Andrew Dickman is a professional storyboard artist in the field of animation. He is also, in his copious spare time, the creator of the on-line anthropomorphic comic called Roomies. Actually, of late he hasn’t had much spare time while he’s working multiple animation jobs, so it’s been a while since Roomies has been updated. Which means now might be a good time to catch up with Andy, Swain, and Mary, the anthropomorphic college-age room-mates who inhabit this fair comic. Visit Andrew’s web page to find out what we mean. Andrew has said that he hopes to bring this comic back to life some day, so make sure to keep checking back!
The title of this collection is misleading; it collects almost every issue Rocket Raccoon and/or Groot appeared in with the exceptions of any issues of Guardians of the Galaxy or books where they appeared as part of that team. As a side note, Rocket is the only Guardian who has been an active member of that team since the beginning (not counting the original, alternate future Guardians); even Star-Lord was momentarily kicked off the team.
But anyway, these are the solo adventures of both Groot and Rocket, plus their team ups, including their first appearances in Tales to Astonish #13 way back in 1959 for Groot (that’s right, Groot is over half a century old) and both of Rocket Raccoon’s first appearances. I’ll explain that better below.
All together, they form a great introduction to the characters, especially for fans whose only knowledge that these two characters exists comes from the upcoming movie.
This collection includes stories by Bill Mantlo, Dan Abnett and Andy Lanning, and Larry Lieber, with art by Keith Giffen, Sal Buscema, Mike Mignola, Timothy Green II and Jack Kirby. The cover is by Mike Mignola, with a back cover by Skottie Young.
New York, NY, Marvel, April 2013, trade paperback $18.96 (264 pages).
This is the conclusion of M.C.A. Hogarth’s The Dreamhealers Duology. I reviewed the first book, Mindtouch, here on September 1, 2013.
In that novel Jahir Seni Galare, the colorless elflike Eldritch esper, has just entered interstellar Seersana University. His roommate is Vasiht’h, a short, skunk-furred centauroid winged Glaseah. They are both espers, but Jahir is an involuntary telepath to whom the impact of other minds is painful. In the course of Mindtouch, the two aliens develop a strong friendship, Jahir learns to control his talent – somewhat – and the two graduate.
Jahir intends to use his telepathic talent to become the galaxy’s first xenotherapist, reading his patients’ minds to help heal them. The question is whether there is any danger of the esper medic’s becoming overwhelmed by his patient’s mind.
It would be just his luck to begin his residency by reporting to the hospital as a patient. Jahir Seni Galare, nascent xenotherapist, Eldritch noble and apparently complete lightweight, sat on a bench just outside the Pad nexus that had delivered him to the surface of the planet Selnor. He had his carry-on in his lap and was trying to be unobtrusive about using it as a bolster until the dizziness stopped. (p. 1)
Tampa, FL, Studio MCAH, January 2014, trade paperback $15.99 ([1 +] 341 [+ 7] pages), Kindle $5.99.
Most people would point out that this makes absolutely no biological sense. They would be right. I was talking metaphorically about game mechanics.
Yes, Freedom Planet is a platformer featuring anthropomorphic characters in high speed platforming antics. There are certainly plenty of those to go around. But the thing that makes this one stand out is that it really does capture the essence of what made those titles that inspired it successfully, all while creating a style of its very own.
These are the first two volumes of T.R. Brown’s Reflections series. Amazon.com has a special subcategory for them: Genetic Engineering Science Fiction. They should be required reading for every furry author who plans to write human-into-anthropomorphized-animal fiction. They are also good reading for everyone else.
The two are narrated by the protagonist, Todd Hershel. The setting is an unspecified future, but there are automatic/robot cars, artificial islands (“Libertarian Colonies”) for dissidents, personal computers that unfold from pocket-size, artificially-grown organ harvesting, references to a second American Civil War in the recent past and “the Vatican in exile” and bioengineered animal people grown for soldiers in wars. For legal reasons, these humanoid “neos” are required to look like the animals they are based upon.
I was driving back from a meeting with a supplier and there was a semi pulling a load of scrap metal slightly ahead of me in the next lane. My car alerted me to be ready to take over manual control, pulling me away from the e-mails I had been working on. I saw the reason immediately. An accident a couple of miles ahead. An ambulance and other emergency personnel were already on site. That probably saved my life. […] the semi next to me had a blowout in the front wheel. […] Autopilots are good, but they can’t handle an emergency like that and, before the operator could take over, the semi jerked into my lane […] (p. 1)
Todd wakes up in a hospital two months later. His body was completely crushed by the scrap metal. Since this was an unplanned medical emergency, no substitute body has been prepped for him. The only suitable usable body that can be found on emergency notice is a brain-dead felis neo – a female, at that. Todd’s wife Colleen is not happy about that, but she agrees that the important thing is to save his life. They can worry later about getting a new human body, or at least a sex-change operation back to male and cosmetic surgery to make him look more human, later.
