Click the above image to read the ghostboy Christmas Special 2011.
Happy Holidays from Jason James and Dark River Press!
Happy Holidays from Jason James and Dark River Press!
Jason James and ghostboy
Jason James
Two years ago, on the 21st December, 2009, Robot Media released a new mobile device comic. It was the first chapter in the 'ghostboy' series. On it's first day of release, it received over 400 downloads on the Android Market.
ghostboy is the brain-child of Jason James, a writer and illustrator, based in Nottingham, England. The comic is published by, Barcelona based, Robot Comics. The comic follows the adventures of Tristan, an eleven year-old boy, who has just moved away from the city to start a new life with his mother. Their house is a tall, Gothic style structure which almost defies any architectural rule. There is also an old rusty, two-berth caravan that hides among the trees and bushes at the bottom of the garden. This is where Tristan likes to spend the majority of his time.
The story begins on the night of Tristan's eleventh birthday. He is sat writing in his new journal, that his grandfather gave him as a gift earlier in the day. Suddenly, Tristan is startled by a rapping at the caravan door. After picking up enough courage to check out the cause of these sounds, he slowly and cautiously makes his way over to the door. On opening it, he is pleasantly surprised that no one is there.
ghostboy is the brain-child of Jason James, a writer and illustrator, based in Nottingham, England. The comic is published by, Barcelona based, Robot Comics. The comic follows the adventures of Tristan, an eleven year-old boy, who has just moved away from the city to start a new life with his mother. Their house is a tall, Gothic style structure which almost defies any architectural rule. There is also an old rusty, two-berth caravan that hides among the trees and bushes at the bottom of the garden. This is where Tristan likes to spend the majority of his time.
The story begins on the night of Tristan's eleventh birthday. He is sat writing in his new journal, that his grandfather gave him as a gift earlier in the day. Suddenly, Tristan is startled by a rapping at the caravan door. After picking up enough courage to check out the cause of these sounds, he slowly and cautiously makes his way over to the door. On opening it, he is pleasantly surprised that no one is there.
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On closing the door, he is again startled by another rapping. He releases his hand from the door handle and is greeted by the ghost of a little girl floating in the doorway. As the story unfolds, it transpires that the little ghost girl needs Tristan's help.
Since the release of ghostboy, two years ago, there have been five chapters and two specials released. Together, the received over 35,000 downloads. In 2010, ghostboy entered into the ebook market place. ghostboy and the Nameless Grave, is the first interactive children's book on the Amazon Kindle. The book is only available in countries that Amazon have made Active Content available. I am hoping in 2012, Amazon will broaden this market, so that more people can enjoy the book. More details about the book can be found here: www.ghostboykindle.com |
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Interview with Jason James
Sample ghostboy Artwork
When did you first know you wanted to draw and write comic books?
Writing and illustrating comics wasn't a career I had considered; although, I had a great respect for it. I initially wanted to become an animator. I did, however, spend some of my teenage years creating comic strips and joined the London Cartoon Centre. The London Cartoon Centre, was a correspondence course sponsored by DC Comics. It covered everything from story-telling to character creation, layout and composition. When I was younger, I drew every day, and finding this course was like finding a pot of gold. It inspired me greatly.
It wasn't until the summer of 2009, that I considered going into comics. Digital comics. Earlier that year I had penned an idea for an illustrated children's book. So there was a seed already set for a potential project. Like, I said, it was the summer, and I was at a friend's party. It was here, where my career in digital comics began.
There was a guy at the party, who had recently purchased a new iPhone. He asked if I would help him install a few apps, telling me he had no idea other than that there was an App Store. The funny thing was, I didn't even know what an app was back then. It's hilarious when I come to think of it now. But, I accepted the task, began to play, and found the App Store icon.
On opening the App Store, I found this new world; something I had never seen before, and it intrigued me greatly. What caught my attention, among all the categories, were the books. I selected the icon and was presented with a list of different books; children's books, novels, and comics. I couldn't believe it. Books and comics, on a phone? The cogs in my head, began to go into overdrive. I instantly thought of my children's book idea.
