An activist from the International Solidarity Movement blocks IDF soldiers from shooting at protesting Palestinians in Gaza, saying “You’re shooting at kids, don’t you understand that? Just pull back!“
Klaus Weiss - Present News
Klaus Weiss - Scoria (1978)
Your kindly hosts Tucker Stone and Sean Witzke are back to talk about movies into the crevices god made in your skull for hearing. It’s a new Travis Bickle on the Riviera movie show! This episode we discuss only current films, which is a thing we do sometimes. Featuring: Pierce Brosnan in The November Man, Will Arnett in Teenage Mutant Ninja Turtles, a space raccoon in a space raccoon movie. Also, Tucker went to a short film festival. It’s all happening! Does anybody here remember laughter? COME BACK ZINC! The drums on “Hot For Teacher” are the greatest drums of all time. C H E C K I T O U T.
Next week: special guest(ssssss).
Michael Anthony is currently a sumo wrestler in Tokyo, Japan.
Some newly released stills from Donnie Yen’s new film, “Kung Fu Jungle.” Apparently, in this fight scene (set in prison), Donnie takes on seventeen other inmates.
It looks like a combination of “The Raid 2” and the Hong Kong prison movies of the early 90’s.
A380-800 nose wheels, ready for push back by tractors.
Scans of a 5-page piece I did for Wizard magazine way back in 1997, in a halcyon year that saw my first two mainstream projects dropping: Titans: Scissors, Paper, Stone for DC, and Gen13 Bootleg for Wildstorm (years before their purchase by DC). Yeahp, for a little while there, my comics career was kinda cooking, wasn’t it? Oh, well.
Anyhoo, the inherent joke of this "Basic Training" pseudo-tutorial was that I addressed the unfortunate stereotype of manga-influenced artwork being little more than “big eyes and speed lines” by, well, blithering about nothing but big eyes and speed lines! How very self-contradictingly metatextual, huh?
Note, by the way, that the pages were in uninked pencil because I was still working on Gen13 Bootleg at the time, and couldn’t spare the time to ink the damn things. This, alas, was long before I figured out the pencils-only technique I’d later use for Empowered (my ongoing “sexy superhero comedy” series published by Dark Horse Comics, he added parenthetically and shamelessly). Man, I don’t even wanna think about how much more work I could’ve cranked out back then if that approach had been known to me… Oh, well, again.
In closing, I should note that the text has a few slightly puzzling edits, including page 2’s cryptic addition of the line "That’s the main reason manga are in black and white," which certainly wasn’t my actual opinion. (And, for the record, I tried to avoid using the term "manga-style" about my work, period.) Beyond that, the rest of the text (and artwork!) hasn’t aged all that gracefully, but a few of the bits about speed-line usage might still be vaguely useful. Gotta say, back then I was always annoyed by American artists’ lame attempts at speed-line usage, as very few ever bothered to closely study their usage in manga (patterns, group numbers, fixed vanishing points, thick-thin vs. single-line-weight, moiré effects, branching out of black areas, motion blurs, etc).
"Themanati" by Anthony Ashcroft