Welcome to the WORLD of Shannon "Roku-chan" Townsend, artist for the webcomic Otaku -no- Yen. Shannon is a professional freelance artist who specializes in the style of Anime and Manga, and is happy to have a spot here on TheOtaku! Visit Otaku -no- Yen online Mondays and Thursdays www.otakunoyen.com

When I was your age...

My first convention was actually not even an anime con. My boyfriend dragged me kicking and screaming in 1997 to Wizard World Chicago, the first year Wizard had taken over what was formerly known as the Chicago Comic Con. I wasn't thrilled with the concept of going, despite the fact that I was very much into a few western titles like X-men, Witchblade, and The Darkness, and was only just starting my long-running obsession with Anime. Sailor Moon imports were just starting to dot my shelves, and I had just watched Akira for the first time.

I remember feeling terribly excited and nervous when we got there, and then overwhelmed with the day's events. But the glamour quickly faded away as I became the carry-girl for all of the bags of back issues for my then-boyfriend as he ignored me and drooled over booth babes, babbled about things I didn't understand, and basically ignored me for the better portion of the day. Adam Kubert actually commented on it during his signing while we were there, and that was really the only really enjoyable part of my day as the man chatted with me for a few and signed a print for me to perk me up. ( I'm a well known Kubert-holic but I hadn't brought anything for signings that day...first con and all. )

I remembered the con with some bitterness, so I wasn't too thrilled when I attended my first sci-fi/Fantasy con a couple years later. Those turned into huge parties. I had no idea what a panel was, or anything of the sort. They were an excuse to hang with some friends and get out of my parent's house for some fun with friends where we could be geeks and not worry about it. But even then, we were pretty low key unless behind the doors of our hotel room. The con itself was a place to play games, chat with friends, and just kick back for the weekend.

Three years later, I was asked to help out the company I was illustrating the TFOS books for at GAMA, the game manufacturer's trade association trade show in Las Vegas. I was turning 21 that weekend...duh, do you think I agreed? But even that show had a very different feel to it, and working definitely took the glitz and glamour mentality I had tucked away in the back of my mind and tossed it out the window. I had fun, and that was really the first time I noticed a feeling of something amongst the anime fandom I would grow to cherish. Community.

The next year, the same company asked me if I would help out staffing at Anime Central, since the writer of the books was running the table top gaming rooms. I figured, sure. Why not? How scary could it be? I'd been to comic cons, industry trade shows for two years, and was an old hand at the sci-fi scene.

Acen scared the BEJESUS out of me.

I remember leaving and looking at my husband with wide eyes, and saying "you know, I thought sci-fi people were scary. THOSE people are scary." He laughed at me and nodded, and we talked a long time about all of the differences, and I started asking about the furry people...hence the frightened comments. But after a year or two, and starting my own studio which required me to attend numerous conventions on my own, I realized something. Those people? They weren't scary. They were enthused. I had been scared because they were so unbelievably happy to be there, to be enjoying what they loved in a place where they wouldn't receive ridicule for it. They didn't run down the halls like morons and scream, they didn't act like jerks to everyone else. No, they were happy to be there. Truly genuinely happy, and they just wanted to talk to you about it. That was a new concept to me at the time.

People nowadays take for granted that twenty years ago...hell, even TEN years ago in some places...anime wasn't something you could easily get your hands on yet. We are spoiled nowadays with wonderful DVD releases, theatrical premiers of Miyazaki films, regular issues of manga coming out, magazines and newspaper articles dedicated to anime, hell even manga published in the paper. We've grown accustomed to seeing it everywhere, and therefore the new generation of fans is somewhat spoiled. I'm not saying this to be mean at all, so don't assume that I am! But I remember being 16 and having to beg my local comic shop owner, Mark, to special order me the Jupiter fan guide from Japan. It cost me $40 after shipping, and another $30 for the episode guide companion that went with the same series. Now think about that; I was 16! That was 12 years ago. A lot has changed in 12 years. Heh, sorry for the "when I was your age" moment...

