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Frederik Schodt explains to Maureen Furniss a few aspects of the Japanese culture behind manga and its huge success.
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...
Michael Goldman probes the life and times of Marvel's exuberant creator of such titles as Spider Man, The X-Men, The Incredible Hulk and many more.
Compiled by Animation World Magazine and Dark Horse Comics. Before sending unsolicited work and ideas to a publisher, there are standards and specifications that one should know about to avoid the dreaded "unopened returned mail" response. Following are sample guidelines for submitting art, proposals and scripts to Dark Horse Comics, one of the industry's leading publishers. All guidelines herein are courtesy of Dark Horse Comics. Other companies will have different guidelines and regulations. Be sure to contact individual publishers for information. First...
UCLA Greek literature professor Dr. John Rundin conducts a lively review of Disney's feature adaptation of the traditional Greek fairy tale.
Dark Horse Comics, Inc. 10956 Southeast Main Street Milwaukie, Oregon 97222: I understand that you may submit the Submitted Material ("the Material") to third parties, motion picture studios, and distributors. I recognize the possibility that the Material may be identical or similar to material that has or may come to you from other sources. Such similarity in the past has given rise to litigation so that unless you can obtain adequate protection in advance you will refuse to consider the Material. The protection for you must be sufficiently broad to...
Mark Kausler reviews Serious Business: The Art and Commerce of Animation in America From Betty Boop to Toy Story, and has some serious problems.
MainBrain's Tom Mason (Dinosaurs For Hire), Steve Rude (Nexus) and Randy and Jean-Marc Lofficier (The Garage) describe their experiences in the world of development.
Mark Langer chronicles the evolution of one of the most enduring characters in animation history, the sailor man who got his start in comic strips.
As the world becomes smaller, individual countries' comics industries are changing. John A. Lent explains.
Developing an animated series or feature from a comic book might seem easy from the standpoint that the comic book would give a development team a solid starting point. However, developing a comic book into an animated property has its own set of special problems. We asked a select group of development executives, "What were/are the most challenging aspects of transferring a property from comic book form to an animated one?" While story plays an important role, it seems the actual shift in medium remains to be the most problematic aspect of the process. ...
Heather Kenyon introduces this issue with a focus on two hot topics in the comics world plus introduces two new features of the magazine.
AWM's report from the mother of all animation festivals includes A Booming MIFA, But For Whom? by Buzz Potamkin, and Annecy: The Long and The Short of the Carnival by the Lake in English and in French by French journalist and Annecy veteran Michel Roudevitch.
Brian Camp reviews The Complete Anime Guide , a Japanese Animation Film Directory and Resource Guide.