The first 50-odd pages are filled with the details of Todd’s exploring his new body, bioengineered from a panther to be a brawny feline soldier.
“We considered just putting your head on the new body,” Walt [a doctor] continued, “but, in addition to the aesthetic problem of a human head on a felis body, there would also have been tissue rejection to deal with.” (p. 9)
The Face in the Mirror; A Transhuman Identity Crisis, by T. R. Brown, Seattle, WA, CreateSpace, August 2012, trade paperback $17.40 (501 pages), Kindle $2.99.
Chained Reflections, by T. R. Brown, Seattle, WA, CreateSpace, August 2013, trade paperback $19.99 (558 pages), Kindle $2.99.
The Tennessee Moonshiners defeated the Edmonton Totems in five games at the conclusion of the 2014 FBA Finals, giving the Eastern Conference club their first title in franchise history. The team’s four-year point guard Aragon Fisher (Otter, G) won 2014 Finals MVP.
The contest made history by being the first FBA Finals series to feature a team out of Canada, with the Totems improving on their previous year when they reached the Western Conference Championship series but failed to enter the Finals. The Totems were heavily watched by fans of 2014 Most Valuable Player Rocky Caracal (Lynx, G) who looked to cap a 12-year career with his first title. The Moonshiners drew fans with 13-year veteran Jamie Velasquez (Seagull, G/F) whose bumpy career has seen her cut from multiple teams, most recently by the Galveston Sand Dollars, yet earning the 2012 Most Improved Player award. Attendees also watched fan favorite Paul Teronura (Otter, C) in his first Finals appearance since 2009, before he won the 2012 Defensive Player of the Year award.
There are at least five title pages and subtitles, all different, plus a foreword by Craig Yoe and short essays or tributes by comic book and animation experts, historians and, in the book’s term, aficionados Mark Evanier, Jerry Beck, David Gerstein and Paul Castiglia. The most important subtitles are A collection of paintings from the prolific imagination of the Felix the Cat guy and Curated, designed and edited by Rod Ollerenshaw. Another is The Felix the Cat Paintings of Don Oriolo.
Included are full-page photographs of Don Oriolo with Craig Yoe, two of the essayists, actor-artist Tony Curtis and some of his paintings.
When the results of Earth's genetic experiments fled their makers, they took their own name as they left humanity behind; centuries later, the Pelted have spread into a multi-world alliance of cultures and languages, cribbed from Terra or created whole-cloth. Claws and Starships collects six stories of the Pelted, ranging from the humor of a xenoanthropologist on the wrong side of mythology to more serious works considering the implications of genetic engineering in a far-future classroom seeded with the children of those laboratories. Come stamp your passport and visit the worlds of the Pelted Alliance in all their variety! (back-cover blurb)
If you want to say that I have a conflict of interest reviewing this collection as I wrote the afterword to it, go ahead. I have been a fan of M.C.A. Hogarth’s “Pelted Alliance” furry science fiction stories since I discovered them in YARF! and other furry fanzines in the late 1990s and early 2000s. I included one, “Rosettes and Ribbons” from Yarf! #58, January 2000, in Best in Show, the first anthology of furry fiction. I was glad to see this first collection of Pelted short fiction, along with six illustrations by the author, in an e-book in December 2011, and I felt honored to be asked to write this afterword, for this new trade paperback edition in June 2013.
Claws and Starships consists of the novella “A Distant Sun” and the five short stories “Rosettes and Ribbons”, “The Elements of Freedom”, “Tears”, “Pantheon” and “Butterfly”. These are the Pelted stories that do not feature Alysha Forrest, Hogarth’s feline-based Karaka’An woman, the main character in the series. The first Alysha Forrest stories were rewritten into Hogarth’s novel Alysha’s Fall (Cornwuff Press, September 2000), and she has starred in most of the Pelted short fiction since then.
But there have been these six other stories that show the Pelted universe is more than just Alysha’s adventures. Claws and Starships packages them together neatly for the fans of the Pelted universe, and of really good furry interstellar science fiction.
Illustrated by M.C.A. Hogarth, afterword by Fred Patten, Tampa, FL, Studio MCAH, June 2013, trade paperback $12.99 ([2 +] 203 pages), Kindle $3.99.
I don’t know what’s going on, but wow!
Three years have passed since Season 1. As before, the main character is the mysterious Babar-esque elephant immigrant known as Michael Elizondo, with his recently made best friend, the reckless investigative reporter Hector McKeagh the beaver.
Season 2 continues the elaborate comic-art “crime noir” mystery set in an early 20th-century steampunk version of New York City populated with humans, anthropomorphic animals and flying-saucer aliens.
Translation by Anna Provitola, Los Angeles, Humanoids, Inc., January 2014, hardcover $39.95 (358 [+ 1] pages).
The only furry comic of note to make the May 2014 bestsellers list was Guardians of the Galaxy #15 at 25, so I’ll add that this month actually sees not one, but two furry takes on War of the Worlds, and I’m excited about both of them.
