Headshot Geek Issue 2

the

WONDERS of Wizard World Celebrities and Cosplay and Collectibles – Oh My! Also Inside: Lou

Ferrigno Fernando Dagnino Joel Gomez Colleen Doran Michael Golden I S S U E

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C R U N C H Y R O L L

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Loot Crate. . . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 04 Wizard World, San Jose. . . . . PAGE 06 Lou Ferrigno . . . . . . . . . . . . . . . . . . . . . . . PAGE 10 Fernando Dagnino . . . . . . . . . . . . . PAGE 11 Joel Gomez . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 12 Colleen Doran. . . . . . . . . . . . . . . . . . . . . PAGE 14 Michael Golden. . . . . . . . . . . . . . . . . . . PAGE 16 Crunchyroll . . . . . . . . . . . . . . . . . . . . . . . . PAGE 17 Until Dawn. . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 18 Mondo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 22

Wizard World San Jose special section, page 6

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Editor/Designer Priscilla Wilson Writers Jeff Guerrero Jim Leyva Ross Maszczak Brett Rose Eva Sarracco Priscilla Wilson Š Headshot Geek, 2015

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Loot Crate L I T T L E B OX E S O F J OY F O R N E R D S E V E RY W H E R E

By Ross Maszczak

IN 2012, THE TEAM at Los Angeles-based Loot Crate began to assemble mysterious, themed black boxes chock full of treasures. Their noble goal was to recreate the highlights of the swag experience of comic and gaming conventions for those who couldn’t be there. As a family man I couldn’t appreciate that concept more as it’s difficult to coordinate trips to cons until the little ones get a bit bigger. Since then, their humble concept has grown exponentially, boasting over two million Facebook likes and five hundred thousand Twitter followers.

Aside from the pure business aspect, they truly have, and continue to build a community through interactivity. Every box invites their members to document, share and enjoy. To some this means taking fun pictures and posting them to social media, to others it’s telling their friends, to me it’s sharing the booty contained within with my favorite little man.

Every month, my son and I impatiently wait for our crate to arrive. Though I am kept abreast of each month’s theme and when I should expect our delivery, I maintain secrecy to heighten the surprise.

Regardless of my knowledge and his lack thereof, we both bear the same expression upon cracking it open. The only way to describe it accurately is pure childish joy.

Their exceptional variety of well known brands without any exclusive allegiances to specific licenses allows them the freedom to more or less choose their own direction in the themes and contents of each month’s crate. This medley not only keeps us amused, but gives me a chance to teach my son about the history of many of the characters, stories and creators that have inspired much of what he reads and sees onscreen today.

Most notably, a few months ago an air freshener bearing the gesture signifying “Live long and prosper” made famous by the legendary Leonard Nimoy arrived lovingly tucked in our crate. Not only was this a chance for he and I to talk about Star Trek, but it provided an opportunity for him to talk with the man who turned me on to Star Trek when I was his age, his Pop Pop. Every time we see something on

the subject, he reminds me about those conversations and it warms my heart.

Many crates have contained games of a different sort too, some card, some tabletop. September’s Crate however, entered the digital gaming realm with Master Summoner. Available on iOS and Android devices it is a free download and fun little tapper, though only looters will be able to fully appreciate its full glory. I won’t say it’s a long game,but the artwork is cute and quirky and both my son and I honestly enjoyed tapping our little hearts out upgrading our summoner’s capabilities and home. The game was overseen by John Master Lee, a veteran of the industry who has worked on numerous titles ranging from The Elder Scrolls II: Daggerfall to Bayonetta.

Each looter is also automatically entered into their monthly drawing for the Mega Crate. That honor has included everything from Gaming Consoles to high-end PC components to

gorgeous collectible statues and is generally valued at over $2,000.00. Recently, members began to have the opportunity to upgrade and customize their crates with the new Level Up option. For between $9.49 and $14.49, one can add a mystery article of clothing or an accessory to their crate. There are also rare opportunities to acquire specially themed loot like the upcoming Mass Effect crate. Prospective fans like myself can sign up to be notified of their availability if they hope to get their mitts on either of them.

On the whole, Loot Crate has created a beautiful business revolving around our community and integrating the best of what our culture has created and loves. Their customer service is extremely responsive and there is a genuine love for their customers. I wish them nothing but success and growth in the future and hope one of their crates finds its way to your mailbox soon.

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Wizard

Photography by Priscilla Wilson

d World THE UP AND COMING COMIC-CON OF THE

By Eva Sarracco S A N F R A N C I S CO BAY A R E A

continued >>

WIZARD WORLD SAN JOSE

IT WAS A WARM SEPTEMBER day in San Jose, California. As we approached the convention center, the streets were flooded with zombies, Deadpools, Harley Quinns and a wide array of various other cosplay enthusiasts.

“But it’s September?” was all I could think.

Normally, by this time of year the comicthemed events for California have come and gone, and we would be resigned to preparing for next year’s festivities. Now we have a new annual event to look forward to and, for its first run in the San Francisco Bay Area, Wizard World is very impressive.