Once I got into the swing of Acen though, that was when the realizations started to sink in, and I discovered something that both warmed my heart and eased my nerves. Every anime con I went to, every table I set up, every maze of logistical hell I went through to get things set up the way I liked, every conversation I had with a casual fan or die hard otaku, they all made me realize something. The anime fandom as a whole was a community, and one that loved to band together. There were genuinely intelligent topics discussed at cons. People would come up to my table and wait patiently, chat and make nice conversation. The folks at these cons were like extended family that I only got to see once a year, and I forged some of the deepest friendships of my life during that time.

What I am about to say is not a bashing of a whole generation, so do not take it as such. But when so many people act in a ridiculous fashion at once, it tends to overshadow the people who do act in a respectful, kind manner. So take it with a grain of salt. I know that idiots are always ten times easier to spot than intelligent human beings, and sometimes the worst impression is the one people remember, which is a shame.

Then over the years, and I'm not sure when, things started to change. A new generation came into anime and manga who were somewhat used to having it around all the time. Gone was the respect for the industry and the appreciation shown by previous generations who had not been so lucky. They were used to it being here all the time, so they took advantage and ignored the niceties and the respect for legalities. But what really ticked me off was the outright rudeness of this new generation of fans.

People would outright walk through an Artist's Alley and take pictures of people's work to distribute it freely on the internet, so they wouldn't have to pay for it. Nevermind that some of the artists had slaved away for hours and were trying to feed their families with that artwork. Folks would run through the hallways, sometimes injuring people with their props or those stupid paddles that they were swinging around, and not even take a look back to see what they had done. High pitched squealing and glomping started to become commonplace, but to a point where a glomp actually almost threw my back out for a couple of days when an overzealous fan actually sprinted across a parking lot and all but tackled me into a car. Seriously, it hurt. I ached for days.

Now, I could deal with a lot of this. Many of the attendees to the cons were teens, and there does come a certain level of maturity with age. I'm not knocking teenagers, so don't even go there. I teach teenagers for gods sake, and I adore every one of them who has ever sat through a class of mine. The Schaumburg Anime Club was my project for almost 3 years, and it was a teen-only club. I've talked to all of them about this too, and most of them agree. Most...

What really saddened me after thinking about all of it was the fact that the convention scene has lost what made it so immensely awesome from the get go: a feeling of community and respect. I understand that many younger attendees feel that an anime convention is the only place they can really be themselves. And that's awesome if you've discovered that, but in being yourself, you have to show a little common sense. Don't go screaming down a hallway to try and interrupt a guest while they're on their way to the bathroom. It's like some attendees think that at a con, they can act like rabid four year olds and no one will care. People don't think before they act, and there is a definite lack of kindness at cons. Last year, I heard more negative nasty commentary walking down the hallways, and I wondered silently to myself, when the hell did anime cons start feeling like high school? I almost turned around and actually almost called security on a few attendees for practically destroying hotel property, but they got caught and I walked away.

I suppose what I'm getting at is that as the generations turn and change, so do the conventions. I miss what one of my livejournal friends calls the 'cereal days' of anime conventions, when people truly appreciated the guests no matter how big or small they were in the industry. I miss the camaraderie and the laid back feeling of a con instead of the chaotic overly-loud whirlwind most of them have become. I miss people having respect for one another and paying attention to what they do and say instead of hurting someone in the hall for their own amusement, be it vocally or physically.

I miss that feeling of community and kinship. And I kind of want it back.

The industry is going through some serious changes, everyone knows that. The fansubbing is truly killing off some of the companies out there, and it breaks my heart. Chris Ayres is a friend of ours, and not only does he voice act, but he does other work at ADV that is very integral to the titles getting released. It's one thing to hear people bitch and moan about the fansub debate. It's another to know that these people's actions could affect a friend's job. I don't want to get into the fansub discussion right now, maybe in a future post. But people have to acknowledge that changes need to be made, on both sides. And they are coming.

