Felix Lorioux

Felix is a well-known French illustrator for numerous children's books. His talent was once recognized by Walt Disney and asked to illustrate mickey mouse as a marketing strategy in France but his handling was too 'artistic' for Disney's liking.

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Lines and colours
Animation archive



I see some Asian influence here...

或る旅人の日記

或る旅人の日記,translated as 'The Diary of Tortov Roddle' is a rather unique animation series which tells the surreal encounters of a traveller in a magical world. The pictures have bluish green tints and distinguished paper texture like an illustration book. There're 7 or 8 short stories of 3min each. 'Voice overs' are presented in text boxes as diary entries. The general atmosphere is quiet and toned down, despite all the fascinating, bizarre things he witnessed. I find it pretty relaxing to watch.

Some screen shots from the first diary 'City of light'










More episodes here

Official site

给本仁戻的集体慰问信

参加豆瓣的“本仁戻是我老大”小组后遇到少数邪教同好，人数不多但讨论热烈，质量远胜数量。群体给老大写信是柴郡猫发起的，筹划的过程我觉得更有意思：

2008-01-12 01:24:54 柴郡猫·2008·继续腐 (上海)
我请教了我专门迷恋并且追捧外国偶像的朋友，她说大家不用写很多信件，一人买一张明信片就可以了，从各地发出，邮戳不同，不仅有纪念意义，邮寄费用也不贵。
　　因为是大家各自邮寄，如果各位同意的话可以在明信片的角落上标上大家共同商议采用的属于我们小组的专属字样，这样可以让老大知道我们是有组织有计划的在做这件事。
　　一定用日语或英文。并一定要核对好语法及单词的准确性（必要时最好请会日语或英语的朋友一起核对。）
　　
　　大家觉得怎么样？还是说希望由我一并统发？两者我都没有问题，最主要的是保证信封地址的正确性，确保信能被老大收到……

***

2008-01-12 01:30:42 悍马-->gv狂人 (北京)

　　这样可以让老大知道我们是有组织有计划的在做这件事。
　　
　　==================
　　
　　这句好喜感。。。

***

2008-01-12 01:48:58 柴郡猫·2008·继续腐 (上海)

　　汗……是不是太党了…………
　　
　　我从没干过这等事不知道究竟是群发好还是分开发好……大家从长计议，群策群力…………

***

2008-01-12 20:00:30 猪肉馅饼儿 (Vancouver)

　　全靠悍马无比强劲的妈了！！
　　还没想好要写什么，再想想。。。
　　
　　关于群发，我们来接龙吧，大家看行不行啊
　　这里大概七八条走狗吧，假设标号1-8。由1发起写好明信片，寄给2，2写好了传给3，然后4、5、6、7。。。在周转了大半个地球后（若还健在），最后由8负责将贴满邮票、盖满邮戳、满是字迹、皱皱巴巴的有组织有计划性的集体明信片寄给老大。
　　
　　要不要试验一下呢？大家排个队。

***

2008-01-15 10:53:20 柴郡猫·2008·继续腐 (上海)

　　汗…………好吧好吧就这样，大家把明信片寄给我，然后我统一发给老大那个地址。这样既有大家的心意又比一张明信片环游全国更能能节省时间。
　　　　
　　既然这样我就自作主张地来做个募集人和发起人，希望你们表介意：）
　　　　
　　1、想发明信片或者信件的同学请务必要写豆油给我（这也是统计人数），我会回邮告诉你们我的地址。
　　　　
　　2、为了表示我们是团体作战，落款处写自己名字前请加上“本仁戻是我老大小组组员”英文字样。如：A Member of "Modoru Motoni is my boss" Group
　　如果是信件，可以在信件里附上自己的照片或者其他纸质小玩意。不宜过多过重。
　　如果是发明信片，为了不破坏明信片的完整性和收藏性（如果一张明信片的收件人是我而内容完全不搭界，想必很囧），如果愿意或者有可能的话请大家在外面套个信封，收件人写我（中文），但是明信片内容请写给老大的祝福（例如“Dear Modoru：I love U！I'll alaways be your slave,forever more……”等），英文或者日文。我会把所有东西收集完毕打包全部发过去并且存照。
　　　　
　　3、因为不希望活动拖得太长，本次收集明信片活动截止时间为2008年2月14日，2月14日我会去邮局发信（真是寓意深刻的时间啊XD）。
　　　　
　　就是这样一个细则，如果到后天晚上结束（1月18日的零点）还没有人提出异议，那我们就按照这个方案开始执行，请想参加的小犬们尽快给我写豆油获取地址并且尽快发信，其他就不再多做调整了。
　　　　
　　这是我们小组的第一次集体活动，可能有很多疏漏也有不完善的地方，不过相信我们的热情可以补足，等活动结束后我们可以进行总结。而且做人么，总是在一次又一次的摸索中进步成长的（就好比小美纪和阿光做了4次才达到和谐的嘛XDDDD)

***

好吧，我承认我做事很拖，在活动发起半个月后才动笔，现因国内暴雪不知能否赶到情人节前寄到活动HQ。

记录一下过程：

封面是PS过的小美纪和野狗看夕阳，小美纪喜欢喝可乐，野狗喜欢黑咖啡。


打在厚纸上切下来，发现刀不灵光了，划出去两次差点割刀手，惊险！


背面同人一张，临摹时深刻体会到老大的线条真是干脆硬朗啊，绝对不是我这个性格能画出来的。全靠google translate，写了一段我看着也很天书的话，希望是说“dear本仁sensei，我喜欢你，I'm your slave，永远爱你。我还在学日语，下封信会写得更好的。”署名“本仁戻是我老大”小组成员，以体现组织性、纪律性。


