Attack on Titan swept across the world like the titular Titans in their assault on humanity. Soon, Mikasa, Eren and Armin became household names to anime fans everywhere. Conventions filled with Survey Corps members, all clad in tan and white, their green cloaks draped over their shoulders. It’s a phenomenon that has spurred one season of anime (season two set to be released in the second half of 2016), countless manga spin offs, a live action film series, video games and merchandise.
Group cosplay is especially epic with this series. Image courtesy of breakbang.com.
The first of these two films sum up about the first ten or so episodes of the anime. It tells the story of the first assault on the farming district and caps off after a fellow titan offers a bleak ray of hope for the world.
Fans of seeing anime faithfully recreated with all the details intact may not enjoy this version of Attack on Titan. The creators of the live-action film decided to give their own spin to the story and the characters, making vast changes to even the main cast. Even though these changes are painful to followers of the series or manga, they do have a uniqueness that adds to the overall impact the series has established.
The faces of the Titans will probably haunt my dreams for a few weeks. They hold a wrongness about them.
First of all, all of the major themes of the anime are intact. Humanity meets its demise face to face as the Colossal Titan kicks a hole in the impenetrable wall. The smaller titans swoop in, scooping up people, and crunching on their bones. Gore sprays in waves in this film, making the iconic brutality of Attack on Titan that much more intense. The titans feel less like monsters and more like Japanese horrors with uncanny faces and movements.
Eren shows his determination, feeble as it may be, to destroy the titans.
Lastly, unbridled rage remains in the character of Eren. He clashes with his fellow soldiers, wanting nothing more than to eradicate every titan for taking what he holds dear. His anger manifests in several ways throughout the film, keeping that theme firmly intact. All while being contrast with his fear of the titans, seeing their strength firsthand.
As for the differences, I’ll do my best to elaborate on some of the major ones without ruining the fun of the movie, but you may get a spoiler or two if you haven’t seen the anime.
Super uncomfortable scene, but shows the differences in this version of Mikasa.
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Where’s our blonde strategist? Let’s play “Where’s Armin?”
Another major change to characters is that of Sasha, the spunky, energetic member of Eren’s squad. She’s portrayed in a way that exaggerates her infamous “Potato Girl” scene to the point of it being obnoxious. Sasha of the film is more of a nuisance than comedic relief, as she disgustingly gobbles up any food she can get her mitts on. She does seem to have a better connection to Armin though, which is quite cute. However, it’s hard to tell the difference between Armin and Eren due to Armin’s recent choice in hair dye.
Hiana, a character new for the film, leads Eren deeper into the abandoned cities. What they find is a bit bigger than they hoped. . .
The style of this live action adaptation—adaptation being a crucial keyword here—while different from the source material, is still rather enjoyable. I found myself cringing much more through this bloody adventure, but there are many epic moments with the flair I’ve come to love from the series. One scene in particular shows Eren and Hiana searching for a baby’s cry, turning the movie into a dark, scary experience as they hold interestingly designed lanterns aloft. Combining moments of horror like this one with the visual style put into the titans themselves makes for a scarier story.
The film’s final act fits one of the high points of the anime quite well. Eren’s rage for the titans brings him to make a sacrifice, only to have his anger live on in a devastating way. This scene is still as adrenaline filled as the first time I saw it in animated form. Each piece of action hits hard, fast, unexpected to make for a great climax.
The visuals sometimes feel like late Godzilla or Gamera films.
Of course, this movie is broken into two parts, with a sneak peak at the end of this one. It’ll be interesting to see how the second part plays with the second season of the anime. I’ll definitely have to check it out soon.
Step into the Attack on Titan Live-Action movie with an open mind. This is a different version of the Attack on Titan story, themes, and style, not a mirror image of the anime with actors.
The film is available in English subtitles through importation on sites like Amazon, while an English dub is surely to show up in the future.