Later that day, when I arrived home, I googled mobile comics. On doing so, I came across Robot Comics. There were not many digital comic publishers out there at this time. The market was in its infancy. Anyway, I did my research, adapted my children's book idea into a more comic-friendly format, and pitched it to Robot Comics. It was around two weeks later when I received a response requesting further information. Again, I submitted the requested material, and within a week, I was signed to the Barcelona-based publisher.
Did you study art anywhere?
I certainly did. I studied Art and Design at South Nottinghamshire College of Further Education, the Clifton campus.
This was one of the greatest times in my life. I know that sounds a little corny, but it's true. I learned so much there. The teachers pushed me: they broke me out of my comfort zone. I don't think I'd be where I am now if it wasn't for them. I strongly believe that. I became freer and more experimental, which was more true to who I was. My work became much darker and more realistic. It started to have emotion and feeling, whereas before, it was very tight and lacked personality.
It was also here, at this college, where I was introduced to one of the most inspiring films, I had ever seen: The Cabinet of Dr Caligari, a silent German Expressionist film of the 1920's.
Who are your inspirations in the field? Favorite pieces?
I am mostly inspired by artists and writers, outside the comics world. I find inspiration in music, art and film mostly. I do, however, have a huge respect for the works of Neil Gaiman, especially his Sandman series. I also love the covers that were illustrated by Dave McKean.
When I was growing up, mainly during my teen years, I would buy 2000AD. I loved that comic. To be honest, that inspired me to join the London Cartoon Centre. I was never a Marvel fan, but I was and still am a DC comics fan. I especially love Batman. I love that character. I remember buying a graphic novel called 'Judgment on Gotham'. It was written by Alan Grant and John Wagner, with illustrations by Simon Bisley. The book had both Judge Dredd and Batman, and the artwork was just stunning. Each page was a wonder to behold. Looking back, it really is strange why I didn't consider going into the comics industry earlier.
What draws you to the horror genre and what makes you comfortable in it?
For as long as I can remember, I have always loved the horror genre. Horror, whether it's a movie, comic, or book, is the most dynamic of all genres, I believe. I'm not into the gore films. To me, they are like the Disney version of a snuff film. I think horror, should have a strong narrative, and characters that take you on a nail-biting journey into a world of suspense and fear, without the need to torture, or maim, just for an audience reaction. It just doesn't do anything for me. It has no dynamic.
I have always been inspired by the Universal and Hammer films. Especially the very early stuff, like Phantom of the Opera, Frankenstein, The Nanny, and the German Expressionist films of the Twenties. These films have emotion, narrative and beautifully rendered characters.
I am also a strong believer in hauntings and ghosts. I used to be a Paranormal Investigator, where I investigated over fifty different locations, that were allegedly haunted. So, my work is heavily inspired by both the classic horror films and my fascination with the paranormal.
I do try to bring a sense of humor to my work also, especially because my work is predominantly aimed at a young audience. When kids read a story, or watch a cartoon/film, they love that scare factor. They relate to it in some way. I think, that's life in general. It's a scary place, as a kid. You are exploring it, and finding out new things. My good friend, and Psychologist, Darren Stanton, told me that FEAR, from a psychological perspective, translates as: False Evidence Appearing Real. If we don't fully understand something, we are usually fearful of it.
What was the hardest part about breaking into the comic book world for you?
I was very lucky. My break into the comic industry came relatively easily. As I mentioned earlier in this interview, I knew who I wanted to submit my work to. It was just a case of putting together the treatment and proposal.
Today, with the web and other technology, getting your work out there is so much easier than when I was a kid. Here's a bit of advice, for any aspiring comic artist, or writer. Create yourself a blog, set up a Twitter account, and show-off your work. Post your work on your blog regularly. This way you are creating a portfolio that can be seen worldwide. Tweet about it and let people know you exist.