I don't think it will all die out. There are too many people who do put their money where their mouths are for it to die out. But I do think it will suffer the same rollercoaster that the American comics industry suffers from. Up for a while, down for a while, lather rinse repeat. And I'm actually almost welcoming the down trend for a time, not because of the pain it will cause. That sucks, but it's unavoidable. No, I'm hoping it tones down things a little bit so that the people that remain are the ones who truly appreciate everything for what it is. I want people to have respect for one another, and for the industry, at cons again, I want the drama to stop and the loud rambunctious behavior to end. I want it to feel like a warm gathering of fans and friends, like it used to.

I'm 28 years old, and I know I'm not that old. But it makes me think back on when I got my start, and how much I miss those days.

Today's lesson? Don't be an asshat at a convention. 'Nuff said.

To Anyone Considering Webcomics...

A Word To Anyone Considering Webcomics

I titled this article because to be perfectly honest, I think you have to be a little crazy to start a webcomic. A lot of people take webcomics for granted, assuming they are a dime a dozen, and they are simple to put together. Well, that is both right and very, very wrong. It all sort of depends on how you look at it.

I want to emphasize right now that there'll be no sugar coating or fluffy frosting to hide the bitterness and truth of some of what I'm about to tell you. But the sweet parts will be super sweet, and the not-so-sweet parts will probably be like a lemon to the kisser. So brace yourself, kiddies.

Many people say I'm jaded, that my perception has tainted over the years in regard to the industry and its fan base. In a way, I won't argue with that. I always smile behind my table, and even if I'm tired and bitchy as hell, that is NEVER fake. I truly love what I do for a living, even though at times it seems to be completely impossible to get ahead. So there, my friends, is lesson 1, and if you plan on starting a webcomic, you must understand this above all else. Webcomics are a labor of love.

Years back, when the subject of starting a webcomic first started being tossed around between me and my husband, I truly didn’t want to do one. They are a huge time commitment and let’s face it, there are eight bajillion webcomics out there. I’m not even joking. The competition is fierce, and not everyone that produces one is as nice as the rest. Most are great, don't get me wrong. But I've met a few bad apples in my time. I'm not going to name names though, so deal. Sorry. Much as I enjoy a good bitch fit, I'm not in the habit of slandering people, and I have a tremendous amount of respect for anybody who has the cajones to do this stuff, because it's very difficult.

So if the competition is so fierce, why do one? Russel Lassau is a writer for DC comics that lives in the area I just moved away from. Last year at a local comic convention, Richard and I were asked as guests to attend the industry panel with several big name artists in the comic and animation field. We felt completely out of place, until Russel made a comment with several other high-profile panelists that the future of comics is on the web. I could go on as to the logistics, but it's boring. Let's just say the world is changing, and so is the way people are spending their money. Many artists are going the way of the web. Why is the net such a useful medium for this type of endeavor?

Because it's far more cost effective than having books printed, even if you're using a print-on-demand service like Ka-Blam! or Comixpress. I mean, let’s face it. You pay next to nothing for the domain name if you go through a site like Go Daddy! And server space is no big deal. You can even deal with free spots to publish your comic like Keenspot if you really want to. But I’ll talk more about that in a bit.

Now, this isn't to say you can't print your own book later. I know several awesome artists who have made 'ash can' comics, or small inexpensive $3 comics, to sell at cons. With our own comic, we didn't even want to make a book until requests started coming in. We paid a LOT of money to get our books done by a professional printing company. I don't regret it, but it was a real eye opener as to why the net is a much more cost effective method of getting the comic out there.

There are literally thousands of webcomics out there, and some of them are truly brilliant. A choice few have been spotlighted for major release, such as Megatokyo, Inverloch, or my personal favorite, Chugworth Academy. There’ve been way more than just those few, but you get my drift. Webcomics are a dime a dozen. That being said, you have to keep in mind that 99.9% of the time, these comics have to be running at least a year or two before your readership starts to grow. I've said this before, but it bears repeating: There is no such thing as instantaneous gratification. You have to work hard at your comic if you want it to succeed. Hell, I'm glad anyone reads it at all, let alone stays a devout reader and fan.

With that in mind I want to also state that if you want to do a webcomic, make sure you really want it. This is a huge time commitment that is going to suck up free time, and you won't be getting paid for it or making money off it right off the money. For the love of god, don't ever assume that after being up for two months that everyone at a con will know who you are, and will rush to buy the merchandise and what not with nothing but your characters on it. If that's the route you're going, you're probably in for a really unpleasant, heartbreaking surprise. It takes time to build fan base.

