This week’s chapter of Red Light Properties remains one of my favorites since I wrote it; whenever your characters take the wheel and tell you how they want to relate to each other despite your intentions, you know it rings true:
You can also start reading from the beginning here.
Tuesday brings a new installment of RED LIGHT PROPERTIES over at Tor.com; this week sees some after-hours aetheric espionage:
You can also start reading from the beginning here.
Today brings a new chapter of Red Light Properties, in which the sun slowly sets on a very rough day for our gang, now online at Tor.com:
Last week I did an illustration for New York Magazine about the more obscure sports in the Olympics; their art director asked me to reference a sport I couldn’t get a name for, something that looked like it was played on your knees with a Swiffer and a car-wax-buffer. The article speaks to the branded endorsements being more valuable than the nationalism, so I’m rather into the blank flags ringing the earth and “SPONSOR” on his jersey:
This week’s episode of Red Light Properties give the team a moment to exhale and remember how goddamn mad they are at each other. Online now at Tor.com:
Happy Tuesday, everyone… I’ve baked you some fresh comics, ready now:
If you’ve been following me via twitter, then you already know that I bounced out of Brooklyn just before Halloween and moved down to Brasil just after Thanksgiving. I’ve loved this country since I was seventeen and took a ship up the Amazon River with my family, and I’ve dreamt of living abroad for most of my dues-paying Aughts while I waited for my career to catch up with my wanderlust.
After Lil and I got married a few years ago, it dawned on me (dur!) that our entwined paths would likely take us back to this beautiful country, her native land. My next question was uttered through a big grin: how soon can we leave? The answer turned out to be a few more years of hard work, but we finally made the jump and in addition to side-stepping this freezing winter completely, it’s been one of the best decisions I’ve made in a long time.
So, here in 2010, I’m working from the megapolis that is São Paulo, the largest city in South America and source of daily inspiration for me. I’m still usually stuck home with deadlines, talking to the same friends through the same applications I did when they were blocks or subway stops away, but I try to sneak away from my drawing table much as possible. My brain’s still adjusting to the metric system, to 24-hour time, struggling to think in portuguese instead of translating into it… though all of these new skills could use more practice.
In the buildup to RLP’s launch (during which I moved twice, once to a new country), we’ve had some interesting adventures along the way. I’ll post some images/video of moments to let you experience what’s crawling into my eyes, ears, brain from this lovely, lovely chaos, as you’re already seeing it dribbling out through my work.
On that note, more new new soon soon… Right now I gots RLP to draw. Tchauuuu!
The fourth installment of Red Light Properties has just gone live on Tor.com, and this chapter has some of the freakiest/inspired work I’ve ever done. Be nice and leave a comment; I’m ahead enough now to man that microphone myself:
Or you can start the series from the beginning.
I was interviewed earlier this month on Seth Kushner’s excellent NYC Graphic Novelists blog about my love for comics and (naturally) my new series, and I rather liked this poetical notion that popped out of my fingertips:
I’ve always been fascinated with the idea of ghosts, of places holding onto echoes of their inhabitants; when I was a kid in Florida, I spent a summer riding my bike to the library everyday and reading every book on ghost photography I could get my hands on… It probably had to do with me losing one of my grandfathers early on and seeing him hanging around our house for a few years afterwards. But when you cross that obsession and sensitivity with a love of history and culture, all of a sudden those echoes contain music, perfumes, context… and there’s a certain romance to that, of old times that have passed on but still remain.
It was also an opportunity for Seth to showcase some of his excellent photography we’ve done together over the last few years for various book projects, like the following pic:
I love this pic for two reasons: 1) it’s a total fake… I’m still in my old bedroom in Brooklyn, floating against a photoshopped Miami background and Seth lit me to match the beach moonlight, and 2) that leather loveseat is where I wrote Red Light Properties’ final 7th draft; I left it behind in Williamsburg when we moved down to São Paulo and my heart still aches for my cool and smooshy place to sit and dream.
Our current couch here aches my tuchus after extended sessions; stay tuned for fuckin’ fascinating future furniture developments.
I’m doing a bit of catch-up here as I’ve launched a new series and moved to another country since I experienced this incredible MIT conference, so please bear with me, my lovelies, as I marry the signal-gaps and blog my way back to the present:
This past November, I was a speaker at the Converge Culture Consortium at MIT’s Futures of Entertainment 4 conference, taking part on the “Unboxing the Medium” panel discussion. Here’s the panel description with embedded video below:
What counts as “radio” when it comes via podcast rather than over the air? How do we create “television” as the limitations of spectrum scarcity slip away and content is delivered online?Media is determined by conventions that emerge from both technological constraints and cultural practices – the technologies of content delivery shape the industrial and the creative modes that define something like “television.” In a world of convergence, the basis for many of the conventions that define media are in flux. How can we come to understand and redefine the industrial, consumption and creative practices of media as convergence works to erode some of the distinctions between them?
How is radio affected once it moves from the Hertzian waves to the podcast? What happens to the comic once it moves from the page to a Playstation? How are audiences responding to and shaping these shifts? And how are business models adapting to these changes?
Moderated by Joshua Green – Research Manager, Convergence Culture Consortium
Dan Goldman – Illustrator of Shooting War
Jennifer Holt – UC Santa Barbara, co-editor of Media Industries (Wiley-Blackwell)
Brian Larkin – Milbank Barnard College
Avner Ronen – CEO & Co-founder, Boxee
You can watch videos of the entire FOE4 conference now here.
See Also: