VidFest Presentation

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    This is a loosely chronological survey of my work from my teenage fanzine artwork to screenshots of The Matrix Online, for which I wrote story continuity over the first few years of its existence. SF illustration, movie storyboards, advertising art and plenty of Concrete and other comics work included. It was part of my talk with Mark Verheiden, then a Battlestar Galactica writer/producer, to Vidfest 2007 in Vancouver BC.

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March 21, 2012



Paul! I was sharing your apartment at that time (1980) and I'm pretty sure you never told these stories when you got home. Or was I too absorbed in my own stuff to hear them? It's fun to catch up, 32 years later.


When I got a contract to do some game anamition for Sega, I got an advance check part of which I used to buy the Moebius "Blueberry" graphic novel series (for artistic research of course!) - I was blown away by the writing/art package of "Blueberry". Moebius was absolutely "The Greatest". And don't forget "The Airtight Garage" - I've read it over and over and over


I liked the interview and luthoagh they are fairly different in subject matter, I am a fan of their work (much more familiar with Miyazaki).Erik, I agree with your comment about the "tricky times." I remember reading Cicero in college and thinking that people have been saying, effectively, "these kids today and their rock-n-roll music! They don't know how good they got it!"I cannot imagine a time when people didn't think that they were living in "tricky times," it must be part of the human condition. Perhaps that's what the cave paintings are really about, as my dad would say.I am not sure that I would go so far as to assign a rightness to a particular outlook or voice in art. Clearly you state that optimistic and pessimistic viewpoints are equally valid, but I would respectfully submit that even past that there is something pretty deep about a piece that works, regardless of its viewpoint. That is what, to me, is what separates the good from the great. If a piece has appeal, no matter what the subject, then that is powerful art. When it has that something special, that je ne sai quoi, I don't know what it is, that makes you want to look at it just that little bit longer (or a lot bit longer). And not to suck up too much here, but Jim's work has that elusive quality. A simple sketch of a bird that captures the not only the proper bird proportions and lighting information, but really captures the life, the very birdness...I think that's where you can start tossing around words like brilliant and genius.I for one, am very glad to live in this "tricky time" so as to hear Miyazaki's thoughts on art and life, to see great works of art and engineering, and to be able to talk art and life with someone on the other side of the planet ;-)


I'm not sure we're sharing the spatector position with Blueberry. Or at least we are sharing his position and taking a position of viewing his spatectorship.For me, this panel's storyness probably boils down to a combination of generic cues (cowboy-esque figure on horseback, creepy house in the middle of nowhere) and the placement of it as a kind of inbetween time. It sits narratively (even out of context, even moreso out of context) at a threshold. Blueberry is approaching the house, he's not there yet, but it's in the picture. The image feels incomplete, like a person who suddenly stopped in the middle of walking with one foot still off the ground.I don't think that can be generalized to all images with that storyness feeling. I think text could also play a big part in comics panels.


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