LO Magazine Issue 9

LO Magazine
anime & manga for South Africa
Vol. 9
Feb. 2005
Free Issue
VINCENT SAMMY
Exploring the mind
of a local female
male
comic artist.
PARANOIA AGENT
Loosing your sanity,
episode by episode.
MY NEIGHBOR TOTORO
The best children’s
movie ever gets the
cine-manga makeover
ENTER
our
FAN SURVEY
&
WIN!
PATRICK DRAZEN
Exploring the
social mind behind
Japan’s anime &
manga culture
KEI YOSHIMIZU
From Ridge Racer 4
to Peanuts.
The perfect tool.
Express yourself!
Adobe Indesign cs
Image © 2004 Adobe Inc.
W
elcome to LO
Magazine’s ninth
issue.
Do you like scary movies?
Not the gory movies, but
the ones that scrapes
away at the core of
your sanity? If you do,
then you are going to
love Paranoia Agent and
Boogiepop Phantom in this
month’s issue.
Please take the effort
in completing our FAN
SURVEY and send it
back to us via email or
snail mail (see P.12).
The information will
be invaluable for our
future plans in creating
an awesome anime and
manga experience.
We hope you will enjoy
this month’s issue and
keep sending us your
comments!
Enjoy.
Ed.
3
© LO Magazine 2004
LO
Editorial
Editor - AJ Kock
[email protected]
Proof-reader: Thys Visser
Website:
www.lomagazine.co.za
For contact spesifics please
look at page 43.
CONTENT
06
ANIME FEATURE
Paranoia Agent will mess with your mind.
08
INDUSTRY NEWS
Find out who is doing what, where and
when.
10
MANGA FEATURE
My Neighbor Totoro, the ultimate family
movie.
12
THE FAN SURVEY
We are doing a survey to learn more about
you, our reader. One lucky reader will win
our special prize.
14
EDITOR’S PAGE
Patrick Drazen’s Anime Explosion.
17
KIDS / TEENS
Martian Successor Nadesico
18
DIGITAL CREATIONS
Kei Yoshimizu, creator of Ridge Racer’s
Reiko Nagase.
22
LETTERS
Raw unedited emails for you
LO Magazine is a product of
© 2005 Manga SA Anime
Cover:
Image © Kei Yoshimizu
Kids/Teens: Writer:
Sydney Butler
Page 3 Image:
Paranoia Agent © Geneon
Entertainment (USA)
LO recognises all copyrights
in this issue. Where possible,
we have acknowledged the
copyright holders. Contact
us if we have failed to credit
your copyright.
Unless indicated otherwise,
all content are © LO
Magazine.
© LO Magazine 2004
4
Note: To make life easier we indicate
anime with blue and manga with green.
Words in Bold, Italic means that it
includes a term de nition.
06
24
THE LOCAL SCENE
Local female comic artist Vincent Sammy
opens her mind.
30
LIVE-ACTION
Boogypop Phantom creeps in.
32
MANGA INCLUDE
Dark Horse presents 3X3 Eyes - Curse of
the Gesu.
38
NEO-MANGA
Idea+Design Works.
40
LO RECOMMENDS
This month’s anime and manga
recommendations, if you don’t know what
to watch.
42
SOCIAL PHILOSOPHY
The Blatant Truth, a fan’s point of view.
43
SUBMISSIONS
Do you want to submit your artwork or
articles to us?
Software used in the making of LO Magazine:
Artwork: Adobe Photoshop
Layout & Design: Adobe Indesign
PDF Creation: Adobe PDF Writer
5
10
18
38
© LO Magazine 2004
ANIME FEATURE
When you hear the name of director Satoshi Kon (Perfect
Blue, Tokyo Godfathers, Millennium Actress), you need to sit
up straight, listen carefully and pull your security blanket
closer. Being a director who dislikes commercialism, his
movies defies traditional ideas around animation and it all
began with Perfect Blue, a thriller compared to the likes of
Alfred Hitchcock.