Which will be the best (or will Alan Moore’s Dr. Moreau vs. Martians still be the best furry War of the Worlds take)?
This is a mature content book. Please ensure that you are of legal age to purchase this material in your state or region. (publisher's advisory)
Synopsis: Carson really likes meeting guys over Knotz, his favorite smartphone app. He has little patience for conversation and even less for the idea of a relationship. However, after a hot bear quite literally knocks him off his feet, it seems there might be more to life than his job and searching for one night stands. (publisher’s blurb)
Carson, as the cover by Soro shows, is a young male red fox (usually more dressed in public) who works in a bookstore in St. Marx. He meets Peter Belov, a handsome and ridiculously rich Russian black bear, when the latter’s expensive car knocks over his bicycle in a minor traffic accident. Carson’s cell phone, ruined in the crash, is frozen on Knotz, a gay erotic site, so there is no doubt as to his sexual orientation. Peter offers to drive him home, and since Carson’s preference is obvious, Peter proposes a gay date.
All Tied Up in Knotz is well-written, but it is 100% for the gay male eroticism market. St. Marx appears to be a city inhabited entirely by handsome gay male anthros looking for friendly sex with no long-term attachments. Females and even families with children appear later, but the reader sees things from Carson’s point of view, and he notices little but the roving gay males.
Dallas, TX, FurPlanet Productions, July 2013, trade paperback $9.95 (105 pages).
The following is The Wyrmkeep Entertainment Co.’s newsletter for July 2014. Items of interest include the announcement of the title for the Inherit the Earth: Quest for the Orb sequel, a new funding drive for that sequel and a new online reseller for Quest for the Orb.
This is the fourth volume in Sofawolf Press’ Artistic Visions series of art-sketch format albums, each showcasing one of the best artists in furry fandom. Each is a professional artist, but is especially well-known in furry fandom for convention conbook covers, badge art and other commissioned art, and trades with other Furry artists; many of which are posted on DeviantART, Fur Affinity and other art websites.
The art in these albums emphasize anthropomorphized-animal cartoons and similar humorous work, rather than realistic animal depictions. Other Artistic Visions albums have showcased the work of Hibbary (Hillary Leutkemeyer), Brian and Tracy Reynolds, Kenket (Tess Garman) and Ursula Vernon. These are all American artists.
The Art of Henrieke is the first to feature a European artist. Henrieke Goorhuis, a Dutch artist born in 1990, has become very popular in just the last five years for European Furry convention art and T-shirts, commissioned art featuring fans’ personal icons and for commissioned art for European zoos. Her most popular character is her own cartoon icon, Kiki the ring-tailed lemur.
Good artbooks speak for themselves. Almost every page of The Art of Henrieke: Sketches, Works in Progress, and Commentary by the Artist is crammed with sketches and finished line art.
St. Paul, MN, Sofawolf Press, January 2014, trade paperback $14.95 (75 [+ 1] pages).
The cost of printing and distribution combined with minimal or non-existent sales always made fanzines a marginal proposition. But the format, if not the medium, is still popular with those seeking to try their paws at publishing.
Tag by Felix Greypaw and Hashiko Whitepaw offers an example of what you can do in just a few days; the first – so far only – issue was published May 16, including in-depth (and, alas, uncredited) articles about Dust: An Elysian Tail, Furcadia, and Wolf's Rain from Wikipedia, as well as furry-themed horoscopes and art.
Furry N' Fuzzy Magazine has made it to two issues, although it's overdue for the third. Featuring artists, t-shirt reviews, interviews, personal histories, the syndicated column Ask Papabear, photos of things that look furry, and copious ads, there's something for everyone.
What is it with cartoon dinosaur movies and migrating?
Ever since The Land Before Time1 featured a group of dinosaurs migrating through a barren wasteland, animated prehistoric animals have been moving en-mass just ahead of some sort of astronomical, geological or climactic cataclysm – all three at once, if they’re unlucky – that is implied will lead to the extinction of all creatures not our heroes, whose species will die out with them. A rather bleak fate, actually.
Let’s see… Disney’s Dinosaur featured a mass migration after an asteroid strike and a horrible drought. And this doesn’t just extend to dinosaurs; when I said prehistoric animals, I meant prehistoric animals. The first Ice Age and at least two of its sequels featured mass migrations ahead of disaster (I still haven’t seen the one with actual dinosaurs, but I assume migration plays some part); even prehistoric humans are not immune, as The Croods proved last year.
Now comes Walking with Dinosaurs (sometimes retitled Walking with Dinosaurs: 3D or Walking with Dinosaurs: The Movie), which is about dinosaurs putting on a prehistoric stage production of Les Misérables.
Just kidding, they migrate.
1 I’m sure there are earlier examples, but as child of the eighties, my knowledge of pop culture abruptly begins circa 1985; nothing, as far as I know, exists before - just like the rest of the Internet.