从08年的猫台历中撕出2月14和4月7日两天，情人节和老大生日，尽在不言中（肉麻）。


折叠起来插在背面了


立起来可以当台历哈，我真是天才！


现在就指望这情书能赶上大部队直奔老大出版社了。

苏州的雪积了十几厘米。同事的小孩儿上周出生了，大家说要起名叫“雪旺”，姓茅，叫茅雪旺成么？我觉得跟他爸“茅峰”有过之无不及。这雪是天灾啊，南方有人欢喜有人愁。今年冬天那么反常，祈祷过了年能有福来。

Basso

最近又迷上了欧式风味浓重的漫画家basso，很French，很小资。上传了她的插画，喜欢的人这里下载：YSI 。

Basso: http://www3.ocn.ne.jp/~orsi79

えすとえむ est em

很喜欢えすとえむ est em的简约式画风，线条饱满有力，喜欢红白黑这种欧式gothic搭配。我把她的画都存下来了，归罗在一起看时禁不住想，若有人看到我收藏这些（这些多指牛头人身或人头牛身、流着鲜血的绅士，身着大摆褶子裙的男舞者）会觉得我很危险？

作者的小窝


简介：
名：えすとえむ
生日：4.2
血型：A
喜欢：火箭、飞机、船、自然的蓝色、足球、奥林匹克、白熊、马戏团、银幕、雷、斗牛、绅士靴
寻人：名叫Elvis的fashion model

贴几张图，版权えすとえむ est em所有



Twins

Nina Parley's Sita Sings the Blues

http://www.sitasingstheblues.com

Trailer


Battle of Lanka


很可爱，风格上有点印度版蔡志忠。。。 用4年时间做出的flash，入围了Berlin International Film Festival。

官网上贴来的图片和简介

Sita is a goddess separated from her beloved Lord and husband Rama. Nina is an animator whose husband moves to India, then dumps her by email. Three hilarious shadow puppets narrate both ancient tragedy and modern comedy in this beautifully animated interpretation of the Indian epic Ramayana. Set to the 1920's jazz vocals of Annette Hanshaw, Sita Sings the Blues earns its tagline as "The Greatest Break-Up Story Ever Told."

Pixar: One Man Band

This's the most hilarious among all the Pixar shorts I've seen so far... And the characters are so cute!

From Wikipedia

One Man Band is Pixar short film. The film made its world premiere at the 29th Annecy Animation Festival in Annecy, France, and won the Platinum Grand Prize at the Future Film Festival in Bologna, Italy. It was shown with the theatrical release of Cars.

The short was written and directed by Andrew Jimenez and Mark Andrews and produced by Osnat Shurer, head of Pixar's Shorts group. The score for the short was written by Michael Giacchino, who also composed the score for Pixar's animated feature film Ratatouille.

Like many Pixar shorts, the film is completely free of dialogue, instead using music (played by the characters) and pantomime to tell the story.

On January 31, 2006 it was nominated for the Academy Award for Animated Short Film, but lost to The Moon and the Son: An Imagined Conversation by John Canemaker and Peggy Stern.

井上雄彦NY现场壁画

之前犹豫要不要买他那本water画集的，看到这个后决定还是买！！本尊长的很阳刚啊，和slam dunk里的热血男儿一个模样。

转载转载，原新闻来自Anime news network，翻译by南方动漫网。

井上雄彦献给纽约漫迷惊喜！黑板画后水墨画！














继2004年创下“连续24间高中教室黑板漫画”的空前创举之后，知名漫画家井上雄彦在16日飞抵美国纽约，受邀在全新开募的纪伊国书店花了3天时间亲笔绘制了三幅《浪人剑客 Vagabond》巨幅水墨壁画！

这是来自《Anime News Network》的新闻。日本知名连锁书店纪伊国书店为了庆祝座落于美国纽约Bryant Park的纽约市旗舰店将于19日开幕，特地邀请国际知名漫画家井上雄彦为店内2楼空间的3面墙上作画。其实，会邀请井上老师前去共同开幕还有另外两个原因：第一个，是正在北美发行的《周刊少年Jump》漫画杂志官方英文版确定将以全彩+二色印刷的方式于12月开始连载《灌篮高手》英文版，第二个原因，则是北美知名漫画代理商Viz宣布将在2008年7月正式发行《REAL》英文版漫画单行本。

这三幅水墨壁画，总计花了井上老师3天时间完成，并且顺利在19日的纪伊国书店－纽约市旗舰店开幕式典礼中正式公开。想观赏其他更多照片请参考《Anime News Network》新闻。除此之外，井上老师也愉快接受记者专访。

专访重点摘录如下：

1. 虽然《灌篮高手》表面上是个篮球漫画，但井上雄彦真正要传达的是一个人如何藉由参与某项运动而从中获得体验与成长。

2. 井上雄彦高中时期参加过篮球校队，但自嘲球技并没有很好。即使《灌篮高手》连载完结之后，他的球技还是没有多大进步(笑)

3. 提到日本首位进军NBA的职业球员田卧勇太，井上雄彦对他充满尊敬与敬佩之意。

4. 决定推出纯黑白色调的浪人剑客画集《墨》，井上雄彦认为跟今日主流的彩色画集相较之下，《浪人剑客》惯用的技法使他更能够完美诠释每张画稿。所以井上雄彦才会在推出彩色画集《WATER》之后，坚持一定要推出这本黑白画集。

5. 井上雄彦是应坂口博信之邀而对XBox360最新游戏《Lost Odyssey 失落的奥德赛》进行游戏人物设计。

在受访的最后，井上雄彦表示“当你画漫画的时候，你总是必须坐在桌前一个劲儿地作画，更何况我已经持续这样好多年了。而这里(书店的墙壁)则是给予我一个前所未有的作画环境，瞧、一个超大画布！这样的变化有助于刺激我诸多灵感，而且这些新灵感将能够在我打算进行下一部新作品时派上用场。大师的一举手一投足，满是风采。住在New York的朋友们可别忘了前往那家位于Bryant Park的旗舰店、亲眼目睹大师画作啊！

Ponyo theme song

Ahhhh, the gold fish princess is SO CUDDLY AND CUTE!!