Whilst creating this library of work, think about who you'd like to work for, what publishers you like? Research them. What styles do they like? Who do they have on their books already? And what are their submission guidelines? If you do submit your work, be sure to follow the submission guidelines to the letter. It is very important. Otherwise your work could end up in the trash can.
What do you find is the hardest part of designing/writing a comic book? The easiest (if there is such a thing)?
It's like any job. Some days, you just feel uninspired. I get round this by surrounding myself with anything and everything that inspires me. I put on some music, get out a selection of books and not think about my work. I cannot force myself to work. If my brain isn't in 'creative mode', then it's not gonna happen. So I have to tease my brain into thinking creatively. And it works.
The easiest, and most fun part about writing, is when I get into a flow. Especially if I'm writing dialogue. It's almost as if the character is doing the work for me. It's a wonderful feeling.
Do you prefer to work in the morning, late at night, on your lunch break?
I go through phases. Sometimes I work better in the morning, and sometimes in the evening. It really depends on what I'm working on, and if I'm working to deadline. If I'm working to deadline, there is no morning, lunch and evening. It's just another day of working my ass off.
Is there a particular section in horror/comic books that you like the most?
I like surprises. If a story can surprise me, I'm happy.
Do you outline your stories or create as you go? Explain.
If I am starting a new story, it is usually sparked off by an idea, or a thought that randomly pops into my head - which is why it's always a good idea to carry a notepad around. From these notes, whether they are in written, or sketch form, I will start to outline a story.
Whenever I start drafting my stories, I always write them down by hand and never directly on to the computer. I feel the writing flows better that way; it's more organic. If I'm sat at my laptop drafting, I just end up staring at the screen like a zombie.
The most interesting thing about writing character-based narratives is how the characters can dictate a scene. I may have an idea in my head of what happens, but when I start to write the dialogue down, and get into character, the narrative can change completely.
What are your present feelings on the horror genre? Do you feel that it’s dying out or stronger than ever? Explain.
The horror genre is huge, with many sub-genres. But in general, I think it's an exciting time, and yet a disappointing time. But that's not just aimed at the horror genre; it's a glove that can fit to many others too. I believe there are many talented, up and coming indie horror directors, who are going to be true to what horror really is. Then there are the Hollywood re-makes, The Thing being a prime example. The original film, is a horror classic. Why remake a classic? The answer to that is: the modern audience. The new generation. There seems to be a lack of respect for the classics. It really is a shame.
What drew you to ghostboy?
The ghostboy character was originally created in 2006, when I was working as a Lead Designer for a design studio in Nottingham.
During a lunch break, I was doodling and sketching; something I did a lot during my lunch hour. He started out completely different to what he looks like now. The shape of his head being the biggest change. I kept the sketch because I knew that he had potential. It wasn't until 2009, that I dug the sketch out and started to work with it, making him, what he is today.
What is it about him that keeps drawing you back to him?
He's my baby, in effect. So I want to give him life, and create this world for him - a world full of depth. One where he can interact with many different characters - some good, some bad - just like real life! I want kids and adults to relate to him. If I can create a character that people love, then I have done my job. If you create characters that people get to know and love, then they are going to want to follow their journey.
Are there any similarities between yourself and ghostboy?
Not intentionally. But I am sure there are elements of me in there somewhere. After all, I did create him.
Contact Jason James
Web: http://www.ghostboy.co.uk
Blog: http://www.scarycaravan.blogspot.com
Twitter: @ghostboy_world
Facebook: http://www.facebook.com/ghostboyAdventures
Writing and illustrating comics wasn't a career I had considered; although, I had a great respect for it. I initially wanted to become an animator. I did, however, spend some of my teenage years creating comic strips and joined the London Cartoon Centre. The London Cartoon Centre, was a correspondence course sponsored by DC Comics. It covered everything from story-telling to character creation, layout and composition. When I was younger, I drew every day, and finding this course was like finding a pot of gold. It inspired me greatly.
It wasn't until the summer of 2009, that I considered going into comics. Digital comics. Earlier that year I had penned an idea for an illustrated children's book. So there was a seed already set for a potential project. Like, I said, it was the summer, and I was at a friend's party. It was here, where my career in digital comics began.
