And by local bands, we mean the indie rock bands like Electrico and Great Spy Experiment. Some of them are artistically competent. They produce songs that are on par with their American counterparts.
But despite that, most of my listening time is spent on the music of overseas bands. Why? Because to me, they are way better in quality. Although it is not a fair comparison, would you rather waste time listening to Maroon 5 or Great Spy Experiment. Maroon 5 has a big record company behind them. This allows for high quality productions. And it doesn't help when the radio stations promote American music over Singaporean ones.
I took some time to analyze the differences between the recorded productions of Maroon 5, Great Spy Experiment and Electrico. To my ears, the majority of music produced by Great Spy and Electrico are seemingly influenced by nineties American rock music. If I am right, it means that both bands never evolved artistically, or did not keep up with modern American trends. Which is why they seem to me, a little out of place where American music is a huge staple in most people's music diet.
Listening to Maroon 5, I noticed their instrumentals can be catchy and easily identified. Moves Like Jagger for example has a distinct whistle. Their instrumentals, when compared to Great Spy or Electrico, sound "cleaner" and easier to pick up. Both local bands are capable at writing melodies. But instrumentals have a huge role in compositions. Just compare Rebecca Black's Friday and Glee's version. BIG difference!
Here is where a big budget can make a huge a impact. It is without doubt the quality of recordings by Maroon 5 is far superior to our local indie bands. Adam Levine's vocals are crisp and clear on record. For our local indies, the instrumentals kind of drown out the vocals.
When faced with such competition, it is not difficult to see why local indie bands are not well supported. It may not be fair to compare an indies band with a major one, but that is what indies are meant to have: niche support. To criticize Singaporeans for not supporting them is like criticizing Americans for giving too much support to Marvel and DC. Niche is niche. You cannot change a society if you don't have money and a good marketing plan.
Friday, September 7, 2012
Monday, September 3, 2012
STGCC 2012 Report: it’s hard to make a comeback when you leave
The fickleness of the American comic reading public has never been stronger. Not when even one of the most popular Marvel artists today said that he would think twice of taking a break to do his own stories.
“I’d like to do my own sci-fi stories, not superhero ones. But I’m scared of leaving mainstream comics. In a perfect world, I will do it.” – Leinil Yu
This is a very real fear as seen in the case of Gerry Alanguilan who left mainstream comics inking in 2005 to do his own projects like the Eisner nominated Elmer. But he made a return to Marvel in 2010 as it was difficult financially for him in the Philippines. Alanguilan said it was hard to make money doing your own things
“After Elmer was done, it was hard to find work in the US again. I visited Leinil and told him I’ll ink him again if there is a Mark Millar project because I’m a big fan of Savior. Earlier on, Leinil had offered me Ultimate Hulk vs Wolverine and Secret Invasion. I turned him down. But when Ultimate Avengers 2 came along, I started working on American mainstream books again.
“I still want to do my own personal stories like the one I did for Liquid City Vol 1 and the story I wrote, Where Bold Stars Go To Die. But it takes a lot of time to do them because of the Marvel deadlines I have. Still, I will do them because I want an outlet for my own stories. But at the same time, I cannot give up my Marvel jobs because I might not get them back again.”
This sentiment was shared by Tan Eng Huat, the artist for Thor and X-Men Legacy. Having returned from San Diego Comic Con in July, he noted that the Big 2 have cut down on their titles and they might not give you new jobs if you decide to take a break. There are many young and hungry new artists out there who want your gig.
Chris Lie of Caravan Studios (Indonesia) also said that with the closure of Tokyopop in 2011, even manga style artists in America are out of a job.
Bleak news to end STGCC 2012. But all the more it means that we cannot just depend on overseas market to grow our indigenous comics industry. We have to develop it ourselves, support local and neighboring works. So it is heartening to see more regional artists and studios setting up booths at the Artists' Alley this year. More can be done to bring these talents in to our shores for STGCC.
More incentives and deeper discounts perhaps?
“I’d like to do my own sci-fi stories, not superhero ones. But I’m scared of leaving mainstream comics. In a perfect world, I will do it.” – Leinil Yu
This is a very real fear as seen in the case of Gerry Alanguilan who left mainstream comics inking in 2005 to do his own projects like the Eisner nominated Elmer. But he made a return to Marvel in 2010 as it was difficult financially for him in the Philippines. Alanguilan said it was hard to make money doing your own things
“After Elmer was done, it was hard to find work in the US again. I visited Leinil and told him I’ll ink him again if there is a Mark Millar project because I’m a big fan of Savior. Earlier on, Leinil had offered me Ultimate Hulk vs Wolverine and Secret Invasion. I turned him down. But when Ultimate Avengers 2 came along, I started working on American mainstream books again.
