever in the area, you should definitely visit the Fantagraphics Bookstore in Georgetown, where Larry Reid and all the other famous rock stars are hanging out.
About Fantagraphics Publisher
My recent trip to Ecuador reminded me of how much of a nature kid that I am. (I don't know how I end up in such a big city like San Francisco.)
In the Amazon jungle, Andes Mountains, and Galapagos Islands, the wildlifes can be very close to you. People there are also very respectable of these creatures.
It made me think of how to keep this relationship and sustain the nature for the next hundred years.
Here are some of my wildlife photography (all taken on my iPhone.) You can also see more photos on my Instagram.
I am very Japanese when it comes to the New Years. Every year, I make the greeting cards (also known as 年賀状 "nenga-jo") for my friends, relatives, and people who gave me great support the previous year to personally thank them.
Since 2014 is the Year of the Horse, I've made designs which crossed over the Knight of Chess and my Müse character. I had a lot of fun using the Pantone: 100 Post Cards (Available from Chronicle Books) and making custom cards for everyone.
I was a human avatar for my friend Vicente at @codame event.
About CODAME ART+TECH
Attack on Titan wall (Oakland, CA) This W.I.P. mural project is by @MuralsAndGirls
Female Titan by @_mckido Mikasa Ackerman by @suficientnature “Dream” by @BintyBint “Murals and Girls” by @Bjae143
Like Murals? Like Girls? More Pictures of the murals is on Instagram @MuralsAndGirls
Like the #FanArtOnTheWall? Check out this deviantART page
Testing Out Zombie Makeup
7 Reasons: Why Felipe Smith Is the Only Mangaka from America (So Far)
Watch Felipe Smith drawing Reiko Kawamori from PEEPO CHOO
I’ve always been a big supporter of non-Japanese artists making manga. More people outside of Japan are using manga as a way to tell stories everyday and, as a manga editor in America, I want to see that number grow. Series like Bakuman made kids around world want to become manga artists, but the truth is, it's hard enough to become a professional mangaka (manga artist) in Japan, without even taking into consideration all the obstacles non-Japanese manga artists have to face.
Yet...Felipe Smith had somehow made it through. He became the first American manga artist to be published by a major Japanese publisher. Felipe debuted in America with his graphic novel series MBQ and then moved to Japan to serialize his first title in a manga magazine, PEEPO CHOO, in Morning Two published by Kodansha.
How’d he do it? I was just plain curious. So I shadowed him during Japan Expo. Here are my 7 observations on Felipe. His circumstances are unique, but knowing them might help others think of ways to make manga no matter where they are from.
1. He's Not a Nerd
Weird but true. When Felipe told me he didn't really grow up with manga or anime, I was surprised, but then understood why. Some of the biggest talents in the world of manga have told me the same thing. When you try to learn how to draw manga from other manga, it's hard to shake their influence. Felipe names his real life experiences and observations as the biggest influences on his work.
2. He Learned Japanese
If you want your work to be published in a manga magazine by a Japanese publisher, you gotta learn Japanese. You need to work closely with editors, understand the demands of the native audience, and find the right expressions to convey your story. Felipe learned Japanese before he went to Japan by working at a karaoke joint in Los Angeles. He put himself in an environment where he was surrounded by Japanese language and culture every day. This is a very practical way to learn and proves that you don’t have to take classes or study abroad to learn a language.
3. He’s Culturally Adaptable
Manga is made for Japanese audiences. This is the hardest thing for international artists, or audiences for that matter, to get. Felipe is a Jamaican-Argentinian born in Ohio. He spent most of his childhood in Argentina, a country made up of people from various backgrounds with no dominant cultural standard. His views on cultural bias and stereotyping are an on-going theme in PEEPO CHOO. At the same time, his openness towards culture has gotten him as far as he has working and making stories for audiences in Japan.
4. He Had an Agent
After MBQ, an agent offered to represent his work in Japan. She arranged the meeting between Felipe and the editor-in-chief of Morning Two, facilitated communication in the meeting, and even helped early on in the series translating Felipe's manga from English into Japanese. That’s great for anybody, but an agent would only invest his or her time like that into talent they truly believe in.
5. He Can Really Draw
Felipe went to The School of Art Institute of Chicago. He has solid grounding in perspective and figure drawing, which helps the audience get into his world. Then there’s something about the style of his characters; they have a cool quality that transcends logic. Having a distinguishable art style that comes from within, yet is grounded in fundamentals, is absolutely crucial for a mangaka to stand a chance of surviving in the world of manga.
6. He Has Stories to Tell
Manga isn’t just pretty pictures but a form of storytelling. To Felipe, it is an ideal medium for an artist to share his ideas and personal experiences with an audience. When he starts planning a series, he already has a concrete ending in mind, because the end of a story is a great place to get a message across and leave a lasting impression with the reader. His use of graphic sex and violence is never gratuitous but actual character development, which moves the story forward.
7. He Just Did It
There are a ton of aspiring artists out there who can rattle off what’s wrong with the manga industry and why they won’t be able to become mangaka. But there's always a way to keep from doing something. What's not as well known is there's always a way to just do it too. Seeing Felipe reassured me this is the case and gave me hope there are others who’ll find their own way into the world of manga.
Is manga just getting your work published by a Japanese publisher? No, manga is a way to tell stories using images and words. The most important thing we all should be doing is to find new ways to deliver diverse stories by different artists to more people.
The skills Felipe acquired working as a mangaka in Japan also apply to creative industries elsewhere. He currently works in Los Angeles as a character designer and storyboard artist for the Teenage Mutant Ninja Turtles animated TV series on Nickelodeon. Very recently Marvel Comics announced that Felipe will be writing the All-New Ghost Rider monthly title, teaming up with artist Tradd Moore. He’s also planning his next graphic novel, this time specifically with a global audience in mind. I’ll be looking out for it.
For More Info on Felipe Smith: Tumblr: felipesmithart.tumblr.com Twitter: @FelipeTweeters
Read His In-depth interview by Deb Aoki on Manga.About.com
Article/Photo/Video by mckido: Misaki C. Kido has been working in the manga, anime, comics, and art industry since 2007 as an editor, intervewer, event host, and digital producer who has worked on projects like Weekly Shonen Jump. For more works by her, visit mckido.com
Gabriel Teodros "Blossoms Of Fire" Official Music Video
I was featured in this music video. You'll see me painting a mural at 1:45
When I was a Mythbuster (2012)
These are the pictures from the time my friends and I volunteered for a Mythbuster experiment. This episode hasn't aired yet, but there are some clues in these photos that gives you some ideas on what the experiment was about. Adam seemed excited to be in cosplay. Jamie was with his dog Zero. It was really cool to see behind the scene of professional TV show production. In the end, they have given all the volunteers the official Mythbuster T-shirt.
Photo credit: Misaki C. Kido
Rare video of M. Bode & OsGemeos finishing a mural @ The Warfield in San Francisco.
Mark Bode & OsGemeos painting at The Warfield (San Francisco, CA)