Also remember, and I do hate to say this, but the average webcomic reader is fickle. They want what they want, when they want it. They want regular updates, on time. They don’t want filler, and god forbid you do something with the characters that they don’t like. We actually have a comment section on our forum, and Richard (writer) doesn’t read them because if he does, he finds himself wanting to compromise his story lines. So make sure you can update regularly, and take the criticism before you begin.

You should also have a story in mind before you begin. It might sound like fun to just make stuff up from week to week, and hell, if that’s really what you want to do, go for it. But be aware that if you run from week to week, plot inconsistencies can strike when you least expect it. It also may sound ideal to get two months worth of strips done ahead of time so you have a 'cushion' but I don't know anyone who has managed to pull this off. Hell even I tried it, and I failed miserably. Then again I don't write it, so I can point at my writer on that one.

I'm sure there's more I can cover, so I'll make this a 2 part article.

If you have a question about webcomics or webcomicking in general, post it in a reply and I’ll make it part of another article later this week.

Till then, hope you're all well and happy!

~Roku

Great Sources of Reference Material for Artists

Well, choice B won over in the last poll. So today’s topic? Great sources of artistic reference material and learning resources for the Anime and Manga style artist.

Now, I want to emphasize a few things before I get started listing what I personally think are some great pieces of reference material.

1. I am completely self taught with the aid of nothing more than books (several of which I will list here), my own flubs, and the occasional advice from one of our readers or colleagues. I am by no means an authority on the Anime and Manga style, nor do I want to be considered as such.

2. There is absolutely no ‘right’ or ‘wrong’ way to draw. Art is art. What looks like crap to one person looks heavenly to another. Keep that in mind for future reference

3. If you think you’re so good that you have absolutely nothing to learn from a book or other individual, you have no right calling yourself an artist. Put away your pencil, burn your papers, and kindly go jump off a cliff…or join the rest of us poor souls and go back to playing GTA and Portal. Damn my 360…

4. No, you cannot have my gamertag. =P

Alright, here we go!

1. The Dummies Series. I know a lot of people who steer far, far away from these books. But if you’ve ever given any dummies book a shot, you’d know they are usually not only wonderful learning aides, but they are typically very entertaining reads. I highly recommend using these books particularly to learn computer programs. I didn’t really grasp what Photoshop could do until I picked one of these up ages ago. ("durrr, what're layers?") I’m also impressed with the “Manga Studio for Dummies” book by Doug Hills. I’m still learning the program, but damn if this book doesn’t make my life a hell of a lot easier, even if the artist in me wishes there were more pretty, pretty pictures to look at.

2. The How to Draw Manga series. Love 'em or hate 'em, the How to Draw Manga series is in my opinion one of the best sources for American based Anime and Manga style artists. I mean, come on folks. You’ve got to love a series that covers not only perspective and anatomy, but also shows you how to clearly draw a girl roundhouse kicking some fat dude, complete with lacey pretty panty shot. In all seriousness though, I think the problem with the negative feedback on these books has to do with what I like to call the idiot factor. If you think you can pick up one of these books, look at the pretty pictures, and instantly be an awesome artist who understands everything, you’re an idiot. Drawing is like anything else; you have to practice it and (GASP!) read the book! And if you haven’t checked out the newer ‘sketching Manga-style’ books from this series, you really should give them a chance. I’m rather addicted to the first volume and have found some wonderful planning techniques, as well as anatomy improvement suggestions and some great ideas on how to create a total composition instead of just doodling a chick giving the 'v' sign. Great stuff.

3. DMP’s How To series. I’ll admit it, I initially only picked up the ‘yaoi’ book in this series by Botan Yamada because I’ve had a ton of commission requests involving shounen-ai and tons of pretty boys, and I liked the style of the artist. Turns out that a simple purchase based on a whim turned me on to a whole new series of books…no pun intended there, you pervs. In all honesty, I really like the DMP series for two main reasons. One, they cover things that I haven’t seen covered in several other book series for the Anime and Manga style artist. Two, the artwork in most of these books is stellar, with very easy to follow suggestions and outlines. They actually make anatomy almost simple to understand if you’re a newbie, and believe me, that’s a good chunk of your battle out there. I also like that they cover some different subjects in these books than the norm. Kudos to them.