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Most stories try to get the audience to relate to the protagonist. A likable main character is an easy sell, it’s hard to get people to look into the uncomfortably warped reality of villains. Stories about villains do exist, but they are rare. In this 200-page graphic anthology, VERTOSCOPEadds more entries to that niche. I was recently given the privilege of interviewing the project head, Nechama Frier, to talk about VERTOSCOPE and her own experiences in the crazy world of comics.
Page from “Witchweed” by Ama.
What advice do you have for writers seeking artists?
Save up enough money to pay one artist a fair rate, for a short story about 20-30 pages. Once that’s complete, that will be your physical evidence of your work, so you can use it to show people what your writing style is. And it doesn’t hurt to do stick figures while you are looking for an artist, there’s a lot of comics out there that get by on their writing despite stick figure art.
Page from “Taming You” by Grace Park.
How did you get into creating comics for a living?
I wouldn’t say at this moment I can call myself someone who creates comics for a living, I can say I create art for a living. My main income comes from illustrations and stand-alone products, such as cute earrings or scarfs, and projects such as this are stuff I save up for in order to make what I’m really passionate about happen.
Page from “Bear My Teeth” by FATE.
Why the title VERTOSCOPE?
Ten and I, my co-editor, wanted to try our best to make up a word that was sightly strange and isoteric, that kinda en-capsuled what we were trying to go for. To give a lens to view the world from a warped view, to get the point across that this is something not quite right.
Page from “Coping Mechanism” by Jenn Doyle and Ursula Wood.
What inspired the creation of this anthology? Why Villains?
Because Ten and I just love villains. We also spend a lot of time on social media, and we see a lot of discourse between fans of works, who seem confused about the boundaries of fiction. A good example is Game of Thrones, where so much of what’s happening is horrible, and many people say “What this character did is horrible, and you cannot watch this show anymore.” Me and Ten are here to say that, no you can enjoy these things, reality and fiction can be kept separate.
Page from “The House of the Immaculate” by Sey Vee.
Obviously, with a concept of exploring the psyche of less than noble individuals, shock typically becomes a component of that. What place does shock value have in this project, if any?
It definitely has it’s place, but I was interested to find out that because of the particular stories me and Ten are interested in, and the writers we hired, shock and gore doesn’t play a large role in the stories. It’s still there, but it’s there to emphasize moments where our characters step over those moral boundaries. One of our stories is just about children playing soccer, nothing of real shock occurs, but one character takes it a little further than his peers, so shock is relevant to the specific situation at hand. The shock value always makes sense to the context of the individual story, but none of our authors used it as a cheap gimmick to horrify and disgust viewers, because that’s really not the point.
Page from “Striker” by Stowell/Stober/Shazzbaa.
Who is your favorite villain in fiction, and why?
This question is so tough, because we have so many. Someone once asked me which villain in comics I’d like to write for, and my answer was Lobo for DC Comics. I would go with the Greek God Apollo, who is not normally seen as a villain, but unquestionably is based on his actions. My view of him as a child was this nice sweet god of the sun, none of which is true. He is not nice, he’s not the god of the sun. A great example of his villainous nature is when he wins a rigged music contest against the Satyr Marcyas. He chooses as his prize to skin Marcyas and let his blood flow into the river, he did name the river after Marcyas though, so good job. I find him particularly fascinating, because his God-like status allows him to get away with stuff like this, no one ever calls him out on it.
Page from “The Devil’s Pupil” by Ashley McCammon.
I noticed on the project description that you mention creators being pressured to create likable protagonists, is this from personal experience by you or any member for your group?
I think that was a reference to both the industry and to what I mentioned earlier with this discourse of social media. There’s been a long issue in the industry between underground comics and mainstream comics, about having complete creative freedom and having self-published stories, without fear of censorship. It’s not that we are creating something new, just that we are creating our own versions of everything. People get stuck on the word new, I can enjoy the same basic structure multiple times, because every author has their own unique take on it.
Page from “The Wonderful World of Wasps” by H. Preece and A. Lee
What do you feel are the benefits to an anthology format over others?