Paranoia Agent is the rst TV series for Satoshi Kon and it becomes
painfully obvious, as your sanity slowly slip away alongside Tsukiko
Sagi, a young woman who creates loveable toys for a living. Work
pressure pushes Tsukiko into a world of delusions. When she
becomes the first victim of batboy (“Shounen Bat”), you are not
sure if it really happened or if it was all a delusion created by her
over-stressed psyche.
You try and convince yourself that everything was just a delusion,
until other people also become victims of the young boy with
the golden bat. Two detectives are put on the job to capture the
elusive batboy, whose exploits are spreading through social gossip
circles like wildfire. Everyone has an opinion about the batboy and
this makes the work for the two detectives even more challenging.
Kon’s movies have a very destinctive art style (characters with
exhaggerated head features, excluding the traditional large eyes),
but what really pulls you to his movies, is his amazing storytelling
skills. If you are a serious animation collector (not just anime), you
should have this series in your collection.
USA Distributer: www.geneon-ent.com
Images © Geneon Entertainment (USA) Inc.
Paranoia Agent © Satoshi Kon • Madhouse / Paranoia Agent
Committee
6
.LO
SATOSHI KON’S
PARANOIA AGENT
Recommend: If you like this type
of anime, then you should try Manga
Entertainment’s Perfect Blue.
7
INDUSTRY NEWS
THE DARKNESS LIVE ACTION
Platinum Studios and Top Cow
Prods. Inc. announced a deal
in which Dimension Films has
acquired the exclusive rights to
develop Top Cow’s The Darkness
as a live-action feature film.
The Darkness, created by
Marc Silvestri, Garth Ennis and
David Wohl, is one of today’s
hottest comic book properties,
with print sales topping $25
million. Its huge popularity has
even prompted inter-company
crossovers, the latest with
Superman in a two-issue series
shipping this month.
Source: w3.awn.com
Image © Top Cow
SUBMARINER LIVE ACTION
Universal Pictures has hired
Chris Columbus to direct and
produce the feature adaptation
of Marvel Comics’ Sub-Mariner.
The film will be based
on Marvel’s first superhero,
Prince Namor, a rebellious
half-amphibian/half-man from
Atlantis, who both helps and
fights humankind, especially
when they pollute the ocean.
Universal Pictures Vice Chair
of worldwide production Mary
Parent and VP of Production
Damien Saccani will shepherd
the flick for the studio.
Source: w3.awn.com
Image © Marvel Comics.
BATTLE OF THE PLANETS
“G-Force,” a live-action/CGI
family feature film that has
landed at Walt Disney Pictures
with Bruckheimer attached to
produce.
“G-Force” marks the
directorial debut of visual effects
supervisor Hoyt Yeatman, who
has worked on a number of
Bruckheimer’s films.
The idea is to produce
both computer-generated
and animated film projects,
integrating animated characters
into live-action settings.
We currently see this as only
a rumour (Ed.)
Source: w3.aintitcoolnews.com
Image © TopCow Productions.
32ND ANNUAL ANNIE
AWARDS
Anime News Network reports
that the list of nominees for
the 32nd Annual Annie Awards
include Ghost In The Shell 2:
Innocence for “Best Animated
Feature,” Mamoru Oshii for
“Directing in an Animated
Feature Production,” Hisashi
Ezura, for “Animated Effects”
and Kenji Kawai for “Music in an
Animated Feature Production,”
and Yoko Kanno for Music in an
Animated Feature Production.”
For a list of nominees, go to:
w3.annieawards.com
Image © Production IG.
Source: w3.aintitcoolnews.com
MORE AWARDS OVER THE
WORLD FOR ANIME
According to Variety Hayao
Miyazaki’s works have been
awarded a special jury prize at the
Sitges International Film Festival
of Catalonia fantasy Film festival.
Miyazaki’s Howl’s Moving Castle
won the Audience Award for
Best Film and Katsuihiro Otomo’s
Steamboy won the Gertie Award
for the Best Animation Film.
Animaxis reports that Ghost
in the Shell: Innocence has been
awarded the Science Fiction &
Fantasy Writers of Japan’s prize
for “Best SF Creation”
Image © Studio Ghibli
Source: w3.aintitcoolnews.com
DAZ PRODS. UNVEILS 3D
ANIME/MANGA PRODUCT
DAZ Prods. has launched the
most versatile 3D anime/manga
product available -- AIKO 3.0.