Upon entering the convention center we observed gaming areas, phone charging spots, a tattoo station, and a myriad of vendors selling everything from cosplay items to comic books. We grabbed a soft 8 H E A D S H OT G E E K / / Is s u e 2

pretzel and a beer and began to explore everything in a bit more detail.

Our first encounter was with a lovely lady from the Arizona-based Firelight Cosplay dressed as bounty hunter Rio Ca’tal from Star Wars: The Old Republic. To achieve her amazing blue look from head to toe, she used an alcohol-based body paint. Temptu is her preferred brand. She recommends alcohol-based products since they don’t smudge and are not drying on her skin. She also handcrafted and sold all items that she had displayed on her table, ranging from prosthetics to attire. As we continued on we found the Canvas Warriors. These talented ladies came out all the way from London and create gorgeous, custom, one of a kind goodies from charms to hand-painted shoes.

During our exploration of Wizard World, we observed Michael Rooker (you may know him as Merle Dixon from AMC’s The Walking Dead) walking around and talking to fans. Of course we were beyond excited to see a celebrity interacting with the masses. Other celebrities attending the event included Lou Ferrigno, Scott Wilson, Dean Cain and Jason David Frank to name a few.

It was pretty damn cool actually!

Overall, Wizard World was quite a success for its debut weekend. The original art, comics, collectibles, celebrities, cosplay and costume contests were a hit. Wizard World is sure to be even larger and more interesting in the years to come.

When it comes to having a job as a public relations manager, Jerry Milani may

have one of the more interesting and fun jobs around. As the spokesman for Wizard World, he was able to provide some insight on the event as well as a little history.

HEADSHOT GEEK: How long have you been with Wizard World?

JERRY MILANI: Almost six years!

HG: How has Wizard World grown in the time you have been with the company?

JM: We were doing four shows a year then. We expanded to eight in 2013, 16 last year and 24 this year! And the shows have expanded to include more elements and celebrities from many genres of mov-

ies, TV, video games, music and more.

HG: With only two shows in California in 2015, what made you decide to come to San Jose?

JM: We have been looking at San Jose for a while since it has a great fan base. When we were able to match up our schedule to that of the convention center, it was a great opportunity.

HG: There were 16 Wizard World conventions in 2014 and this year you have expanded to 24. What are Wizard World’s plans for 2016 and beyond?

JM: We have announced many shows already

for 2016 and, as each event is complete on the rest of this year’s schedule, we can determine if we will be able to return next year.

HG: When people think of comic-con, generally they think of San Diego ComicCon. In what way would you say Wizard World is different?

JM: The excellent San Diego event began years before ours. We offer another opportunity for fans all across the country, in two dozen cities, to experience all aspects of pop culture.

Read on in this special section for more great interviews with celebrities and comic book artists who also attended Wizard World.

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WIZARD WORLD SAN JOSE

Lou Ferrigno

By Jim Leyva

HEADSHOT GEEK WAS ABLE to sit down with pop culture icon, movie star, former Mr. Universe and, of course, the original Incredible Hulk, Lou Ferrigno.

HEADSHOT GEEK: What films are you currently working on?

LOU FERRIGNO: I just got back from London where we were filming a great new movie called Instant Death which is very similar to the movie Taken. It’s about a man in the special forces whose family was harmed, and he seeks revenge. It really is a great action film and you have never seen me in a role like this before with the action and fighting scenes. It really could be my best work ever.

You can expect to see Instant Death in 2016.

HG: One of the first opportunities the world was able to see Lou Ferrigno in was the documentary Pumping Iron in which you were competing for the Mr. Olympia title opposite Arnold Schwarzenegger. What can you tell us about this experience?

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LF: Yeah, that was actually in 1975. I was temporarily retired and I came out of retirement to film this movie in South Africa and we felt this film could put us on the map. It was the first time the public had the opportunity to see and learn about bodybuilding and the film turned out to be a big success.

It is still considered to be one of the best docudramas ever filmed and still today, after 40 years, people just love the film.

Pumping Iron gave me the ambition and incentive to want to get involved with acting and it put both of us in the mainstream.

HG: Was it because of the work you did on the film, Pumping Iron, that the role to play the Incredible Hulk came about, or did that opportunity come about some other way?

LF: That opportunity came about partly because of the film. They did a nationwide casting call, but they knew I would be the perfect person to play the Hulk so they called me for an audition as I was training for the Mr. Olympia title in 1977. They made the decision to do the pilot so I officially retired from bodybuilding.

HG: Fitness and personal training have been such a big part of your life for very long time. When did the initial interest in training and bodybuilding begin?

LF: When I was young I had to overcome a lot

of adversity. I had speech issues as well as hearing issues, and I was actually very introverted as a child – a lot like a real life Walter Mitty. I discovered bodybuilding because I knew I was obsessed with power, I wanted to be powerful, and I knew this would be a platform for me to survive. Another reason for my fascination with bodybuilding was due to my interest in comic books. These reasons eventually led me in the right direction for competition and then eventually becoming a bodybuilding world champion.