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I think that the format is ideal for any artist that is starting out, or has lower visibility. Not only are short stories less of a time commitment, but also a combination of veteran creators along with new talent is beneficial to everyone. A publisher can be more willing to take a risk on someone who is relatively unknown. The same benefit applies to consumers, they can pick up an anthology by a veteran author they know, and find a bunch of new talent along with that.
Page from “Tincture” by One of Two.
If the project is successful, will this be something you revisit, such as with a new anthology or stand-alone series based on the stories?
I would really love to, I know a number of creators already have further plans for their short stories. I’ve taken a portion of what could be a longer story for my submission, and if we have a Vol 2. I would love to include new stories, both completely new, and some having the same artist revisit their stories from Vol 1. I would also love to include a section for prose in a future installment.
Page from “The Devil’s Dentist” by Mady G.
How did you get together your team of writers and artists for this project?
It was completely open submission. We put a call out on Twitter and Tumblr, asking for people to turn in their portfolios, a summary of what their stories would be about, and an estimated page count. We got about 150 submissions, and me and Ten went through each to decide what fit best, and offered contracts to those who made it. Those who didn’t make it were still offered a personal response about why the submission wasn’t accepted. Because Ten and I have both been through that process of getting rejections, we felt it was more constructive to offer people with feedback. There’s never a personal reason why people are rejected but mainly budget reasons. We’d love to accept twice as many creators in the future if possible.
Page from “The Bear and the Jester” by ENOCH.
This is the first kickstarter you have put together, but it’s not the first group-funding project you’ve done, can you explain your past experiences?
Just last year I put together a 12 month calendar featuring 12 different artists, and it was funded through pre-orders, to make sure I had the funding to print it and to pay the illustrators. I’ve been a pro illustrator for 10 years already, and I have always delivered, whether it’s an order from my shop, or a commission. I think the reason we have been doing so well, is because we have built that level of trust with the consumer to produce a quality product and on time.
Page from “Tails” by Emilee McGlory.
A large component of your stretch goals is bonuses for members of your project, what made you choose to advertise that?
Because I think that the largest part of running a kickstarter is making sure our artists get the reward they deserve. Ten and I made sure we could pay our artists no matter what. The bonuses are built into the kickstarter, but we made sure we could at least pay the artists $50 a page. Artists don’t get paid enough in the first place, and we want to make sure the book is printed, and the artists get paid enough for their work.
In terms of the commissions that are available for backers of $125 or more, what can potential backers expect from commission requests? Does the $1,000 Comics Royalty tier also include a commission from the $125 tier in addition to a 5 page commission from yourself?
Yes, in essence it does, the $1000 tier includes a water color cover for the 5-page commission. What I have done, is to have any commission backers connected via email to the person they request the commission from. After I connect them, I check in via email, and make sure everything went well for both the commissioner and the artist.
Can you tell me a little about your contribution, “C-259”?
It is a sci-fi story, basically set where humanity has lost Earth. It is set in colony 259, one of the last known bubbles of humanity in the universe. Things are going fairly well for them, they are surviving, but then aliens show up, and basically everything gets fucked. The actual story takes place in that colony, and focuses on the choices the main character, Filip Sawicki, chooses to make, given the situation.
VERTOSCOPE has so far made about half of it’s kickstarter goal. There is also a $2,000 dollar Associate Publisher and $5,000 publisher tier, with the latter granting the backer 50 softcover copies of the anthology, a publisher credit, a special bookplate signed by all the creators 15 page comic commission (drawn and colored by Nechama), along with a digitally designed and colored cover.
After talking with Nechama about my personal experiences as a writer hoping to get into comics without currently having an artist, she provided a helpful post by VERTOSCOPE contributor Ursula Wood, to assist others in a similar situation with advice.
Nechama Frier was also kind enough to give a full preview of one of the stories included in the anthology, “Breakfast in Bed”
Credit for “Breakfast in Bed” images goes to http://swinsea.tumblr.com/post/132566833355/its-camodadcomics-birthday-to-celebrate-you
Jay Bartlett grew up like a lot of kids who lived in the late 80s and into the 90s. During that time, Nintendo became a household name in a matter of weeks, decimating sales across the country and establishing flagship characters as popular, or more so by now, than Disney’s cartoons. Ask most people of this age what their favorite Christmas memory or gaming memory is and they’ll probably mention playing the NES with someone.
