1. Love, love, *LOVE* this video. Loved it back in the day and still enjoy it immensely now! (I need to see if someone has this on a karaoke list somewhere . . . )

  2. An RFP on academic considerations of motion comics included:

    Some of the most interesting aspects of motion comics concern the ways in which different studios have developed different styles for the animation of their static source materials. While some adhere as strictly as possible to the integrity of the original comic panels, to include the use of “speech/text bubbles” and extremeley limited use of character movement (e.g., WATCHMEN), others stay true to the oringinal art work of the comic source but resemble much more closely traditional “Saturday-morning-cartoon” animation looks and techniques (e.g., THE ASTONISHING X-MEN). Still others use no animation at all, relying instead on camerawork to “animate” still images (e.g., STEPHEN KING’S “N.”).

    The 1981 movie HEAVY METAL had segments based on the artists’ original artwork. Assuming that they were successful in incorporating the appearance of the various artists’ work into the film, what advantages would there be to doing motion comics, aside from production costs? A HEAVY METAL trailer is below.

    BTW, motion comics based on the Peanuts strip have been produced. How do they compare to the strip or to the TV specials?


  3. Ah… those golden days of Night Flight videos with their themed episodes and cult classic movies! I might even have a copy of the animation video episode somewhere on tape…

    As a proto-geek with nothing to do on a Friday or Saturday night, they warped my adolescent brain to all that was unusual! (And I got to see the censored videos not shown on MTV, like “Two Tribes” and “Relax”!)

  4. This was my first collaboration with Michael Kaluta. And now, years later, I’m painting many many pages of his remarkable Starstruck art for IDW (with some tales inked by previous poster Charles Vess).

    The video was done by a very small group with a very tight deadline. The studio was Broadcast Arts before their move to NYC and their work on PeeWee’s playhouse. IF memory serves, DJ Webster was the Director (I didn’t meet Phil Trumbo until recently, so I’m guessing he didn’t sign on until the NYC days).

    Thanks for the excellent blast from the past!