4. The Comic Artist’s Photo Reference, People and Poses by Buddy Scalera. My husband found this book on a random trip to our local book store one day, and he just had to get it for me. After ten minutes with this book, I understood why. First off, the book comes with a cd-rom set that contains over 1,000 images with pose references. Hell-OOO! You have got to love that. Second, the poses are all photographs with real human models, and trust me when I say it doesn’t get any better than having a book chock full of the real deal to help you along when you're struggling. I love to pick up this book and flip through it when I’m having a particularly difficult time coming up with a creative pose for a piece. The book also contains several image sets with weaponry, including katana, guns, and medieval style swords, as well as people wearing capes and doing casual things like smoking. Awesome book, and it’s only about $25. Not to mention it contains artwork from Greg Land (of X-men fame), Paul Chadwick (Deadpool), and Sean Chen (Iron Man). Long live geek source material!

5. The Nude Female Figure, a Visual Reference for the Artist, by Mark Edward Smith. This one is great if you need a reference piece for female characters. What I really dig about this book is that it’s got perfect representations of every body type you can imagine. There are thin girls, thick ones, girls with long hair, short hair, long fingers, tiny feet, huge chests or none at all. It’s not only a wonderful portrayal of femininity on an artistic level, but it’s an irreplaceable piece of reference if you draw a lot of female characters. I’ve used it on several occasions and believe me, the fluidity of the poses in this book is stellar and really makes wonderful reference material.

6. Draw Manga: How to Draw Manga in Your Own Unique Style, by Bruce Lewis. If you’ve never met Bruce, you’re missing out on meeting a wonderfully talented and kind individual. I’ve only chatted with him a couple of times, but even before that I was impressed with this book. What I really enjoyed about this one is that he breaks everything down in a practical way that you can really utilize. Nothing like learning straight from the source.

Other sources of reference, on a more personal basis:

The works of Kazuya Minekura. If you’ve never looked at Saiyuki, lord are you missing out. Minekura actually got her start as a portrait artist (from what I understand), and trust me when I say that her work shows it. Her style is stunning, and no, not just for the pretty, pretty boys. She has a raw, edgy style, blocky and almost too masculine at times. But you can see the real world influence in her work. If you’d like a sample, try to get your hands on any volume of Saiyuki, Bus Gamer, Wild Adapter, or find any of her Backgammon or numerous other artbooks. They are inspiring, and may just give you some great ideas of your own. Not to mention they're funny as hell. The woman is wonderful with kooky poses and humorous shots.

Google Image Search. Alright, I almost hate to recommend this, but it does come in handy. Say you need to draw a specific type of sneaker on a character for a commission, or you need an example of Victorian hair styles or picket fences, and you need it right the hell away. This is an awesome way to have quick access to reference material of all sorts, from architectural shots to clothing ideas.

Fashion Magazines. This is an old favorite of mine. I’ve had a ton of students ask me over the years how to draw effective, realistic looking clothing. Honestly, what I love to do is grab a fashion magazine and try to draw what I see on paper with a slightly different pose. It really gives you great ideas as to how fabric moves and hangs on different body types. If you're not into fashion zines though, I also suggest using...

A Friend. I can't count the number of times I've made my husband or best friend pose for me or swish around in a goofy cloak so I can get a shot right. "Here, hold this sword...no, more...over your head...yeah. Good. Now hold it." If they love you, and sometimes if you offer them liquor for their trouble, they will give you a hand.

Megumi Magazine. I almost hate to admit this, but a friend gave me a stack of this popular Japanese magazine, which I’ve affectionately dubbed 'moe monthly’ a while back. It was like Christmas when I opened that box, and I was one very good, happy girl who got her red rider gun she'd been asking for all year...okay, that was lame. Whatever. You get the point. This magazine is loaded with awesome pose ideas, great colors that you can use as inspiration for your own pieces, and some really kooky but fun anatomy and perspective shots. Great source of reference material!