Miyazaki's gonna recreate the magic of My neighbour the Totoros!

Shinkai

After watching the cast interview for 'the place promised in our early days', I have a better understanding of Shinkai's aesthetics. Not a whole new understanding revealed in torch light, but rather an reinforcement of the elements that are already evident in his movies.

He said he used to stare out of the railway train for hours and hours wanting to catch everything. There's always something new to see. So he was bound by a nostalgic childhood scenery that becomes an recurring motif. I guess there is indeed something wonderful and meditative about rusty railways nestled quietly in road grass, appearing blotchy and flickery under warm sunlight. The place isn't for trespassing, except when trains whoosh through with the old chunky chunky rhythm. The two parallel lines could lead you somewhere, might be better than where you stand. Most of all the air smells of a slightly baked summer.

Opposed to a preformed image I have of him, shy and taciturn, Shikai is actually rather outspoken and he talks in 1.5x average human speech pacing (make it 2.0x when he gets carried away). Still I look at him and couldn't help thinking, this's a sensitive guy who makes feminine, monologue movies where voice overs make up for the lack of actions or a solid story plot. Sometimes I wonder if this 'shortcoming', which forwards itself as a trademark rather than an outstanding defect, can be easily brushed aside. There's no limitation to the type of medium a director chooses to fulfill his artistic needs, but there seems to be too much abandon in the code of free expression. It's the same thing when I look at modern art. The spotlight is on 'the concept' while traditional craftsmanship, the solid skills easily slip unnoticed. Call it heavy make-up?

It would be better if Shinkai could do more than a bunch of nostalgic feelings and pretty screensavers.

Byousoku 5cm | 秒速5センチメートル

Info@Anime News Network

For fomality's sake, here's the introduction. Byousoku 5cm (or 5cm per second) is a chain of stories composed of 3 episodes telling a romance story of two childhood friends growing apart geographically because their parents are on constant move but they never stop seeking the shadow of each other. The ending is rather maudlin and sour.

If you're familiar with Makoto Shinkai(the director), his story-telling is very introverted and is based on a large amount of soliloquy pouring out melancholic thoughts for the loved one. Byousoku 5cm is what I take to be very personal and might work effectively for teenage audience who share an experience of tender love, but technically and stylistically, this production is a stand still compared to 'the place promised in our early days', his previous animation feature movie. Background design bears the trademark of soft warm light, classrooms, cherry blossoms, panorama views of grasslands swinging in the wind, all matching well with his romantic slash but none of it goes to his credit. You can't possibly pull the old tricks tirelessly without dulling my senses. Too much sentimentality can be a deadly weakness. At least I don't want to see the wine brewing and brewing till it turns vinegar.

The movie is best summed up in the ending song, some 7min long clip which succinctly concentrates the essence of all 3 episodes.

'I've been looking for you everywhere, in places where I know you don't exist. ' There's something heart wrenching about our foolishness in holding on to an ideal that remains an ideal. We so often refer to such relentlessness as 'youth', thinking it's untainted and beautiful.



Lyrics from Hunting the Elusive

One More Time, One More Chance
Writing: Masayoshi Yamazaki
Arrangement: Toshiyuki Mori
Transliteration and translation: daike
Translation support: Emma
Translation edit: icie

How much more do I have to lose, before my heart is forgiven?
How many more pains do I have to suffer, to meet you once again?
One more time, oh seasons, fade not
One more time, when we were messing around

Whenever we disagreed, I would always give in first
Your selfish nature made me love you even more
One more chance, the memories restrain my steps
One more chance, I cannot choose my next destination

I’m always searching, for your figure to appear somewhere
On the opposite platform, in the windows along the lane
Even though I know you couldn’t be at such a place
If my wish were to come true, I would be at your side right away
There would be nothing I couldn’t do
I would put everything on the line and hold you tight

***

If I just wanted to avoid loneliness, anybody would have been enough.
Because the night looks like the stars will fall, I cannot lie to myself.
One more time, oh seasons, fade not.
One more time, when we were messing around

I’m always searching, for your figure to appear somewhere
At a street crossing, in the midst of dreams
Even though I know you couldn’t be at such a place
If a miracle were to happen here, I would show you right away
The new morning, who I’ll be from now on
And the words I never said: “I love you.”

***

The memories of summer are revolving
The throbbing which suddenly disappeared

I’m always searching, for your figure to appear somewhere
At dawn on the streets, at Sakuragi-cho
Even though I know you couldn’t be at such a place
If my wish were to come true, I would be at your side right away
There would be nothing I couldn’t do
I would put everything on the line and hold you tight

I’m always searching, for fragments of you to appear somewhere
At a traveller’s store, in the corner of newspaper,
Even though I know you couldn’t be at such a place
If a miracle were to happen here, I would show you right away
The new morning, who I’ll be from now on
And the words I never said: “I love you.”

I always end up looking for your smile, to appear somewhere
At the railroad crossing, waiting for the express to pass
Even though I know you couldn’t be at such a place
If our lives could be repeated, I would be at your side every time
I would want nothing else
Besides you, nothing else matters

Satoshi kon's Paprikia

Paprika Official Sony Picture Site



US. Theatrical Trailer


Paprika literally means a spice made from grounded red bell peppers (ref. wiki).