HG: You actually had the opportunity to train legendary superstars, the likes of Michael Jackson, during your career as a personal trainer.

Can you tell us about this experience?

LF: I have had the chance to train Chuck Norris, Mickey Rourke and many others.

The opportunity to be a personal trainer for Michael Jackson lasted for more than 20 years.

I kept it quiet because Michael wanted it to be a secret, but I kept him in shape with with his toning and flexibility. That really was a great experience because Michael was an icon.

HG: What projects can we see you working on in the future?

LF: I’m really excited because this fall I am going to have my big competition in Palm Springs called “Ferrigno Legacy”. “Ferrigno Legacy” is in its second-year and is a big bodybuilding, fitness and figure competition. We have more than 400 people competing this year. All of my children are personal trainers so now all of our interests in personal training became a competition. It is amazing, as you mentioned before, how fitness and bodybuilding has been such a big part of my life. It has gotten to a point where it is a family interest, and we are now promoting a competition.

Fernando Dagnino

By Jim Leyva

LONG TIME DC COMIC BOOK artist, and current Suicide Squad artist, Fernando Dagnino, discussed past, present and future projects with Headshot Geek.

HEADSHOT GEEK: When do you recall your initial interest in art beginning and what were some your earliest influences?

FERNANDO DAGNINO: I actually remember being five years old and reading my first Spiderman comic. I remember the comic had Spiderman fighting against a werewolf.

That cover was done by artist Keith Pollard and it was very soon after reading that comic I knew I wanted to be a comic book artist, as a five year old. As I got older, life had its own plans for me, so I did not initially study art, but the idea of being a comic book artist was always there. I had to eventually follow my passion and become an artist.

HG: You have completed work in the field of art and illustration with companies like Disney, as well as in the video game industry, though the past 10 years has been spent working with DC. Do you feel that comic art is where your passion lies?

FD: Yes, comic art has always been my main passion and focus. Though I initially did not study art, I eventually had a chance to go to a university where I would take lessons in illustration. Once that I came to a realization that I am an artist and not a theologist, which I also studied, I began taking any job related to the field of art and illustration.

My idea was to constantly practice. I would not take any job that would not allow me to draw. I began working in graphic design, illustration, video games. The idea, all the while, was some day I would draw for either Marvel or DC, so when I had the chance

to send in my first samples, I got lucky and everything went well.

HG: The last couple years specifically you have been working on the Suicide Squad.

What are your thoughts on the recently announced Suicide Squad movie?

FD: It is kind of a love/hate feeling to be honest. I love the characters and it is an honor to see these characters that I have worked on for so long on the big screen. My initial work on the Suicide Squad was very difficult because deadlines were so tight during those days, and I don’t think I gave the most of myself to that comic initially. I feel as though I could’ve done so much more with even an additional week, but I really do love the characters even during those difficult deadlines.

HG: Do you have any advice for artists looking to break into the comic book industry?

FD: I think the first bit of advice I have is to never give up. Take obstacles that come your way as tests to see how hard you’re willing to work to achieve your goal. We have all, as artists, been through the process of disappointment or losing faith at some point.

The difference between the people that really make it and those that don’t is the fact that the successful ones continue even after experiencing disappointment.

character and storyline was very well done.

This comic was based on a series that was initially done in the 90’s and was very ahead of its time. Of course, as most guys tend to be, I have always been a big fan of Batman.

HG: What projects are currently being worked on and what can we expect to see from you in the future?

FD: I just finished a project in January for the Dark Horse comics Captain Midnight series. In mid-September I’ll be working on an additional project for Dark Horse that my agent will not let me say much about at this time. It started mid-September and I’m very excited about it. In the meantime, I’ve been working on a project which I am a writer and an artist. I pitched the idea to Dark Horse and IDW and they liked it. They did mention that because I am not a well-known writer I should associate with a writer, so I did. We rewrote the story and presented the idea to the editors and we are now waiting for their response. I’m really excited about that because it’s a more personal story. It is science fiction which is all I can tell at this point, but it is kind of a different approach towards comics.

HG: You have drawn many characters during your career. Is there any one character that you relate most to?

FD: Well, if I say Supergirl it may sound a bit weird. But seriously, there are many characters and stories that I have been fond of. I really do like Resurrection Man, the idea of that

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WIZARD WORLD SAN JOSE

Joel Gomez

By Jim Leyva

COMIC BOOK ARTIST, Joel Gomez, has put his own style on numerous characters from the world of Marvel and DC. Getting his start as a background artist for Top Down Productions, Joel then transitioned to working on projects such as The Darkness and Witchblade for current employer Wildstorm Productions.

Joel also kept his love for art in the family by marrying fellow artist, Beth Sotelo.

HEADSHOT GEEK: How did your interest in art initially start? What were some of your earliest influences?