Manga. Yup, all Manga. If you really like a specific artist, the best source of reference material in the world is the series that you love. Personally, I take a lot of influence from Takahashi, Murikami, Oh!Great, and tons of others. I also find that watching an anime or reading a series in the style of what I want to draw does in fact help get me in the mood to draw in that particular style.

Online Tutorials. There are several awesome online tutorials that cover everything from the basics to coloring digitally. Here are a few of my personal favorites, and a couple I’ve thrown together myself

My basics of eyes and face tutorials:
http://guardiansun.deviantart.com/art/BASIC-ANIME-EYE-TUTORIAL-1-76199832
and part 2
http://guardiansun.deviantart.com/art/Basic-Anime-Eye-Tutorial-2-77098423

Drawspace.com, an awesome site to check out for all sorts of tutorials.
http://www.drawspace.com/

Jim Zubkavich’s digital painting tutorial.
http://drawn.ca/2008/03/04/jim-zubkavichs-digital-painting-tutorial/

Human Anatomy Pictures for Artists.
http://www.fineart.sk/

Julie Dillon’s old digital painting tutorial and the Manga University tutorial archives.
http://www.howtodrawmanga.com/tutorial.html

edit: Also, check out Art of Otaku, referred by none other than the webmaster of this lovely shindig we call TheOtaku.com. Actually this looks to be an excellent source as well! Thanks Adam =) http://www.artofotaku.com/thebook/

The trick is to be as creative as you want to be with your reference material, and don't be afraid to try new things. Remember that while Anime and Manga style is a very specific and easily identified art form, it is based in one way or another on realistic human anatomy. The stronger the foundation you have in the basics like anatomy, perspective, and figure drawing, the better your art will look in the long run. Remember that practice really does make perfect. I may suck at basketball, but if I tried to play it every day for five months, I like to think I’d get infinitely better at the game than I am now.

Happy hunting, folks! Hope this helped.

Now, poll time! What would you like the next article to be about?

1. My review of Crisis Core, because I am a big thumping nerd.
2. Tools of the trade.
3. Webcomic stuff.

See you soon!

Tact and Common Sense in the Artist's Alley

The Artist’s Alley, as I’ve touched on before, is a place full of creativity. Unfortunately, where there is creativity, there is also idiocy, and in abundance.

I don’t necessarily mean the people behind the tables, though admittedly I’ve met some real asshats in my day that had their own AA table. Most artists I meet in AA’s (when I actually have time to get up and walk around) are kind, open to discussion, and are just like anyone else: simple folk trying to make a buck with their talent and skill.

What the general populace tends to forget is that putting your artwork out there for the world to see, and potentially buy, is a tremendous show of bravery and heart. I know that probably sounds lame as hell to some of you, but believe me, until you’ve spent months pouring your heart and soul into an art piece only to show it publicly at a convention full of literally thousands of individuals who all think they're professional critics, some of whom are real jerks, opening yourself up to criticism, moronic comments, and outright harassment, you can never understand.

So I’m going to set some kind guidelines that both artists and average Joes should follow in AA’s.

Artists first:

The number one rule, and the one you can not break under any circumstances, is always be polite. I know that sometimes when some kid comes up and starts bitching away about your artwork to your face, there’s nothing more you’d like to do than break something over their skulls. But you just can’t do that. I’ve sold tons of artwork just making kind conversation with people, and have made tons of friends in just that manner. I met one of my best friends at a convention, and she was freaking over a mild lesbian piece I had on my table. I half expected her to go crazy on me, but simple conversation eased the situation, and now we're buddies (love ya Cinderz!). I’ve dealt with smelly fanboys, angry or bitter artists, would-be-arteest teenagers who think they’re all that and a can of coke, you name it. But I always find a polite way to deal with them.