“I still want to do my own personal stories like the one I did for Liquid City Vol 1 and the story I wrote, Where Bold Stars Go To Die. But it takes a lot of time to do them because of the Marvel deadlines I have. Still, I will do them because I want an outlet for my own stories. But at the same time, I cannot give up my Marvel jobs because I might not get them back again.”
This sentiment was shared by Tan Eng Huat, the artist for Thor and X-Men Legacy. Having returned from San Diego Comic Con in July, he noted that the Big 2 have cut down on their titles and they might not give you new jobs if you decide to take a break. There are many young and hungry new artists out there who want your gig.
Chris Lie of Caravan Studios (Indonesia) also said that with the closure of Tokyopop in 2011, even manga style artists in America are out of a job.
Bleak news to end STGCC 2012. But all the more it means that we cannot just depend on overseas market to grow our indigenous comics industry. We have to develop it ourselves, support local and neighboring works. So it is heartening to see more regional artists and studios setting up booths at the Artists' Alley this year. More can be done to bring these talents in to our shores for STGCC.
More incentives and deeper discounts perhaps?
STGCC 2012 Report: what happens when you ask a writer to draw
This 'Watch Out, Ryan!' sketch is Andy Diggle's contribution to this kid's retirement fund.
Sunday, September 2, 2012
STGCC 2012 Report: SEA Power
If you brought along your copy of the Avengers Vs New Ultimates: Death of Spider-man trade, you can get it sign by
Leinil Yu
Gerry Alanguilan
Stephen Segovia
Jason Paz
Now that's service.
Leinil Yu
Gerry Alanguilan
Stephen Segovia
Jason Paz
Now that's service.
The search for comics elsewhere
I had the chance to visit London's Forbidden Planet store this May. It is very impressive, although I was slightly disappointed. When it comes to popular genres, be it indie or not, the store has more variety than any comics store in Singapore. But when it comes to alternative comics, you find mainly the popular ones. For example, Guy Delisle's travelogues and Dan Clowes' albums. You;d be better off at our local Kinokuniya if you are lookng for more obscure titles.
In Paris, I did not come across any comics specialty store. But I shopped at a Virgin Megastore, where almost half an entire floor was devoted to comics. The other parts were a cafe and pop genre fiction. Titles and titles of comics that I have never known, and cannot read because I do not knwo French. Thus I am stuck with American translations. Though companies such as Fantagraphics have been publishing translated editions of European comics more frequently, they become very expensive when they are sold in Singapore.
If you check out Kino, you would notice that DC, Marvel and Image collected editions tend to be cheaper than the alternatives ,despite the US prices printed at the back of the books. Take any Marvel or DC book with a price of $14.95, and compare it to an obscure title of $10.95.
This is pure speculation. I guess Kino orders large stocks from Marvel and DC, allowing for economies of scale.
In Paris, I did not come across any comics specialty store. But I shopped at a Virgin Megastore, where almost half an entire floor was devoted to comics. The other parts were a cafe and pop genre fiction. Titles and titles of comics that I have never known, and cannot read because I do not knwo French. Thus I am stuck with American translations. Though companies such as Fantagraphics have been publishing translated editions of European comics more frequently, they become very expensive when they are sold in Singapore.
If you check out Kino, you would notice that DC, Marvel and Image collected editions tend to be cheaper than the alternatives ,despite the US prices printed at the back of the books. Take any Marvel or DC book with a price of $14.95, and compare it to an obscure title of $10.95.
This is pure speculation. I guess Kino orders large stocks from Marvel and DC, allowing for economies of scale.
Saturday, August 25, 2012
Where inspiration is found
One person asked me, after reading my science report,"where do you get your ideas from?"
"I get my ideas from an antique store situated in a little known corner of Chinatown. I have to flip through piles and piles of old Chinese manuscripts that are wrapped in dust. Once I find a good idea, I bring it back home, and translate the manuscripts into English. Finally, I analyze the writings to pick out any useful concepts that might provide insight into the kind of work I am interested in. It's a lot of work."
"I get my ideas from an antique store situated in a little known corner of Chinatown. I have to flip through piles and piles of old Chinese manuscripts that are wrapped in dust. Once I find a good idea, I bring it back home, and translate the manuscripts into English. Finally, I analyze the writings to pick out any useful concepts that might provide insight into the kind of work I am interested in. It's a lot of work."