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all start as kids having a genuine interest in the arts, music or sports. I kind of pursued it just because it was something I was into and enjoyed doing. Of course, high school rolled around, and I had other interests and so forth. It was something that I kept revisiting, and it kept calling me back. I would just find a unique piece or two that I would see somewhere and like anything else worth doing, you have to put your work into it. As an artist you have to constantly practice to perfect your art. Once I started taking it more seriously after high school it was something I was genuinely interested in and like anything else in life,

you better enjoy what you do because to really be good at it, it will take a long time.

As long as you can will away at it, it can last forever and it can be something that you can do great things with.

Again though, I started late. I got back in the comics some time in my late 20s, but I still had a lot of drawing skills that I had built up from the past. I initially started out as a background assistant for a bunch of artists at Top Cow Productions. It wasn’t necessarily an official position – it was just something that I kinda volunteered for, to learn from the artists. Back then especially, you had a lot more work in the books, a lot more detail

and sometimes it was a real strain on the schedule. The easiest way for those things to be addressed was to have somebody help with the backgrounds. It was something that I was really quick at learning, and I started helping one or two guys doing backgrounds. It kept growing from there. Eventually I started helping Mike Turner and Marc Silvestri on their backgrounds, and it just kept going and snowballing. Like anything, the longer you’re at it, the better aptitude you will have for it. I encourage anyone that if they have an interest in the arts, or any passion in life, start early.

Because of the frustration that comes with the initial learning curve, it’s going to take a good long while to get good at it.

HG: Continuing with that a bit further, if somebody’s initially starting into the world of art and illustration, what kind of advice would you have for them?

JG: Study from life and study from the world around you. A lot of times – people in comics like I was – you see art you enjoy,

story that you need to read – and a lot of it is not in the words. It’s in the body posturing or body gestures. So I think having an understanding of how things work, life and people’s reactions is an important aspect to learn about in art and illustration.

HG: Could you tell us about your work process?

JG: Sure, the work process for me usually starts with reading a script. With sequential art, I’ll read the script maybe two or three times really quickly. The first time is to get a general feel for everything and I try not to sit on it too long. The second time I read it, I hang onto things that caught my attention and with my pencil I’ll immediately write on the side of the script some thumbnail notes to start attacking things I think would look good as ideas or images. I don’t think about the next one or the last one, I just think about what I am currently reading and try to put something down that I think would look cool.

Once I have all those pages worked out, I

team effort, almost like jamming together in a band with finding that synchronicity to really fulfill what we’re trying to do as a story.

That’s the most exciting part for me and the most compelling. Sometimes working with the right person can really take you to heights you never imagined, and on the flip side of that, working with the wrong person can take you to depths you never expected.

HG: Our publication is called Headshot Geek because we are all true geeks at heart. Can you tell us about any geek interest you may have?

JG: I really am big into movies. I am always trying to get ideas from movies to incorporate into my art. I am always trying to take what I am looking at in TV shows and movies and try to distill it into my own work.

HG: Is there a favorite movie that you find yourself looking to for inspiration?

JG: It really does vary but at the moment, the movie I constantly go back to for inspi-

Like anything else in life, you better enjoy what you do because to really be good at it, it will take a long time. you immediately respond to it and that’s what you want to do. But the reality is those artists have studied from life. They are drawing the buildings you see in your neighborhood, they’re drawing the bus or the cars that people are riding in. These are the things that, as a young artist, you take for granted because you have to realize a lot of what you see is artists interpreting things from life around them. The sooner you can get better at that, the sooner you can understand what the human form does. As you’re drawing and telling stories, you have to understand when somebody is unsure, or really sad. These are all body language things that you don’t really respond to immediately, but if you see in a drawing you responded to it because you’re trying to communicate ideas through the

look back on it trying to make sure nothing is too similar or too inconsistent and make sure my camera doesn’t flip too many times – kind of a 180 rule to make sure when the person is reading the comic, it can kind of flow, going from one page to the next. Also, with licensing work and other character work, there’s a little bit of a learning curve as well. If you’re trying to draw something you’ve never really done before, you really want to establish the idea of who the character is. You have to have a little familiarity and maybe sketch it a couple of times to become familiar with it.

I think the biggest part, for me at least, in the process for anything whether it be storytelling, licensing or just character development, is mainly “Who am I working with and what are their tastes?”. Art is usually a

ration is Blade Runner. A lot of that has to do with the lighting and the way they create depth. It’s almost like things are constantly in a thick haze throughout the movie, and when you’re drawing you have to create that sense of haze in order to tell a story.

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WIZARD WORLD SAN JOSE

Colleen Doran

By Jim Leyva

COLLEEN DORAN IS A four-time Eisner award winning comic book artist, writer and cartoonist. A self-described professional geek, Colleen has been an artist since age five and created her first comic book series, A Distant Soil, at age 12. Colleen was nice enough to take some time out of her busy schedule to talk to Headshot Geek.