Essentially, Aiko is a 3D kit
that almost anyone can style
art and animation with the 3D
program, DAZ|Studio, as well
as other 3D party products like
Bryce, Poser and Shade.
The public can experience
this 3D anime/manga product
for free by downloading the
AIKO 3 base package at
anim.manga.daz3d.com.
Source: w3.awn.com
Image © Daz Productions.
© LO Magazine 2004
8
MANGA FEATURE
© LO Magazine 2004
10
“It was among the relatively few
Japanese films on director Akira
Kurosawa’s list of his hundred
best movies of all time...” ~ Helen
McCarthy
Do you remember the last time you heart was
genuinely filled with warmth and goodness after
watching a movie? Probably not. And that is because
you haven’t been exposed to Academy Award™ winner
Hayao Miyazaki’s charming animation entitled, My
Neighbor Totoro.
Luckily for you, VIZ, LLC, one of the leading publishers
and distributors of manga and anime for North American
audiences, has announced the release of the Ani-Manga™
(a manga that takes its images directly from the animated
version of the story) for My Neighbor Totoro. It will be
released in a four-volume full color series.
My Neighbor Totoro, is a story about childhood innocence,
friendship and the belief that magic is all around us. Volume
1 of Totoro opens with eleven-year-old Satsuki and her sassy
little sister Mei, who are both excited about moving into an
old country house with their dad. On arrival, the two sisters
immediately begin their exploration of the house and it’s
surrounding area.
“Totoro is still perhaps the most
perfect children’s movie ever
made, period.” ~ Patrick Drazen
On the first day of their exploration, Satsuki and Mei meet
Granny, a sweet old woman, and her timid grandson Kanta.
They also experience rst hand the magic of the Soot
Sprites, mysterious creatures that live in the walls of their
house, and discover a huge camphor tree, which according
to their father, just might be enchanted. The scene is set for
the sisters to meet Totoro, a gentile tree guardian, and an
amazing cast of fabulous characters that inhabit the woods
as a wonderful adventure begins.
Hayao Miyazaki is regarded as the most beloved animator
in Japanese history and his well developed and imaginative
stories feature compelling characters and original plots that
have found mass appeal with both children and adults. He
won the first Academy Award™ for an anime film in 2002 for
Spirited Away, for which VIZ also publishes the Ani-Manga:
Miyazaki’s Spirited Away, The Art of Miyazaki’s Spirited
Away and Miyazaki’s Spirited Away Picture Book. VIZ also
publishes Miyazaki’s Nausicaa of the Valley of the Wind and
the Ani-Manga for Castle in the Sky. Disney will offer the
DVD of Nausicaa of the Valley of the Wind and Porco Rosso in
February 2005.
“My Neighbor Totoro is both my
favorite Miyazaki work and my
favorite film.” ~ Helen McCarthy
The My Neighbor Totoro DVD (single disk, not Japanese
audio track and it is a VHS-to-DVD copy) is available from
Fox Home Video, with another release by Walt Disney Home
Entertainment hopefully later this year (with Japanese audio
track and with video & audio remastered/digitalised).
My Neigbour Totoro ©1988 Nibariki - Tokuma Shoten.
My Neighbor Totoro logo ©2004 Buena Vista Entertainment,
Inc.
Quotes taken from our interview with Patrick Drazen (P.14) and
Helen McCarthy’s book: Hayao Miyazaki - Master of Japanese
Animation (published by Stone Bridge Press, Berkeley, California,
2002).
11
© LO Magazine 2004
FAN SURVEY
ENTER OUR SURVEY & WIN
We will be running this survey for two months in order to learn more about you, our
reader. The goal is to see how we can provide a better experience for you and if you
are really out there. Please take the time to complete and return this survey, as it
will determine the future of this magazine. One lucky fan will also receive an awesome prize, which we will announce next month.
If you received LO Magazine through the
purchase of the NAG Magazine, you will
find the Survey included on the Cover CD
as a seperate WORD document file.
If you downloaded LO Magazine from
our website or received it through other
means, you can download the survey
from our website or complete it online (if
available at the time).