'You can't tell dream from reality' has been a signature motif of Satoshi's kon's films. Paprikia is a come-back of Paranoia Agent.

Skipping over synopsis and trivia, there's something else that interests me. I can surely smell Shinichiro Watanabe! But can it be he has anything to do with this film?? The old cast of cowboy bebop is back and I'm glad I can distinguish their voices without peeking at the credit. Dr. Chiba is voiced by Megumi Hayashibara (Faye) and Dr. Osanai is voiced by Koichi Yamadera (Spike). Take a close look at the character design of Dr. Chiba who looks like a female version of Jin (Samurai Champloo) =D The heavy appearance of parades and dolls, and extensive philosophical quotes draw you back to Ghost in the Shell. Deja vu?

The opening credit is absolutely enjoyable. You see Paprika dashing between dream and reality, blending into objects and appearing from thin air. Detective Konakawa's reoccurring dreams retold in slightly different twists and progressions is another notable highlight. His rendezvous at radioclub.jp bartenders who brought a final message from Paprika closed the film perfectly. After all, it's a Satoshi film which means it's another provocative approach to acute social problems and human emotions. Although I'm not sure with the term 'superflat', I think Satoshi's manipulation of animation to deal with consumerism culture is a forerunner of such motif.

And yes I'm very touched when the ghost of Chiba reveals her love for Tokita, a bear sized fat genius scientist who invented DC mini. Unconventional but sweet!

But again watching Paprika is a head spinning dream experience since psycho patients are talking gibberish and there're absolutely no rules in dream states. That's why animation's probably the best medium to express it!

All photos are taken from Paprika Sony official site. Credits go to the artists and sony picture classics. (This movie is rated R)


Konakawa's dream in which he was caged on a circus stage and a crowd bearing his face swarmed and screamed his name.


In the finale, a void appeared connecting dream and reality. The world was greatly disturbed.


Director Shima's subconscious world was invaded by a big parade. And look at that doll?! Doesn't it look similar to GITS the movie? I'm compelled to conclude Japan is a doll fetish nation...


more dolls and cyborgs


Paprika venturing into a deserted site


I love how Paprika's dressed up in spicy red with that classic oldie hairdo!


Dreams and butterflies ALWAYS go together. Talking about creativity people!!

我们这一家

Sherry介绍的一系列动画片叫“我们这一家”，超级搞笑的家庭笑话。那一家人姓“花”，花家有两个小孩，姐姐叫“橘子”，弟弟叫“柚子”。妈妈长得像恐龙，爸爸像狗熊。搞笑的不行，还蛮有生活哲理的。而且我觉得很多事情自己也都有相同经历，特别是剪头发，买衣服和备考那几集，哭笑不得。强烈推荐！！



Youtube上搜繁体的“我們這一家”，台湾配音，配的很可爱。

橘子的小睡时间（相信大家都有强烈共鸣）



================
动画资料存档 (原文 这里)



== 漫画==
《我们这一家》（あたしンち；ATASHIn'CHI）是日本一部以小家庭成员为中心，表现出日常生活中所发生大小事为题材的漫画与动画作品，原作者为Eiko Kera（けらえいこ）。

最初自1994年6月起，以多段四格漫画组成一回，每回共23格的形式，在《读卖新闻》的星期日版以全彩方式连载，直到2006年3月为止；作品受到不同年龄层读者的欢迎，并于1996年获得文艺春秋漫画奖，2002年获得手冢治虫文化奖。单行本自1995年开始由MEDIA FACTORY出版，目前出版至第12册（至2006年11月）。中文版由东立出版社发行，台湾、香港目前均出版至第12册（至2007年2月）。


== 动画与剧场版 ==
电视动画版于2002年4月开始在朝日电视台播放至今，每周六播出一集，目前已经播出208集（至2006年12月）；台湾的台视、东森综合台与中视，以及香港的无线电视儿童台与翡翠台（2006年12月起在《放学ICU》中播放）也先后播放过电视动画版。另外并由东映制作剧场版《映画 あたしンち》，于2003年12月在日本上映（不过由于票房不如预期，因此至今未有再次制作剧场版的计划），台湾预定于2007年2月9日上映。


== 情节简介 ==
花家，居住在东京近郊城镇，个性看似互异却又有著些许共通点的一家四口，就像是众多小家庭的缩影。不管是家庭当中的生活百态，与同学、友人…等周围人们的日常互动，或是个人的心情起伏以及对事物的各种感受…一个又一个贴近日常生活，平凡中趣味横生的大、小故事持续上演著…。


== 花家 ==
* 花妈（母　配音：日本→渡边久美子；台湾→王瑞芹；香港→雷碧娜）
九州人，标准的家庭主妇。个性相当拚命而固执，总是对一些鸡毛蒜皮小事极为在意，还会为此和橘子、柚子争论不休。坚持“能省则省”的原则，十分贪小便宜和讨厌浪费，不管是吃的、穿的还是用的都不例外。此外也经常将自己的行为合理化（特别是在被人发现自己言行不一时）；对于事物的情绪和动作反应有时也非常夸张。不过倒是经常表现出对爸爸特别在意或包容的心情。

* 花爸（父　配音：日本→绪方贤一；台湾→孙中台；香港→陈永信）
九州人，中年上班族。个性沉默寡言，我行我素，行事作风上有著传统的大男人风格。平日忙于上班与应酬，对于其他事情总是兴趣缺缺，不怎么关心。不过，对于妈妈的奇特或夸张行为，却经常抱持著看笑话的态度，当作娱乐看待，事情影响到自己的时候才会突然生气，而且变得没有耐性和暴躁。有不少怪癖，像是上厕所不关门、酒醉回家后随便打包家里的东西准备丢掉、喜欢把饭碗放在比饭碗小的东西（像是酱油瓶）上等等。