HEADSHOT GEEK: When do you recall your initial interest in art beginning? Where there any specific influences?

COLLEEN DORAN: When I saw my first Disney movie, Sleeping Beauty. It was a

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rerelease because back then we didn’t have video. Disney would just release their films occasionally in theater, and I had a chance to see it when I was five years old. I decided that I wanted to be an animator for Disney.

That’s when I started drawing like crazy.

HG: What current and future projects are you working on?

CD: I just did the variant cover for The Walking Dead, which is being distributed here at Wizard World, which is pretty cool.

I also illustrated an upcoming graphic novel based on the life of Stan Lee. It’s his auto-

biography which will be about 200 pages and coming from major publisher Simon & Schuster. It will be a full color graphic novel on the story of his life, written by Stan Lee himself with cowriter Peter David and featuring artwork done by me which was beautifully colored by Bill Farmer, José Villarrubia and Val Trullinger. It featured the world’s toughest deadline, but we got it done. It will be released worldwide through all major bookstores.

I also just finished a project with Alan Moore, the creator of The Watchmen and The League of Extraordinary Gentleman, and it’s called Electricomics. It was just released a day

or so ago. It’s a brand-new digital comics app available on the iTunes AppStore with original stories by Alan Moore, Garth Ennis and a number of other artists. It’s an interactive app which semi animates your comics but isn’t simply motion comics. These are original works created just for digital interaction.

The app will be open source and eventually released in a version that all creators will be able to use to release their own comics.

HG: How did the opportunity to work with Stan Lee come about?

CD: Actually, they called me. I was actually working on a project with J. Michael Straczynski that got shelved. Sense8 ended up becoming a really big deal and he just didn’t have time to continue with our project. Luckily, I had a very unusual hole in my schedule when Stan’s people asked if I was available. I mentioned that I had a very short period of time only and they agreed.

It worked out well because they wanted it done very fast anyway. So there was really no choice but to get this completed quickly with both their schedule and mine. It was actually the most brutal deadline I’ve ever had to deal with, but Stan was familiar with my work and he said he wanted me to do it – probably because when I draw everybody I make them look handsome.

HG: You have had experience in both writing and illustration, is there one you tend to favor more so than the other?

CD: I usually am hired to be an artist. I have probably only written about a dozen things for people other than myself. I have worked on The Vampire Diaries, written some essays and short stories but usually I am hired to do art. I tend to be slow. It could take me years to do a book. The Stan Lee book was different because it had to be done very very quickly, we only had a few months to do it, so I had to break the “Kirby” barrier and draw over 60 pages a month, which was really brutal.

I have also been working on a graphic novel for Neil Gaiman for several years part time. It’s fully painted, and it will be out next summer. It tends to be a lot faster to write a comic book as opposed to drawing one simply because of the labor. Most writers will not spend three or four days on a single page, but I will spend that much time drawing a single page. I don’t know if it’s attention to detail or possibly being a little neurotic.

until you get to the upper echelon you’re not gonna make any money. So you better love what you are doing. So please please please get good at your basics. There are a lot of ways you can trick an untrained eye into thinking you’re good at something, but the people that know will know you’re not good. There are a lot of autotune tricks in art so build your skills from the ground up, and respect what you were doing. I realize it is comics, but it is technically one of the most difficult forms of art you will ever go into. It’s extremely difficult, grueling, deadline intensive and it requires a wide range of skills. Please respect that.

Don’t trick your way into this job. The more tools you have in your toolbox, the more places you can go. If you want to draw Beavis and Butthead, draw Beavis and Butthead, but that project you think is super terrific and popular may not be. So you may need to go in another direction and, again, the more tools in your toolbox, the more prepared you will be.

HG: Our publication is called Headshot Geek, because at heart we are all just a

You have to know how to tell a story and you have to respect your craft.

HG: If somebody were interested in getting into the world of comic book writing and illustration what advice would you have for them?

bunch of pop culture geeks. We were wondering if you have any secret geek hobbies that you would like to share?

CD: The best advice I have is to practice your craft. There are a lot of people that go to shows and do not do a lot of published work – just a lot of prints and pinups, and that’s not really comics. I have nothing against that work, but you won’t be a cartoonist if you just do pictures of Spiderman standing there. You have to know how to tell a story and you have to respect your craft. There are some really good people out there but it’s a very tough business, and

CD: Secret geek hobbies? Well, actually I’m a professional geek. It’s what I do for a living. I’ve got my Lord of The Rings collection, my Sideshow Weta statues and I’m big into Hannibal. I was actually walking around here looking for a Hannibal T-shirt, but surprisingly I had no luck with that.

And I probably have more DVDs than anybody out there. Whenever I’m working, I’ve got the DVDs going. I’m marathoning Doctor Who these days.

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WIZARD WORLD SAN JOSE

Michael Golden

By Jim Leyva

rial whenever my schedule allows me to do it.

I am still a graphic designer, but interestingly enough a lot of my commercial work has actually segued more and more into graphic narrative or, as the public knows it as, “comic book” style work with presentations in concept work for film, games and animation.