Send completed Survey to one of the following:
1. Email: [email protected]
2. Post: LO Magazine (Survey Questionaire), PO Box 7494, Stellenbosch, 7599
The Survey is open to all readers from across the world, but only South
Africans readers will qualify for the prize. All information will be kept
anonymous, except for your email address which will be entered into the
competition (seperated from your answers).
WWW.LOMAGAZINE.CO.ZA
EDITOR’S PAGE
PATRICK DRAZEN
Patrick Drazen (PD) has lectured on
Japanese popular culture at the University
of Chicago and Southern Illinois University
Carbondale, where he earned a Masters of
Arts degree. In Anime Explosion, Patrick
Drazen looks at Japanese animation from
the inside, from its roots in ancient Japanese
culture to its major themes and motifs—war,
anti-war, religion, ghosts, and reincarnation
• giant robots and mecha • cute gay/girl/
fanboy love • samurai, folk heroes, athletes,
and mothers • diligence, duty, and love of
nature.
LO: What pulled you towards anime and
manga?
PD: The deliberately kinetic style of manga,
compared to American comics, was a revelation
when I first saw it in the 1980s. Stripped of fourcolor printing, and just working with black ink on
a white page, manga artists achieved amazing
things in terms of drama, action, and comic
distortion.
Anime and manga also have in abundance
something that American comic books and
animation seems more and more to lack: direct
emotional impact with the audience. Every battle
is critical, whether between two armies in space
(any of the “Gundam” anime) or between two
dolls (in “Angelic Layer” by CLAMP).
He also probes the influence of manga and the
works of leading directors like Hayao Miyazaki
and Masamune Shirow, providing detailed
commentaries on some of fandom’s favorite films,
including Escaflowne, Sailor Moon, Ghost in the
Shell and Evangelion.
© LO Magazine 2004
Relationships also come in all flavors, and not
14
merely those allowed by America’s Comics Code
(instituted in the 1950s after public outcry about
horror comics like “Tales from the Crypt”):
romance builds slowly, freezes, backtracks,
returns, and goes through all the permutations of
real life.
own sort of revelation of how far the form can
be stretched beyond the norm. And he didn’t stop
there: the artistic and narrative games he played
with “His and Her Circumstances” stretched the
high-school romance genre while still being true
to it.
American comics and cartoons have their own
conventions; manga scan more like novels and
anime are closer to cinema.
Takahashi: She has been so consistently good,
so popular for so many decades, that manga and
anime without her is impossible to imagine. Her
manga successes and their anime incarnations
are international hits: Urusei Yatsura, Ranma 1/2,
InuYasha. And then there’s the romantic comedy
“Mezon Ikkoku”, my personal favorite manga of
all time. The art is impeccable, attractive and
humorous, while the story scans like a great 19th
century novel.
LO: Why do you think “drawings” (manga,
anime) are so big in Japanese culture,
compare to other nations?
PD: It helps that Japan has a calligraphic
alphabet, using Chinese characters which are, to
an extent, pictograms.
Miyazaki: What can anyone say at this point?
“Nausicaa” took animation far beyond where the
rest of the world expected it to be: large, exciting,
awesome in a religious sense. “Totoro” is still
perhaps the most perfect children’s movie ever
made, period. “Kiki” is a lesson about being an
outsider in a strange culture, and about a girl
entering adolescence, and both teaching that
you’ll get the help you need if you remain kind
and open to the situation. I should stop writing:
books have been written about Miyazaki’s work,
even though the movies speak so brillliantly for
themselves.
If you’re taught all your life to “write” with a
brush, I think you can’t help but develop an
eye for graphic appreciation. Then, too, there
is a potential for drawn “puns” that amuse the
eye, just as the Japanese language has a great
potential for verbal puns.
I certainly can’t speak for all other cultures
and languages, but I don’t think you can
underestimate this playful aspect of the Japanese
culture, which is still evident in their taste for cute
things like Hello Kitty; English-speaking America,
on the other hand, was settled by British and
European religious fanatics who weren’t known for
their sense of humor.