Monday, August 13, 2012
Comics and society
This is part of the NLB Mapping series. Do come if you can.
There will be an art demo too.
18 August 2012, Saturday
1pm – 4pm
Visitors Briefing Room, Level 1, National Library
Comics and Society - Lim Cheng Tju
Comics and cartoons reflect societal concerns and changes, and Singapore's historical and political narratives have been vividly documented in this visual format. By looking at the political cartoons and comic books in Singapore of the last 50 years, they reveal multiple facets and dimensions of the Singapore story.
Political Cartoons in newspapers and magazines - Morgan Chua
Political cartoons, sometimes referred to as editorial cartoons, are visual narratives published mostly in newspapers and magazines. Usually depicted within a single frame, they serve as commentaries reflecting upon political or social-economic issues of the day. Renowned Cartoonist Morgan Chua will share his life story and reflections on the importance of this medium.
'Gone Case'- From Print to Print. - Koh Hong Teng
This presentation is about the graphic adaptation of the novel 'Gone Case'. It highlights the inspiration behind the adaptation. The presentation will also touch on the creation process and the development of the drawing style.
* Morgan Chua is a Singapore-born cartoonist who started drawing for the Singapore Herald in 1970. In 1971, he moved to Hong Kong and joined The Asian. A year later, Morgan started work in the Far Eastern Economic Review (FEER) where he stayed on for 24 years, rising up from editorial artist to eventually becoming its creative director. After he left FEER in 1997, he moved to Tanjong Pinang where he still resides today. Morgan’s publications include In memory of madam Kwa Geok Choo, 1920-2010 (2011), Divercity Singapore: a cartoon history of immigration (2010), My Singapore / sketches (2008), Tiananmen (1989).
* Koh Hong Teng is the illustrator of the graphic novel 01321. Self-published in 1996, the first page of 01321 won the Gold Award in the digital art category at the inaugural Siggraph Asia Pacific Animation and Digital Art Competition in 2001. Apart from short graphic stories, he also spends his time working on full-length graphic novels and paintings. He published the graphic novel 'Gone Case' Book 1 and 2 with writer Dave Chua in 2010 and 2011 respectively. In 2011, he was one of the recipient of Arts Creation Fund from National Arts and in the following year, he was commissioned by National Library Board to illustrate a 16-page comic story for the irememberSG project.
There will be an art demo too.
18 August 2012, Saturday
1pm – 4pm
Visitors Briefing Room, Level 1, National Library
Comics and Society - Lim Cheng Tju
Comics and cartoons reflect societal concerns and changes, and Singapore's historical and political narratives have been vividly documented in this visual format. By looking at the political cartoons and comic books in Singapore of the last 50 years, they reveal multiple facets and dimensions of the Singapore story.
Political Cartoons in newspapers and magazines - Morgan Chua
Political cartoons, sometimes referred to as editorial cartoons, are visual narratives published mostly in newspapers and magazines. Usually depicted within a single frame, they serve as commentaries reflecting upon political or social-economic issues of the day. Renowned Cartoonist Morgan Chua will share his life story and reflections on the importance of this medium.
'Gone Case'- From Print to Print. - Koh Hong Teng
This presentation is about the graphic adaptation of the novel 'Gone Case'. It highlights the inspiration behind the adaptation. The presentation will also touch on the creation process and the development of the drawing style.
* Morgan Chua is a Singapore-born cartoonist who started drawing for the Singapore Herald in 1970. In 1971, he moved to Hong Kong and joined The Asian. A year later, Morgan started work in the Far Eastern Economic Review (FEER) where he stayed on for 24 years, rising up from editorial artist to eventually becoming its creative director. After he left FEER in 1997, he moved to Tanjong Pinang where he still resides today. Morgan’s publications include In memory of madam Kwa Geok Choo, 1920-2010 (2011), Divercity Singapore: a cartoon history of immigration (2010), My Singapore / sketches (2008), Tiananmen (1989).
* Koh Hong Teng is the illustrator of the graphic novel 01321. Self-published in 1996, the first page of 01321 won the Gold Award in the digital art category at the inaugural Siggraph Asia Pacific Animation and Digital Art Competition in 2001. Apart from short graphic stories, he also spends his time working on full-length graphic novels and paintings. He published the graphic novel 'Gone Case' Book 1 and 2 with writer Dave Chua in 2010 and 2011 respectively. In 2011, he was one of the recipient of Arts Creation Fund from National Arts and in the following year, he was commissioned by National Library Board to illustrate a 16-page comic story for the irememberSG project.
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