HG: What projects are currently being worked on and what can we see you doing in the future?

MICHAEL GOLDEN IS a long time comic book artist and, more currently, a graphic designer. Michael may best be known as cocreator of the character Rogue, as well as work he has done for Marvel in the late 70’s and 80’s.

HEADSHOT GEEK: Where did your interest in art begin and what were some of your earliest influences?

MICHAEL GOLDEN: I’ll be completely honest, I really didn’t have any. I didn’t grow up wanting to be an artist. I wanted to be a race car driver. I kind of fell into art sideways.

I traveled around the country a lot when I was a kid, and I found that I just had a talent for it. What I did was tattoos as well as artwork on surfboards, vans and skateboards – mainly for gas for my motorcycle and food in my stomach. That turned into murals and ultimately into commercial work such as advertising and in-house illustration. Eventually, that led into graphic design which is my day job now. One of my clients during the 70’s mentioned that I should be doing comic books – now after-the-fact I’m not sure if that was an insult or compliment – but I got connected and headed to New York City where I got work with both Marvel and DC in the same day. I tried that for year and realized there was no way I can make a living at it.

So I went back to doing commercial work. I now do comic books and comic related mate-

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MG: All kinds of stuff actually, but if I tell you, you must die.

HG: That covert huh?

MG: Well no. The great thing about this industry, or the bad thing depending on what side of the coin you’re on, is because of the internet’s instant communication and fan orientation, producers of all sorts whether they be publishers or film workers, have to be very tightlipped on what they are doing so it doesn’t get out before we intend. This is because it can get scuttled or even stolen before we can do anything with it. So we all sign disclosure documents. If I say anything, a lawyer will come after me, and then a hitman will come after you.

It’s actually a good thing because as much as it annoys the fans or even your readership who are always looking for that special bit of inside info, it guarantees me my job because it keeps a lid on future releases. It lets the producers do their own promotion, their own marketing and allows them to get info they want released in a method they want it to be seen, as opposed to just reading it on a fan website somewhere, and then all of a sudden there’s no interest.

HG: Being the co-creator of the character Rogue, which is a fan favorite Marvel character, can you tell us about your inspiration

for the creation of that character?

MG: Well the inspiration for Rogue was actually very simple – we needed a villain. We needed somebody to use as a catalyst in the Avengers Annual #10 to actually tell the story about Carol Danvers [Ms. Marvel] and her relationship with the Avengers. If you have read the story, you’ll know what I’m talking about – that dynamic. The whole thing with Rogue was merely as a tool to that end, but we did her in such a way that the potential for her as a character was immediate. Then Chris [Claremont] took it the next step. He took her beyond being a villain, to making her one of the most dynamic and yet one of the most vulnerable heroines in the Marvel universe, thus being one of the most popular.

HG: Do you have any advice for anyone that wants to break into the world of comic books?

MG: It is actually very easy to break into the world of comic books, unless you are looking to work for Marvel or DC. The internet has provided everybody with the exact same opportunities – all you’ve got to do is make yourself available to it. However, that’s where being simple and easy stops. My advice to everyone is learn everything. Learn how to draw, learn how to write, and I mean learn it. I don’t mean just make it up and put it out there on the internet and assume that because all of a sudden it gets noticed, you’re a professional.

That’s nonsense and the internet will tell you that very quickly. The internet is populated by people who consider it their job description in life to crap on everything you do. The internet can give you a reality check very fast, but if you learn the basics, the internet will give you an opportunity and the venue to explore your craft. From then on, it’s just up to you to find your voice and go from there. The internet is a wonderful, great thing.

O N E TA ST Y B I T E O F A N I M E

By Priscilla W ilson

FOR MANY PEOPLE, A CRUNCHY ROLL sounds like a delectable Japanese delight. For anime fans around the world on the other hand, Crunchyroll is the go-to website to watch their favorite anime series.

10 years ago, anime was much more difficult to access in the U.S. There were really only three options: purchase expensive DVD imports from specialty stores, peruse a lackluster selection at the nearest video rental shop, or go the illegal route and search for torrents and streams online. None of these options were ideal, and it would often take months from the premier date to finally be able to see the episodes. Clearly there was a need for something better. In June 2006 Crunchyroll was born.

Today, Crunchyroll is the leading supplier to anime junkies worldwide.

What sets them apart from the competition is having licenses to stream over 25,000 different episodes, and the ability to launch these episodes within minutes of the original air date. Members are able to stream content to their computers, devices, and video game systems. Though Crunchyroll is a US-based company, they deliver most series in multiple languages. In addition to this, they also began offering manga in January.

This service is completely free, but they do offer three tiers of membership. For free users, there is limited access to anime, drama, and manga. Streams come in standard definition and with ads. For $6.95 per month, buyers can upgrade to Premium Membership. With this option, all anime, drama, and manga are available in high definition and are completely ad-free. For $11.95 per month, subscribers acquire a Premium+ Membership which comes with the benefits of a Premium Membership, but also grants VIP convention perks, exclusive contest opportunities, and beta test admittance. Regardless of which membership customers opt for, Crunchyroll fills a growing need for otaku everywhere.