* 橘子（立花みかん（たちばな みかん）　配音：日本→折笠富美子；台湾→林美秀；香港→林元春）
高中二年级学生，由于个子比较矮小的缘故，曾被人误以为是初中二年级学生。个性大而化之又带有一点迷糊，有很多天马行空的梦想，也很喜欢自己一个人做白日梦。经常因为在一些小事上和妈妈意见相左而斗嘴，有时也会因为某些事情而被弟弟抱怨。因为喜欢泰迪熊，所以加入了学校里的“泰迪熊研究社”。

* 柚子（立花ユズヒコ（たちばな ゆずひこ）　配音：日本→阪口大助；台湾→雷碧文；香港→周文瑛）
橘子的弟弟，初中二年级学生。个性细腻、害羞而纯朴，有著深奥的内心世界而很少说话（没有说出来的“内心话”特别多），有著较他姊姊成熟的思想，不过也经常会被妈妈和姊姊有意或无意的行为、言语刺伤。看到妈妈和姊姊作出一些在他看来相当怪异的举动时，暗地里常会戏谑地说“没救了”，而相比起橘子，他是一个十分爱整洁的男孩。因为觉得同班同学石田百合的一些奇怪动作很好笑，所以对她有点好感。非常喜欢听音乐，也有一位喜欢的偶像，名叫丸野丸美。

== Links ==
MEDIA FACTORY我们这一家漫画单行本列表 （日文）
朝日电视台官方网站 （日文）
Shin-Ei动画官方网站 （日文）
Eiko Kera（けらえいこ）网站 （日文）
木棉花"我们这一家"介绍网站（正体中文 - 台湾）：第一季／第二季／剧场版
东森电视第一季介绍网站 （正体中文 - 台湾)
台视介绍网站 （正体中文 - 台湾）
中视介绍网站 （正体中文 - 台湾）
批踢踢BBS我们这一家讨论区 （正体中文 - 台湾）
香港Uwants讨论区我们这一家讨论区 （繁体中文 - 香港）

咎井淳 (Jo Chen)

很早前就接触了这个漫画家，曾误认为是个韩国人，后来又误认是日本人，原来是台湾同胞。看了半天“他”的作品发现，啊？？原来是“她”！标准一个美女画家。这一连串的误会大了，不仅仅是我个人这么认为。这也算是偏见吧，谁说好的漫画家就一定要在日本了，又谁说画少年漫的都是男的了！初识咎井淳大概是高中，很欣赏她网站上贴的几张铅笔素描，洗炼的笔法让人觉得执笔的定是个性格分明的人，筋骨突兀，画的相当流畅且有力道。后来有这么一两年没关心过这个人了，最近看到新动向，似乎她在美国市场也打下个小天空，开始兼职画插画。像Buffy the vampire, Runaways几部有名的卡通杂志都是她负责画的扉页，最有名的是Fable游戏的封面设计，算是她在美国观众中的立名之作。Sherry看到后惊讶不已，继而愤愤不平说“NND，Fable是她设计的！”。愤愤不平有几个原因：性别误解，当意识到作者是和自己一般的女性时有强烈的反差和挫败感；再来，对于一个亚洲人单枪打入欧美市场觉得是很了不起的成就；又，问及咎井淳芳邻，和我们是同一辈的，绝倒！敢问你现在在做什么，人家在做什么，画功上的差距需要多少光阴填补？？

黑白画来说印象最深的就是她的透视，很不寻常的取镜角度。牛逼的漫画家最喜欢画超难度的死角，标新立异的同时毫不掩饰的向你炫耀“怎样，你画不出来吧？”。采访中她说，她也没怎么练习，透视是天分，这更让人受刺激！

贴些资料和图上来。



笔名：咎井淳
外号：G.P、饭桶
籍贯：浙江省诸暨县
学历：复兴商工毕业，目前在NORTHERN VIRGINIA COMMUNITY COLLEGE学习正统美术。
生日：7月4日
星座：巨蟹座
血型：容易紧张的A型
个性：少根筋、冒失、一着急就开始胡言乱语、乐天，但有时会为无聊的芝麻小事钻牛角尖、容易想入非非、喜欢倒胃口的话题
嗜好：听摇滚乐、弹吉他、看电影。
如何进入漫画界：同人志
首次发表处女作：《无聊剧场》、《维纳斯童话》（金星战记同人志）
最欣赏漫画家：安彦良和、多田由美
愿望：儿时想成为漫画家，现在想成为暴发户
最喜欢的运动：曾经喜欢篮球，现在偏好不动
最喜欢的音乐：CLASSIC ROCK（60－70年代）
最喜欢的歌星：NUNO BETTENCOURT
最欣赏的影星：艾尔柏西诺
影响最深的人：姐姐
最喜欢的颜色：黑、蓝
最喜欢的服饰：T-SHIRT、牛仔裤、靴子
主要作品：《镜子的另一边》

Links

• Official site of Jo Chen
• Jo's Wiki page
• Jo Chen's MySpace page
• Cover of the first issue
  
• Previewof the Robotech: Love and War miniseries
• Inteview with Jo Chen about XBOX FABLE game

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专访漫画家咎井淳 (摘录自东立星少女1998七月号)

颓废风吹袭漫画界，跳槽到商业志的同人漫画家咎井淳，刚出版的首作《镜子的另一边》，也采取颓废风，内容描述一对在纽约黑街相遇的落魄情侣，同病相怜的故事，画风充满冷冽的色彩。