There was a guy at the party, who had recently purchased a new iPhone. He asked if I would help him install a few apps, telling me he had no idea other than that there was an App Store. The funny thing was, I didn't even know what an app was back then. It's hilarious when I come to think of it now. But, I accepted the task, began to play, and found the App Store icon.
On opening the App Store, I found this new world; something I had never seen before, and it intrigued me greatly. What caught my attention, among all the categories, were the books. I selected the icon and was presented with a list of different books; children's books, novels, and comics. I couldn't believe it. Books and comics, on a phone? The cogs in my head, began to go into overdrive. I instantly thought of my children's book idea.
Later that day, when I arrived home, I googled mobile comics. On doing so, I came across Robot Comics. There were not many digital comic publishers out there at this time. The market was in its infancy. Anyway, I did my research, adapted my children's book idea into a more comic-friendly format, and pitched it to Robot Comics. It was around two weeks later when I received a response requesting further information. Again, I submitted the requested material, and within a week, I was signed to the Barcelona-based publisher.
Did you study art anywhere?
I certainly did. I studied Art and Design at South Nottinghamshire College of Further Education, the Clifton campus.
This was one of the greatest times in my life. I know that sounds a little corny, but it's true. I learned so much there. The teachers pushed me: they broke me out of my comfort zone. I don't think I'd be where I am now if it wasn't for them. I strongly believe that. I became freer and more experimental, which was more true to who I was. My work became much darker and more realistic. It started to have emotion and feeling, whereas before, it was very tight and lacked personality.
It was also here, at this college, where I was introduced to one of the most inspiring films, I had ever seen: The Cabinet of Dr Caligari, a silent German Expressionist film of the 1920's.
Who are your inspirations in the field? Favorite pieces?
I am mostly inspired by artists and writers, outside the comics world. I find inspiration in music, art and film mostly. I do, however, have a huge respect for the works of Neil Gaiman, especially his Sandman series. I also love the covers that were illustrated by Dave McKean.
When I was growing up, mainly during my teen years, I would buy 2000AD. I loved that comic. To be honest, that inspired me to join the London Cartoon Centre. I was never a Marvel fan, but I was and still am a DC comics fan. I especially love Batman. I love that character. I remember buying a graphic novel called 'Judgment on Gotham'. It was written by Alan Grant and John Wagner, with illustrations by Simon Bisley. The book had both Judge Dredd and Batman, and the artwork was just stunning. Each page was a wonder to behold. Looking back, it really is strange why I didn't consider going into the comics industry earlier.
What draws you to the horror genre and what makes you comfortable in it?
For as long as I can remember, I have always loved the horror genre. Horror, whether it's a movie, comic, or book, is the most dynamic of all genres, I believe. I'm not into the gore films. To me, they are like the Disney version of a snuff film. I think horror, should have a strong narrative, and characters that take you on a nail-biting journey into a world of suspense and fear, without the need to torture, or maim, just for an audience reaction. It just doesn't do anything for me. It has no dynamic.
I have always been inspired by the Universal and Hammer films. Especially the very early stuff, like Phantom of the Opera, Frankenstein, The Nanny, and the German Expressionist films of the Twenties. These films have emotion, narrative and beautifully rendered characters.
I am also a strong believer in hauntings and ghosts. I used to be a Paranormal Investigator, where I investigated over fifty different locations, that were allegedly haunted. So, my work is heavily inspired by both the classic horror films and my fascination with the paranormal.
I do try to bring a sense of humor to my work also, especially because my work is predominantly aimed at a young audience. When kids read a story, or watch a cartoon/film, they love that scare factor. They relate to it in some way. I think, that's life in general. It's a scary place, as a kid. You are exploring it, and finding out new things. My good friend, and Psychologist, Darren Stanton, told me that FEAR, from a psychological perspective, translates as: False Evidence Appearing Real. If we don't fully understand something, we are usually fearful of it.
What was the hardest part about breaking into the comic book world for you?