Anyone who is looking to feed their anime addiction should be aware that new accounts can receive a 14-day free trial of Premium membership.

Crunchyroll is certainly worth the taste test.

H E A D S H OT G E E K // Is s ue 2 17

CA

CAN YOU SURVIVE THE NIGHT? CAN YOU SURVIVE THE NIGHT?

CAN YOU SURVIVE THE NIGHT?

AU N SY U O RUV S UE R VTIHV EE N T IHGEH N C A N YC O IV T I? G H T AN YOU IITG CCAA NSN UO SO IEVRR E H N IEN H UUIURV SVS UU V TGNH E N I G? H T ?

CYU AOY NR YV VT I TVIH EVEE TEH G?HH T ?T CAN YOU SURVIVE THE NIGHT? CAN YOU SURVIVE THE NIGHT? CAN YOU SURVIVE THE NIGHT? CAN YOU SURVIVE THE NIGHT?

By Brett Rose

continued >>

UNTIL DAWN FOLLOWS eight teenagers as they travel back to the mountain lodge where two of their friends mysteriously vanished the previous year. A trip for remembrance quickly takes a turn for the worse as the group realizes they are

itself feels more like an interactive horror movie where the player directs every scene.

You control all eight friends throughout the game as they try to survive the night.

You find yourself running through the woods, exploring hidden passages in the

given the option to stay put. Every decision you make affects the overall outcome of the game. While playing I could not stop thinking about the Choose Your Own Adventure books I read as a kid growing up in the 90’s. One small action could lead

The game itself feels more like an interactive horror movie where the player directs every scene. You control all eight friends throughout the game as they try to survive the night. not alone on the mountain. Every character is faced with life or death choices that ultimately determine how the game is going to play out. The unique gameplay, campy horror plot, and edge of your seat action are all delivered flawlessly in this game by Supermassive Games.

Until Dawn takes an approach to gaming that I have never seen before. The game 20 H E A D S H OT G E E K / / Is s u e 2

mountain lodge, navigating your way through a coal mine, and much more.

Each character has a unique personality that helps guide you with what choices to make along the way. The jock, for example, comes off as cocky and heroic. When faced with the choice of whether or not to risk his life to save a friend you would think he would jump right in, but you are

you to your gruesome death or take you to safety. The way these actions were transferred to the gameplay made for a compelling experience.

Cutscenes normally give gamers a break from the action, but that is not the case in Until Dawn. Almost every cutscene is 100% interactive. As you are sprinting through the woods you have to press the corresponding

buttons that pop up on the screen as fast as possible in order to dodge a downed tree or pick a specific route to follow. Slow handeye coordination can result in a missed sequence that will alter what happens to your character. There were several instances where I made a mistake because I was so flustered with what was going on around me in the game. A “don’t move” notification will pop up on the screen when you are hiding and you have to keep your controller completely still otherwise the embedded motion sensor will give away your hiding spot. These moments can be extremely tense especially when background noises scare you half to death. Ignoring the command on the screen is not always a bad decision, however.

At certain points in the game it is actually best to not react at all.

You also control conversations held between the characters. How you react during these conversations will change the way the game flows. At one point in the game you are given the option of telling your friend the truth about seeing their girlfriend make out with another guy or you can blatantly lie about it. These moral decisions run wild all throughout

in the snow resonate through the headphones makes for one hell of a ride. Add in remarkable graphics and lighting and you have yourself the perfect atmosphere for a horrifying adventure. No stone is left unturned in Until Dawn.

In my twenty plus years of gaming, I cannot say I have had an experience quite like the one I had while playing Until

Panettiere and Brett Dalton were voicing my favorite characters.

When you aren’t running for your life or making significant conversation choices you get to delve into the beautiful wide open levels. As you explore you will find clues scattered about that help explain what exactly is going on. You will also find little totems that give you a look at possible future outcomes. One totem I found showed the nerdy girl getting her head chopped off while exploring the coal mine. These totems can help you with your future choices, but your previous choices may have already sealed your fate.