亲眼见到咎井淳时，觉得她和这种超酷的风格完全不上线。长发及腰、身上还穿着件超人T恤的她，话匣子一开，遍劈哩叭啦的停不了口，丝毫不见作品里阴沉的气氛。怎么想到这么严肃的题材呢？咎井淳自称是："为赋新词强说愁'，耍酷而已。"

从国小便开始画画的咎井淳，国中便混进同人界，二十三岁的她，还是同人社团"秘密结社"的正式社员。"其实，我以前都画打杀搞笑的少年漫画，最喜欢的是安彦良和的《金星战记》、《亚利安》，《钢弹》之类少年漫画，即使中学时上了女校，没有女同学要鸟我的作品，我还是爱画。"连她也没想到，日后她竟然会以冷冽画风发表商业志。

从同人创作者跃上商业志，有何不同呢？ "专业画家有稿压，我曾边哭边赶稿，虽然赶出来后心里会很爽，毕竟还是不一样。"因此咎井淳建议同人志玩家："要恶搞就要彻底，能玩的时候尽量玩！"虽然被爸爸骂虚荣，她还是从美国搭飞机回来举行签名会，移民已有五年的她，和漫迷们面对面时，紧张的连名字都签错了，让签名会拖拉了超长的时间。

想看看镜子的另一边有什么吗？咎井淳邀你来分享一个同人画家的成长。
星少女专访
文：张正颖

上午11点，咎井淳踏着轻快的脚步迈进编辑部，穿着一件简单的深色上衣、一件LEVIS牛仔裤，背着一个小背包，提着一个大画袋，一头长发随着她走路时特殊的节奏微微飞扬，大大的眼珠闪着点点亮晶晶的光芒，对于这次访问似乎相当的兴奋，这样的"咎井淳"形象和小编的想象中那个画风透明冷冽，空间感十足的"咎井淳"，几乎无法作同一个人想象。但从她闪亮眼神中暗藏着的沉稳中，似乎又隐约看到了"镜子的另一边"的影子。


小编："咎井淳"，我一直觉得你的名字很特殊，有什么特殊的意义吗？
咎井淳：哈哈，这个名字是翻字典凑出来的！！因为当时我相当喜欢上条淳士，所以那个"淳"就是上条淳士的"淳"；而"咎"这个字......我很喜欢它，觉得这个字很美；至于"井"嘛......，因为当时不知道"咎"、"淳"这两个字该怎么连接，于是我姐姐说"就用‘井'字连接吧！"这就是我的比明"咎井淳"的由来。


小编：刚开始我还以为"咎井淳"是个日本人。
咎井淳：变成很像日本人的名字；我也是史料未及的。（哈、哈）其实，我父母是有"仇日情结"的。因为受到父母的影响，小时候还曾经发生过一件很糗的事！有一次姐姐在买"贝露莎"的卡通原声带（......记得这部卡通吗？），我还跪在地上大声哀求姐姐"不要做汉奸！"（哈、哈）搞的整家店的顾客全都再看我们，好糗喔！


小编：你姐姐对你的影响很深？
咎井淳：对。我喜欢漫画、会入这一行，都是受她的影响。对我来说，姐姐就像是个"启蒙灯塔"一样。小时候，我们就常常拿着一大张白纸，我坐一边、姐姐坐一边，先设计出几个人物；姐姐会先就其中几个角色安排他们之间的剧情、发展、对话，之后便轮我安排我手上角色的剧情、发展、对话，有点像"纸上即兴创作"，这也是我创作的起源。


小编：姐姐是你的漫画导师？
咎井淳：其实不仅只漫画、连在生活上都受她的影响很深。今天能有这样的"咎井淳"她也是最大功臣。我和姐姐之间就像"光与影"（当然，我是影。）无论画漫画、买日本漫画杂志、加入同人志社团......，姐姐总是站在我的面前，为我披荆斩棘的开出一条光明大道。我认为，在创作的摸索过程中是需要被鼓励的，不能对一个初出的创作者太严苛，对我而言，姐姐就扮演了这样的角色，在我年纪小、绘画技巧还不好的时候，她总是一直在旁边鼓励我；让我有信心走到今天的地步。


小编：你现在的画风色彩相当类似多田由美，受她的影响很重？
咎井淳：嗯......我是个很容易受环境影响的人，喜欢的作品风格会很容易的表现在自己的作品里。国小的时候很喜欢安彦良和（金星战记、亚利安等等），当时的绘画风格就很"安彦"，很少年；长大一点之后，因为姐姐的关系也喜欢上条淳士，大概有一年的时间，我的画风都受到他的影响，大约在同人志时代，当时读者还认为我的作品"线条很流利，可是人好丑！"！之后，又从ASUKA杂志上发现了多田由美，让我大为惊艳！！现在的作品视角、取景风格，受她的作品影响相当大。


小编：你创作的灵感从哪里来？
咎井淳：梦。（小编呈现呆滞状）真的！我觉得梦是属于每个人最独一无二的东西，在我的床边有一本"梦笔记"，记录我作过的梦境，我的很多短篇的作品都是由我的梦境发展出来的。


小编：你的作品分镜相当流畅、空间透视相当立体，一般所谓的少女漫画风格中算是相当特殊，在这方面是特别受了谁的启发吗？
咎井淳：我的空间透视是一种直觉上的天份，并没有特别学习。但是以后会学习一些摄影方法，让自己的透视感更好。至于分镜方面......应该是受到电影的影响吧！


小编：你喜欢什么样的电影？
咎井淳：我喜欢充满异色、潮湿、古老气息、仿佛颓圮的街头死角般的电影。像"龙族战神"（李国豪主演）、the city of lost children等等。或者是黑色幽默的电影，像昆汀塔伦堤诺"黑色追缉令"或卢贝松的电影我都很喜欢。


