As some of you are aware, there is a section on my website known as …well….the comics section lol. However, not much information has been given regarding the page other than the fact that there’s a cat that looks vicious and any sort of confrontation directed towards her could possibly prove fatal. Today, I will shed some light upon the purpose of this page and the future that is destined for it.
In order to understand the purpose, it is important to understand the foundations of its purpose. Quite frankly, I have a heavy love for classic hand art animation; the dedication and quality of every line and gesture is unmatched, even in today’s CG overpopulated world. It wasn’t until my later years I’ve become fascinated with the action genre of animation, commonly focused on a particular style of animating. Not only does it still utilize the heavy hand art aspect that I fell in love with in the many Disney pieces I’ve seen long ago, but it has maintained this standard as predominantly the only mainstream source in hand art animation in a CG animation saturated world, where even Disney has excused itself from the populous stating that the style was simply “unprofitable”.
Besides music, it has been my dream to one day create something in the animation industry and the video game industry; both of which I’ve experimented with, and both of which I’ve discovered I don’t have the artistic talent or complete drive for.
In animation, not many of you know this but I’ve at one point experimented with 3D modeling. I became familiar with Truspace (all the way back at 3!), Bryce, and even a little bit of Lightwave 3D despite the animation standard being of course Maya. Reason being, I became fixed on the idea that hand art animation was emulable by the concept of Cel-Shading; an idea that almost fully convinced me when I saw the work of Terrence Walker and his piece, “Understanding Chaos”, and “Kakurenbo” by Shuuhei Morita. It was a task that would drive me to the task in learning how to properly draw anatomically correct figures, perspectives, and shapes. However something hit me. It had been the same thing that hit me when I was learning architecture back in my early college career; I hated drawing! Rather, I didn’t have enough respect or dedication to learn to draw, let alone the time. Of course I’d be modeling the characters, however it’s generally understood that 3D modeling artists have a formal artistic background where what they are doing, is sculpting. How can you sculpt the human body if you don’t have a general understanding of it? You aren’t going to get away with an animated human character with three biceps, I don’t care who you are (lol). Further, how can you create the concept of a scene if you don’t understand the importance of light and perspective? How can you get the desired effect of each scene if you don’t have an understanding to the types of lighting and how they are used, shaders/shading, shadows, etc.? It was an endeavor that reflected my days when I was creating a game back in high school, which led me to stop while I was ahead.
Now adversely, many of you DO in fact know this. Back in high school, I tasked myself in creating a fan based nonprofit game before I got into college of a popular SEGA franchise known as Streets of Rage. The project was better known as Streets of Rage 4: UEI Edition. Through its development, I was everything in this project; programmer, music programmer, sprite hacker, promoter, etc, which essentially was the huge problem. While the game did spark quite a bit of interest, development time dragged where the initial time frame that I had set for development had passed. Finally, I was forced to abandon the project before its completion. The lesson I learned was to never to do such a big production by myself.
So how does all this background lead to KJC Comix? Well essentially the best way to accomplish both the animation dream as well as the game dream is to have someone do it for you, or at least spread out the rolls to decrease development time. Sadly, I’ve learned that quality service demands pay. In the hand art animation field, quality development of animation in the course of three years (which is generally standard time frame) with a staff of 5 to 12 animators, costs about 4 million dollars, or 1.3 million per year, pre music, voice talent, and marketing costs! CG animation is no better as where you’d essentially save on frame by frame work and hand artists, you make up by individuals whom perform different processes such as rigging, landscape modeling, texturing, etc. The video game industry is a lot worse which should have been expected since the video game industry is in fact a multi BILLION dollar industry anyway. Even though the idea was not to create a full 3D game but rather an indie 2D fighter or sidescroller, the cost comes in hiring (a) programmer(s), spriters (if in true 2D), concept artists, background artists, GUI artists, etc., or if in 2.5D, almost everything that would be needed in a 3D game. The only difference there would be the perspective. This is also post the cost of paying for the licenses of the development package of choice (more than likely it would have been Torque), else we’d have to build our own which is time in itself considering we’d need a physics engine (and/or the license to commercially use it), a particle system….oi!!! Just thinking about it still gives me a headache! So the best effective method of getting both dreams even started is… you guessed it, comics.
With comics, once it’s completed (if ever), you essentially have your story board! With it, you can take to animation studios as part of the development process has already been accomplished for them. Naturally, it’s also a great way for the people you want to read your books aka your fans, to be introduced to the characters and your story where getting an animation becomes a reward to their unyielding dedication instead of just a raw idea. Animation studios see this as a product with less risk vs. testing an unknown product which generally has more risk. With a working product with a consistent fan base, it’s easier for them to see growth in there possible investment because it’s an established IP; much like how the music industry has evolved to the point where established artists are usually the ones to get signed by record labels rather than just raw talent. In short, have fans, will travel. The animation would eventually pay itself where an indie game would be in its hindsight.
As I’m learning however, comics are an art to themselves and while I really want an animation, must adhere and respect the comic form in order to create something of merit. It’s an experience in itself! What better way to please the people who love my work, than to give them two separate exhilarating experiences? Trust me when I say, I refuse to cheap out on animation once so ever!
STANDARD 1
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STANDARD 3
Upon this journey, I’ve enlisted the help of Carlos Herrera, a very talented artist who coincidentally is helping me with some album art for my CD projects, so be on the lookout for those.
Additionally, thanks to local voice acting communities around the internet such as Voice Acting Alliance and Voice Acting Club, specific comics will have radio plays attached to them. Two specific series are already in production; FLUR: Blades of the Universe being the most active, and FLUR: Guns of the Hidden Minds. You can find both in the Video Gallery on the website.
Taking from the lesson I’ve learned years ago, I’m always looking for help and suggestions to improve the quality of my products. I look forward to any and all constructive comments, and of course compliments 
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