A compelling story and intricate gameplay can carry a game, but the minute

Dawn. After my first play through I looked up at the clock and realized that it was four o’clock in the morning. I had unknowingly skipped dinner and had four missed phone calls from friends. This game garnered all my attention, and it was all worth it in the end. The countless jump out of your seat moments, shocking plot twists, and palm sweating button mashing all made for a breathtaking experience. Until Dawn literally kept me up until dawn, and that experience right there is what gaming is all about.

the game. A “butterfly effect” system is in place, and when you take a specific action a notification will pop up letting you know the story has changed. The combinations seem endless, and this aspect adds a lot of replay value to the game. As the game progresses you start to become attached to certain characters, and I found myself making decisions that would benefit those people I grew fond of. It was hard not to make these decisions when I knew Hayden

details really shine in Until Dawn. The composer, Jason Graves, put together a brilliant soundtrack that keeps your heart pounding as you progress through the game. The opening song put chills down my spine and made me leap out of my seat before I even started playing. Until Dawn is definitely meant to be played late at night with headphones on to get the full experience. Having the howling wind and crunching sound of footsteps

U N T I L D AW N STORY CONTROLS GAMEPLAY SOUND GRAPHICS OVERALL

H E A D S H OT G E E K // Is s ue 2 21

Mondo

T H E AUST I N, T E XA S P R I N TS C H A R M I N G

WHEN YOU THINK OF ALL things exclusive in collectibles, one name should immediately come to mind: Mondo. Getting its start as an offshoot of the Alamo Drafthouse theater chain in 2004, Mondo began as a mere iron-on t-shirt business. The focus on tees became subservient with the successes of gig posters they began creating for its theater events. Mondo Tees quickly shifted their gears to eventually become the place for limited edition prints from your favorite cult classics, contemporary films, television shows, and comics. Everything has one run and that’s it - instant collectibles. With growing popularity, Mondo opened its own gallery space in Austin, Texas in 2012. They continue to curate a line of amazing products for lovers of film, art, music, and toys.

Mondo is constantly pushing out original, artist-designed silkscreened posters while concurrently introducing the incredible work of several independent artists.

Olly Moss, Tyler Stout, Ken Taylor, and Martin Ansin are just a few of the early contributing artists that have aided in the creation of some of the most iconic Mondo posters. Mondo creates posters that defy what’s expected from your typical movie poster, concentrating its focus on creatively exploring ways to represent a movie rather than simply advertising it. From Akira to Star Wars to The Thing, every poster effortlessly captures the essence of each movie in the form of beautiful and captivating art.

The art is like no other movie poster, distinctly separating themselves by honing in a more illustrated aesthetic in comparison.

The aesthetic of each poster rarely coincides with that of the movie, which in itself

22 H E A D S H OT G E E K / / Is s u e 2

makes Mondo’s works more interesting and unique. The limits are pushed further through its collaborations with leading entertainment brands including DC Comics, Marvel, and Walt Disney Studios just to name a few, as well as with individuals like Quentin Tarantino and Guillermo del Toro to artistically translate their visions.

Each poster goes up for sale online at a designated time, and nowadays, sell out almost instantly. With such limited print runs, the abundance of collectors increases with each release. Although primarily an online presence, Mondo also continues to be an immediate destination for San Diego Comic-Con attendees. Last year they provided an early glimpse of things to come with the display of their first ventures into the pop culture toy business which included a 16-inch Iron Giant vinyl and the physical representation of Mike Mitchell’s “Lil Mikey” illustration. This year they delivered even more with artists like Kevin Tong, who showcased a holofoil Ant-Man poster, and a die-cut vinyl in the shape of the Superman logo coupled with the art of Justin Erickson. Mondo continues to do everything right to ameliorate its fanbases and audiences, constantly exploring more avenues to do so. They’ve even grown from hosting in-house exhibitions and exhibiting at cons, to hosting a convention of their own known as Mondocon.

2014 marked the first Mondocon festival, which celebrated everything that is Mondo from the art to the artists. Over 50 creative minds showcased their art, spoke on panels, and just interacted with their fans. Rare exclusives were presented, as well as a deeper

By Jeff Guerrero look into the production of Mondo exclusives. This convention also provided an outlet for fans and collectors to put a face to their collectibles, as well as provide an environment where everyone shared a mutualistic appreciation for all things art. With such a large turnout and success in 2014, Mondocon 2015 was a no-brainer and Mondo plans on it being even bigger and better than last year.

I mean, the exclusives that will be available at the con is in itself a reason to attend. We’ve got you covered with an exclusive list: • Mulholland Drive (Poster) by artist Kevin Tong • The Rocketeer (Poster) by artist Martin Ansin • Spongebob Squarepants (Poster) by artist Tom Whalen • Dracula (Poster) by artist Jonathan Burton • Black Swan (Vinyl) by artist Sam Wolfe Connelly • Army of Darkness (Vinyl) by artist Richey Beckett • Lil Mikey (Collectible) based on a design by artist Mike Mitchell The second celebration takes place on October third and fourth at the Marchesa Hall & Theater in Austin, Texas. If the massive lineup of world renowned artists hasn’t drawn you in already, the amount of screenings, panels, and other events will infest you with regret if missed. Regardless, it goes without saying that Mondo will continue to dominate the world of exclusives with its constant exhibition of passion through beautifully crafted art in multiple mediums.

Dracula by Jonathan Burton

Spongebob Squarepants by Tom Whalen

Army of Darkness by Richey Beckett

Mulholland Drive by Kevin Tong

Lil Mikey by Mike Mitchell

Black Swan by Sam Wolfe Connelly

H E A D S H OT G E E K // Is s ue 2 23

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