小编：你喜欢的电影和你的作品感觉很像。
咎井淳：我很容易受环境影响。（哈）现在在美国我每天不是画漫画、看电影、就是看影集。有两个影集是我必看的：X档案和NYPD.blue。（此时小编的眼睛突然亮了起来，两个人开始讨论X档案的剧情，访问因此中断。）


小编：（咳、咳！）嗯......你喜欢的创作类型是什么？
咎井淳：我觉得一个创作者应该尝试不同类型的创作题材，再从中发现最适合自己的类型。像我之前比较擅长幽默搞笑的作品，在"龙少年"上的短篇"森林奇谭"就是一部那样的创作；或者是人生历炼还没到一个阶段，对于情感戏就完全不行，这篇"镜子的另一边"是我第一次尝试这样类型的作品。

小编：你当初创作这篇故事的动机是什么？为什么要叫这个名字？
咎井淳：这其实是我和表妹一同讨论出来的东西。因为之前大部分只画短篇作品，这是第一次尝试长篇的东西。或许是现在我的生活环境的文化冲突的影响吧，让我开始思考有关"认知"与"存在"的问题，所以才有这一篇作品。由"镜子的另一边"这个篇名就代表了这篇作品的主旨。我希望藉由一个性格晦暗的男主角，面对事情的态度，来讨论人类思想的价值观念。"幸"与"不幸"是一体两面，而镜子代表了所见世界的藩篱，一种人类价值观的认知。人的命运往往是自己造成的，遭遇事情的时候，男主角往往只看到"不幸"的那一面，并没有发现，只要跨过那面"镜子"
又能发现另一个世界。


小编：最后，和所有的读者说句话吧！
咎井淳：这篇"镜子的另一边"是我第一次尝试的类型，很多不成熟的地方希望大家多多包含，多多给予我鼓励，我会继续磨练画技、多多充实，会创作更好的作品让大家欣赏，请大家拭目以待！

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Sketching a Fable - The Jo Chen Interview(Original article here)

Written By: Jewels

Posted: 05/25/2004

Photography: Photograph courtesy of Jo Chen, Box Art by Jo Chen and courtesy of Microsoft Game Studios

One of the most up-and-coming Manga and comic-book artists in the U.S. is Jo Chen. More recently known for her Racer X comic-series work, Jo had the opportunity to work on the packaging art for the highly anticipated Xbox game Fable, due out this summer. From publisher Microsoft Game Studios and developer Big Blue Box, Fable is one of the most hyped and long-awaited video game releases of 2004. The promotion story for the game states: “Fable is a ground-breaking role-playing adventure game from Peter Molyneux, in which your every action determines your skills, appearance, and reputation. Create your life story from childhood to death. Grow from an inexperienced adolescent into the most powerful being in the world. Choose the path of righteousness or dedicate your life to evil….” JIVE Magazine had the chance to discuss the new game’s box-art development with Jo and share how it differs creatively from any other type of comic-art project. You can find out more about Jo Chen and browse her galleries at www.jo-chen.com.

When did you first learn about the game Fable and how did the package-art project come about?

Todd Elhart of Hubris Studios contacted me in the spring of 2003 and pitched the idea. We had a couple of initial telephone conversations in which he described the game and what he had in mind for me. At first, he only wanted me to illustrate the packaging. But as the scope of the project expanded and became clearer, they asked me to do an Xbox Fable magazine cover and some promotional stuff like point-of-purchase art and in-store stand-ups. They even asked me to work with the British developers on the menu guts for the game itself, but that was too much for me to accept given my other commitments to D.C. and Marvel for cover work.

How did you develop your first ideas for the artwork? Were you given a prototype of the game to play or something else like storyboards? Also, how free were you to express your own creativity in terms of how the characters on the box looked?

The developers already had some pretty concrete ideas about how the characters should look. They sent me some pre-production art and some screen captures of the game itself to work from. The main illustration on the front of the packaging was undecided. The original idea for the package, I think, was to show the clean-cut protagonist dressed for war, with his arms folded in front of him. I honestly can't recall if they were already toying with the idea of the boy staring into rippling water and seeing a reflection or not. In the end, it was agreed that the most dramatic piece would be the wide-eyed, innocent boy starring at the reflection of the evil, leering adult. I did some rough work that was apparently well received and I remember participating in a nerve-wracking phone conference with the guys at Hubris, some designers in London (from Big Blue Box, I think), and some Microsoft personnel. I was so nervous and often I couldn't discern who was speaking or if they were addressing me. As a result, I often spoke out of turn, confusing everybody. In hindsight it was comical, but at the time it wasn't. I'm no good in those types of situations. Most of the time, the developers and Microsoft would relay their likes and dislikes of my work through Todd at Hubris, who would then convey them to me, whereupon I would modify the paintings accordingly. For the most part, I had a free hand rendering the established characters in my style. Conversely, I was constrained by some design concepts that had already been approved before I came aboard, such as armor and weaponry. Mainly, it was my style of drawing people that they were after.

What are some of the things or styles of the characters you would have changed if you were free to do so?

If I had had complete freedom and creative control, I probably would have changed some things. The current packaging's focal point is the little boy, despite the antagonist's presence in the murky reflection of the water. I might have made the villain the locus of the piece. In fact, I did one sketch of the metamorphosis of the main character in which each incarnation is breaking through the shell of the previous incarnation, something like a moth breaking through the shell of its cocoon, only several iterations occurring in the same illustration, depicting spiritual and physical devolution. But this is all just personal preference. In fact, the final painting I did that appears on the box, we all agree, captures the spirit of Fable very well.

Do you enjoy creating characters or drawing existing characters more? Which is more difficult for you?