I was very lucky. My break into the comic industry came relatively easily. As I mentioned earlier in this interview, I knew who I wanted to submit my work to. It was just a case of putting together the treatment and proposal.
Today, with the web and other technology, getting your work out there is so much easier than when I was a kid. Here's a bit of advice, for any aspiring comic artist, or writer. Create yourself a blog, set up a Twitter account, and show-off your work. Post your work on your blog regularly. This way you are creating a portfolio that can be seen worldwide. Tweet about it and let people know you exist.
Whilst creating this library of work, think about who you'd like to work for, what publishers you like? Research them. What styles do they like? Who do they have on their books already? And what are their submission guidelines? If you do submit your work, be sure to follow the submission guidelines to the letter. It is very important. Otherwise your work could end up in the trash can.
What do you find is the hardest part of designing/writing a comic book? The easiest (if there is such a thing)?
It's like any job. Some days, you just feel uninspired. I get round this by surrounding myself with anything and everything that inspires me. I put on some music, get out a selection of books and not think about my work. I cannot force myself to work. If my brain isn't in 'creative mode', then it's not gonna happen. So I have to tease my brain into thinking creatively. And it works.
The easiest, and most fun part about writing, is when I get into a flow. Especially if I'm writing dialogue. It's almost as if the character is doing the work for me. It's a wonderful feeling.
Do you prefer to work in the morning, late at night, on your lunch break?
I go through phases. Sometimes I work better in the morning, and sometimes in the evening. It really depends on what I'm working on, and if I'm working to deadline. If I'm working to deadline, there is no morning, lunch and evening. It's just another day of working my ass off.
Is there a particular section in horror/comic books that you like the most?
I like surprises. If a story can surprise me, I'm happy.
Do you outline your stories or create as you go? Explain.
If I am starting a new story, it is usually sparked off by an idea, or a thought that randomly pops into my head - which is why it's always a good idea to carry a notepad around. From these notes, whether they are in written, or sketch form, I will start to outline a story.
Whenever I start drafting my stories, I always write them down by hand and never directly on to the computer. I feel the writing flows better that way; it's more organic. If I'm sat at my laptop drafting, I just end up staring at the screen like a zombie.
The most interesting thing about writing character-based narratives is how the characters can dictate a scene. I may have an idea in my head of what happens, but when I start to write the dialogue down, and get into character, the narrative can change completely.
What are your present feelings on the horror genre? Do you feel that it’s dying out or stronger than ever? Explain.
The horror genre is huge, with many sub-genres. But in general, I think it's an exciting time, and yet a disappointing time. But that's not just aimed at the horror genre; it's a glove that can fit to many others too. I believe there are many talented, up and coming indie horror directors, who are going to be true to what horror really is. Then there are the Hollywood re-makes, The Thing being a prime example. The original film, is a horror classic. Why remake a classic? The answer to that is: the modern audience. The new generation. There seems to be a lack of respect for the classics. It really is a shame.
What drew you to ghostboy?
The ghostboy character was originally created in 2006, when I was working as a Lead Designer for a design studio in Nottingham.
During a lunch break, I was doodling and sketching; something I did a lot during my lunch hour. He started out completely different to what he looks like now. The shape of his head being the biggest change. I kept the sketch because I knew that he had potential. It wasn't until 2009, that I dug the sketch out and started to work with it, making him, what he is today.
What is it about him that keeps drawing you back to him?
He's my baby, in effect. So I want to give him life, and create this world for him - a world full of depth. One where he can interact with many different characters - some good, some bad - just like real life! I want kids and adults to relate to him. If I can create a character that people love, then I have done my job. If you create characters that people get to know and love, then they are going to want to follow their journey.
Are there any similarities between yourself and ghostboy?
Not intentionally. But I am sure there are elements of me in there somewhere. After all, I did create him.
Contact Jason James
Web: http://www.ghostboy.co.uk
Blog: http://www.scarycaravan.blogspot.com
Twitter: @ghostboy_world
Facebook: http://www.facebook.com/ghostboyAdventures