Jay Bartlett
After years of being a super fan, Jay is one day challenged by a dear friend, Rob McCallum, who is also the producer of the project, to the ultimate challenge. The goal is to collect all 678 retail released NES games in thirty days, a seemingly impossible task. With the wide spread use of the internet, it would be easy to throw money at Ebay and sites like 99Gamers, but no, Jay has to collect all of these games in person.
What’s more ridiculous is Jay has never seen physical copies of some of the games he has to find. There are twenty ultra-rare games set aside that pose the ultimate challenge, featuring the top one, Stadium Events, a game that can fetch thousands at auction in almost any condition.
Will Jay be able to make this long-time dream a reality? Well, the folks behind the documentary helped him travel the US and Canada, capturing every purchase and dive. What entails becomes not just a journey about collecting old video games, but also a personal journey of growth for Jay.
Thus begins the Nintendo Quest!
The film encapsulates what it means to be a Nintendo fan. Throughout their quest, Jay and his pals come across tons of people who make collecting a community. From shop owners, to YouTubers, to world record holders, to gaming box artists, there’s such a large pool of passionate people represented. In one scene, Jay gets to go on a game hunt with record holder Todd Rogers. It’s apparent that finding games is less important than hearing the stories behind them. While Todd picks out games he has records on, he shares his stories with the team.
Jay holding two of the rarest titles in the NES library.
While Jay does find tons of games with notable game stores, the true joy is getting the chance to meet other die-hard collectors. These are the titans of the Retro Gaming Community, the legends who have it all and more. Each game has its own story and each collector has theirs. These moments show the time and care collectors put into these often forgotten games, relics of changing times. Organization and presentation are key as shelves are kept tidy, while priceless games like Little Samson or Panic Restaurant are behind glass, often in rated boxes. These super rare titles, while seen few and far between, usually have interesting history and owning a piece of that is amazing.
It’s also important to note the graphics being used throughout the film. There’s a handy counter in the bottom left, keeping track of how many games Jay has acquired. Plus each transition pays homage to the NES, including some famous quotes that set the mood for each segment. The presentation is top notch and as much care went into the editing as it has in the journey.
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While Nintendo Quest has a focus on the challenge, the true heart of it lies in Jay: his story and his experience with the quest and gaming with the NES. Before the start of the quest, Rob takes Jay to their old tree house, where their love for the NES inspired a club. As they sit in that confined space, the memories flooding in looks powerful. Things get even more emotional half way through, as Jay mentions the relationship he had with his father, which was rocky to say the least.
Jay as he shares the story of his father.
Taking this journey changed Jay and the people he and the team met along the way. It’s humbling to see him struggle to find all the games, all while battling having a job, tough deals and high prices.
These games are more than entertainment, making the need to preserve and share these experiences a necessity. Just like how college students tote around heavy tomes of Shakespeare, those same students should also be carrying the games of Miyamoto and Kojima. Gaming is a medium worth caring about.
Personally, I’ve been collecting ever since I was a kid. My obsession started early, with my earliest memories involving playing Wizards and Warriors with my mom and Super Mario Bros 3 with my cousin. Sharing secrets with friends and swapping games filled my summers with joy. Even to this day, I schedule game chases with my wife and friends, hitting up yard sales and Goodwills. I’ve met so many awesome people through the years, many of which have become life long friends, all because of our love for games. It has helped develop my mind and pushed me to pursue a career in the industry.
Nintendo Quest is an awesome presentation of what makes gaming special. Jay and his friends had a journey that can’t be explained in words. To them it was more than collecting every NES game—although I’m sure that was fun too—it was about getting together with people who share a common interest and being a part of that community.
I can’t recommend Nintendo Quest enough. Congratulations to Jay, Rob, the production team and all the folks involved. This is a film that will be quintessential for gamers everywhere.
Nintendo Quest can be found on Vimeo, other major digital platforms and DVD.
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