Of course I thoroughly enjoy putting my mark on existing characters like those in Fable and Batman and Robin, etc., but I love and live for creating my own characters and my own stories. And although it's much harder, it's extremely rewarding. I've been so busy painting for other publishers that I've let my own stuff languish, which I regret. But all that regret goes sailing out the window and is forgotten when somebody approaches me and tells me how much they like my work on Fable or The Runways or Street Fighter. It makes me so happy to hear that my art is appreciated and it keeps me out of the emotional troughs. I've come to the conclusion that I need to work on a mixture of existing characters and my own. Professionally, it's a nice, healthy balance.

What is your typical process of creating such an art piece and what type of technology do you use?

First, I usually create multiple rough—very rough—thumbnails from which I or my editor can choose. I hate drawing something infinitely detailed and then having to return to it over and over again to modify it as suggestions are made. It's a lot of unnecessary work and slows down the entire process tremendously. From the thumbnail, I create a larger rough pencil and ensure proper perspective and dynamics. Then I sketch a detailed pencil, with sharp lines, which gets scanned into Photoshop, where I apply base colors. All of the actual painting (i.e., brush strokes) occurs in Painter. In fact, I keep both programs open simultaneously and toggle between them to work on a piece. Many people ask me how I create these images, thinking this is a filter or some effect in Photoshop or Painter. But the images really are paintings. I paint them exactly as I would paint in oils or acrylics. The brush strokes are real and done with my graphic stylus rather than a brush. Only the special effects, like neon, lightening, or auras, are done with software gimmickry. The biggest advantage of this process is that I'm not covered in dabs of colored paint, smelling of turpentine and linseed oil. On the other hand, the disadvantage is that there is no original physical canvas since it is a digital image. I can never really have a gallery exhibition of my work that isn't composed of prints.

After completion of your first draft of the work, how many iterations occurred due to input from the developers or publishers of Fable before it was finalized?

Quite a few. However, the modifications were usually small things: making the eyes wider, making the thumbs bigger, making the dagger sharper and more sinister, etc. By far, the most difficult piece of art for me was the rippling effect in the water. I wanted to keep the package illustration as a one layer file in the software, but the requirements dictated that different characters had to appear in the reflection of the water, beneath the boy, for different promotional purposes. In the end, the artists at Hubris lent a hand in manipulating the ripples after my various illustrations were applied. There was no simple way around the problem, and it was a bit of a headache, but challenges are always good.

What is the hardest thing about doing artwork for a video game as opposed to other types of projects? And likewise, what is the easiest?

The hardest thing about games is that because of the size of the investment, a greater number of people are involved and have a say in the final version of the art. You have to please everyone: the developers, the marketers, the distributors. That said, the easiest thing about working on a game are these same people. They are artists, too, after their own fashion and everybody has a hand in creating the product. With Fable, everybody couldn't have been nicer—Todd Elhart at Hubris, especially. He really gave me a free hand, or at least the pleasant illusion of a free hand, and for that I am grateful. I would love to work with him again. The creative process on the whole, at least for me, is pretty much the same with any type of product. With comic books, I usually deal with a single editor, or an assistant editor, who rarely contacts me, except to give deadlines or a few instructions as to the type of illustration they're looking for. With games, there is much more conferencing to brainstorm, to ensure that instructions are clear and that required modifications are being attended to. Oh yeah, and the pressure. On Fable, it wasn't overt, but I felt its presence. I imagine that everybody involved was acutely aware that a lot was riding upon the work of each of the project's participants. And you don't want to be the one who blows it for everyone by missing a deadline or doing a bad job.

Do you play video games, and if so, which ones?

I played them before when I was younger and less busy, but rarely play now. I realized how much time a person can spend playing, leaving time for little else, and I had a career to start! I enjoy watching other people play, though. Let's see, in the past I've played Tekken, Tenchu, Resident Evil, and Grand Theft Auto. I always get killed so quickly in these games and usually end up with a sore hand from pressing buttons so hard. Not good for a painter.

What are your current projects and what future projects are you excited about?

I am just finishing up my series of covers for Marvel's The Runways series; I'm working on the last one now. I am continuing to create covers for Udon Comics' Street Fighter series. Mostly, I've been taking a break and working on my own stuff and trying to update my Web site. I've done a few doujin for publication in Asia and I continue to work the kinks out of the story arc for my epic tale of Chinese mythology, tentatively titled “The Specter King.” It's been five years since I published anything substantial in Asia and people who bother to write me indicate that they would like something new from me. So, I am working hard to get “The Specter King” off the ground. It is my intention to publish this in multiple languages, including English.

What is the most inspirational piece of advice you could give to a budding artist who sees you as a true success story, especially for working in gaming, Manga, or traditional comic-book industries?

Practice, practice, practice! I've been drawing and refining my style since I was five or six years old, and I'm still not perfectly happy with it. That drives me to improve myself through constant practice. This is my pragmatic advice to the budding artist. Also, study to be an artist and not just a comic-book or anime artist. The fundamental skills one learns in art classes will transfer into your work in the various popular industries like comics and video games. The work of the masters is far more valuable than any “How to Draw Manga” book ever will be. I refer constantly to the works of John Singer Sargent, Vermeer, and Georges De La Tour when I'm creating covers for comic-book and video game packaging. My second piece of advice is to get your work on the Internet. It seems pretty obvious but I don't know how many people I've met at cons who aspire to be working artists who don't have a site on the Web! I’m kind of stunned when I hear this. Honestly, it's the cheapest way to advertise in history. For $10 or less per year, you can secure a domain and build a full-color gallery site to showcase your work to millions of—scratch that—billions of people. And some of those people just might approach you with work; that's exactly how I got my first professional job in the U.S. Now, get pencilling and good luck!