So how does one go about getting a comic book published? This is the exact question we asked the following folks. Whether you choose to go the distance with a large established company like Dark Horse or delve into the world of self-publishing, a few things remain certain. Getting a comic book off the ground requires not only amazing talent, skill, and knowledge of the marketplace but also determination and an ego of steel.
Also, for tips on how to submit materials to a publishing company, see our compilation of Submission Guidelines compiled...
UCLA Greek literature professor Dr. John Rundin conducts a lively review of Disney's feature adaptation of the traditional Greek fairy tale.
Independent recruiter Pamela Thompson investigates where the industry's top recruiters look for their next hires.
Alice Carter leads us through a day in the life of the groundbreaking collaborative educational program, the ACME Virtual Training Network.
Tammy Glenn reports on California Governor Pete Wilson's proposal for a scholarship initiative to feed the industry's appetite for talent.
Steve Hulett of the Motion Picture Screen Cartoonists' Union (MPSC Local 839) reviews animation wages of the past, present and future
Wendy Jackson talks with the renowned Czech surrealist filmmaker upon the release of his new film and receipt of a lifetime achievement award.
Professor Paul Driessen relates his experience at the animation school of Kassel University in Germany.
I'd like to take this opportunity to introduce myself, and to share some of the background that motivated me to publish Animation World Magazine and motivates me still in our great and growing venture. I would like also to introduce my esteemed partner in AWN, and co-publisher, Dan Sarto. Dan is our technical guru and the spark behind the creation of the magazine. We have just begun our second year in publication, successfully reaching people in more than 100 countries who all share a common interest, animation. We are connected by our fascination, appreciation...
Commercials Many years ago, when I was an undergraduate student, I volunteered to transcribe an oral history interview with Hans Richter, one of the pioneers of European avant garde cinema, whose career dated back to the 1920s. One of the comments that stuck with me all these years was about an offer he had to make an advertising film. As he considered himself first and foremost an artist, he refused. Later, after seeing the resulting film, he was so delighted that he changed his mind towards working on such films. Today, with the likes of Spike Lee making...