Say for instance someone comes to your table and says the infamous “Pfft…I can do that way better.” My favorite way to deal with this is to hand them a sharpie and a piece of paper, smile, and say “Please! Show me!” Now, I’m not doing to be a bitch about it, though sometimes it feels damn good to watch them get all flustered and stomp off with the trademark "...yeah well I would, but I don't feel like it right now." But truthfully, and at the heart of the matter, I want to learn as much as I can from as many people as I possibly can. Maybe this kid has an awesome way of drawing hands that I’ve never seen, or has a keen eye for a way to improve my inking. If they’re really that good, I want to know. Try to be objective when you hear stuff like that.

The second piece of advice I can offer those of you who are working is ‘don’t be a bitch’. What do I mean by this? I mean don’t track down a staff member to cry about every last little thing you can’t stand about your table, or your location, or your lack of power outlet, or the fact that the guy next to you won’t stop babbling into your ear while you’re trying to work. Staff members and staff heads, most of the time, bust their asses to make things as comfortable as possible, but things happen that are beyond their control. I always say you catch more flies with honey…you know the drill. Don’t make yourself stand out as a whiner. And if you have ideas, tell the staff! Just make sure you do it after the con when they aren’t sleep deprived and potentially starving and/or crabby as hell.

The third and final piece of advice is a measure of keeping tabs on yourself, and ensuring you are in a decent mood. For the love of all that’s holy people, get up and pee, eat, take a walk, take time to enjoy the convention! I have a horrible time with this. Most of the time I don’t think to get up and do anything unless our lovely assistants Nobaku or Lizzy come up behind me, stop the folks I’m babbling with, and kindly point out that I haven’t had a break in eight hours and really need to eat. Don’t try and eat at your table either; it never works and two hours later, your Sonic Coney won’t taste nearly as good…unless you’re me and there are no Sonics in the area. Damn you, Sonic! *shakes fist*

Now, for the attendees:

Do not, under any circumstance, walk up and make the following idiotic comments:

1. Don’t buy that, it’s a waste of money. I can find it for free for you on the internet. If you are ever near my table and I hear you say this, I will personally throw something at you. No, you will not find it for free on the internet, because all my internet stuff is watermarked. So phooey on you. ;)

2. I can draw way better than that. Don’t waste your money. Sure, maybe you can. But that is the most insulting, rude thing you could possibly say. Have some tact.

3. OHMYGODCANYOUDRAWSASUKEANDNARUTOTOGETHERCUZTHATSYAOIZOMG11!!!1!! …yeah, don’t even have to explain this one. And I swear to god someone HAS said this to me, including the “one one exclamation exclamation one” part.

4. Your art sucks. Yup! Thanks. ^_^ Seriously, most artists don’t take that kind of commentary seriously, so don’t waste your breath. If this is the kind of comment you'd usually make, do us all a favor and go troll a forum somewhere. It'll be more effective.

I’m sure someone out there will use the whole “there’s a difference between criticism and offering advice” fallback on this. But here’s the thing folks; there is a time and place for advice, and at a convention table is not necessarily one of them. If the artist asks for advice or a critique, then by all means, have at it. But just because you think you know of a better way to do it, does NOT give you the god given right to point it out to the artist. Sorry, I stand firm on this. I’m all about constructive criticism. It’s how you grow. But I hate it when I’m in the middle of working, busting my hump all weekend with my nose to the literal grindstone, only to have someone trying to tell me about a flaw while I have a line of people there, all waiting to buy things, and I’m trying to juggle eight tasks at once. It’s hard, and on top of that, it makes it nearly impossible to get the full impact of what the critique may be. That, and keep in mind, not every artist is going to be open minded. You could start a fight or an argument, or possibly even send the poor kid to tears.

It boils down to common sense. Be kind; treat folks the way you would want to be treated. Remember, the AA is not all fun and games. The folks there are working all day, sometimes with non specific hours that keep them up till 2 or 3 in the morning. Some of them (like me) take too many commissions to appease all of their customers, and then are stuck awake till 5am just to make all of the customers happy, despite the fact that they had to run five panels that day. Make no mistake about it, its work. Fun work at times, but it’s still work, and work of the most difficult kind; the kind where you put your own ass on the line.

Be kind, use common sense, and most importantly, enjoy yourself without doing so at the expense of others. Simple enough, right?

Also I’m taking a poll on what my next post should be about:

A. How to handle commission work
B. Great sources of artistic reference material
C. Tools of the trade

The Trouble With Cosplay

This is a little off the beaten path for me to be babbling about, but I feel the need to for some bloody reason. So just take a deep breath, stick with me, and hear me out on this. I'll try to keep the sarcasm to a happy medium. ;)

I don't cosplay much for several reasons. For one, I hate making the outfits. I've done it a few times, and I just don't enjoy putting together a cosplay outfit. I'd rather pay someone to make it for me so I can walk around in something that I know fits me right and works to my assets...read, boobs. ( Hey, at least I'm not above admitting that! ) My second reason for not cosplaying is that I am usually in a guest of honor situation at a con, and honestly I feel a little silly running around dressed as Mizuho from Onegai Teacher when I have to race around, run panels, sit behind the table and draw, and basically work for the day. One year at Acen I went as Yaone from Saiyuki, and I did the full corset under everything; I thought I was going to die. I can handle SCA events in a corset all damn day but sitting behind a table bent over paper made it the pits. I was SO glad to be out of that outfit that evening.

But the biggest reason I don't cosplay is probably the saddest of all, and one that ticks me off to no end, because it affects numerous people out there.

People are, for the most part, rude about larger cosplayers, or cosplayers who don't have 'professional' looking outfits.

Now, I will admit, there are times when I'm just chilling in a hallway at a con and watching the cosplayers go by. I love seeing what other folks come up with, and to be honest I get giddy when someone does something really obscure that I recognize. There was a girl at AnimeIowa last year who did the most awesome Crimson Shadow Cat from Shadow Lady, which is one of my favorite manga, and I was just so geeked that someone had thought to cosplay that. That in turn made her day because no one recognized the character, the poor girl. She had rather large assets, and I heard several people making underhanded comments that she shouldn't be wearing that due to her very curvy figure. I did not think she looked bad, I thought she looked AWESOME, and the way the outfit was cut really worked to her advantages without being overly revealing! But it made me wonder why folks think that way.

The thing is, I try never to make those types of comments when I can, because a cosplay outfit is something for the most part that someone has put a LOT of love, effort, and care into creating. I think every cosplayer, yes including the tin-foil Gojyos, deserve some love. Because hey, at least they are trying and enjoying themselves. And if the cosplayer is having fun and enjoying themselves, that is really all that matters.

But what really pisses me off is when people sit around and criticize cosplayers. You know what? YOU DO NOT HAVE TO BE SKINNY AS A RAIL FOR EVERY COSPLAY! And if you think that is the way of things, if you think that a 200 lb girl has no right to cosplay something, then I suggest you take that narrow minded opinion and shove it.

You also don't have to be a professional seamstress to cosplay. I know several folks who are friends of mine, like Taelic from Be Anime Studios and my good friend Cindy who make a living and get their livelihood making professional quality cosplay outfits. I also have several friends who hand stitch things in their living room the night before the con in a mad dash to make something themselves. BOTH ARE GREAT! I think all cosplayers should get a nod for their effort unless they bought it at hot topic.

...God I hate those Naruto windbreakers.

If someone is comfortable enough with their own body and creations, and are confident enough to walk the halls of a convention, they have a right to cosplay just like everyone else out there, and should not be ridiculed. They don't deserve the 'zomg fat!' comments or the '...ew, that SO looks awful' commentary.

Now, people need to think about what cosplay they select. I think the general rules I've seen are:

* Pick a cosplay that is going to flatter the best parts of your body and help conceal the parts you are uncomfortable with. Comfort is key.

* Try to put a little effort into it. You may not be a pro, but the effort will show. =)

* Don't go overly revealing! This really gets my goat, especially at family friendly cons.

And finally * HAVE FUN WITH IT.

I encourage you all this con season to really sit back and think about how much effort went into an outfit. Don't criticize, encourage. And if you know someone who would fit as a specific character, TELL THEM! I know I'm always looking for characters to cosplay. You'd think having big boobs made it easy...ugh.

Next time, What Not To Do Behind Your AA Table.