Kon: Of all the new directors in anime, Satoshi
Kon has gone farthest to prove himself, with
three films released in fairly short order. All
three films are different as can be, except that
they’re all perfectly executed: “Perfect Blue” is a
disturbing thriller equal to anything Brian DePalma
ever directed, and “Tokyo Godfathers” turns
John Ford’s “Three Godfathers” into a delightful
picaresque that finds respect and compassion
even in the demimonde of Tokyo’s homeless and
hopeless. But I’ve seldom been so excited and
so moved by any movie, live or animated, as
by “Millennium Actress”. Kon dizzies us with his
constantly shifting points of view, taking us into
and out of Chiyoko’s movie roles until it no longer
matters whether what we’re watching is life or a
script. Seldom have the characters in a movie
about the movies been so real.
LO: If you would to pick out 5 great anime/
manga creators of all time, who would you
choose and why?
PD: Osamu Tezuka, Hideaki Anno, Rumiko
Takahashi, Hayao Miyazaki, Satoshi Kon. First
of all, they all are such excellent practitioners of
their craft that, even in an area as ephemeral
as pop culture, their work will be discussed,
analyzed, and (most important) enjoyed for
decades by fans around the world.
Tezuka: the God of Comics, the Father of them all.
His 1947 manga “New Treasure Island” turned
comics into storyboards, drawing on cinematic
techniques, and running hundreds of pages; it
was a revelation to a generation of artists. When
he started animating his own work (Astro Boy, Leo
the Lion, the cross-dressing Princess Sapphire), it
carried the message even farther. He erased the
“for children only” label from both comics and
animation, and opened the doors of creativity for
the others on this list, and many more besides.
LO: Hayao Miyazaki seems to be working
harder and harder as he gets older. What do
you think drives him to create these amazing
animation stories?
PD: I think that, after working for Toei and other
studios for a couple of decades, when he founded
Studio Ghibli he was able to create original
projects and oversee each detail. He and Isao
Takahata didn’t have that luxury earlier in their
careers.
Anno: He did what was supposed to be
impossible, by taking the entire language of
anime, destroying and rebuilding it. The 26
episodes of “Neon Genesis Evangelion” are their
15
© LO Magazine 2004
LO: What do you think about the fact that so
many anime (Astro Boy, Witch Hunter Robin,
Akira, Battle Angel Alita, Kite) are becoming
live action movies in the USA?
PD: This is a trend in Japan as well, what with
a live version of Go Nagai’s scandalous “Cutie
Honey” set for release, as well as the popularity
of live stage shows based on “Sailor Moon”. I
think in America it goes back a few decades to
the overwhelming success of the first modern
“Batman” movie. Hollywood started looking for
“hot properties”, without wondering if the result
would be a colossal waste of time and resources.
Miyazaki has also announced his intention to
retire on occasion, but it doesn’t seem to be his
destiny to quit the business just yet. One time he
stepped back into creating anime because of the
sudden death of animator Yoshifumi Kondo, whose
sole effort as director (Mimi-o Sumaseba) is still
one of my favorite anime of all time.
Perhaps losing this “heir apparent” reminded
Miyazaki that he still had stories to tell. And,
since he’s older than many of the animators who
work for him, he remembers things out of his past
that they never knew, so perhaps he feels that
some stories might not get told at all unless he
tells them.
LO: In your book “Anime Explosion!” you
discussed numerous social themes. Do you
think that anime and manga are the modern
carriers of the social messages, fables used
to carry? Some people might say that it is
obviously so, but if you look at how tales
have been watered down in the West, the
answer might not be so obvious anymore.
PD: The stories may no longer mean what they
apparently used to mean in Japan, but stories
and legends, like music, evolve over time to meet
the needs of the moment. Folk stories changed
as they moved from one locality to another, as
folklorists have documented, changing to suit the
needs of the audience. I believe in the critical
theories that say that movies are like the legends
of old, in that they offer conventional models of
how to solve problems and fit into society.
LO: The Japanese hero is rarely a superhero,
but rather an ordinary hero (if you can call it
that). Why do you think the Japanese prefers
the ordinary, compared to the Western
comics with their mutants and superheroes?
PD: We’ll never be as rich as Batman’s Bruce
Wayne, nor as freakishly gifted as the X-Men.
Japanese pop culture ties into a belief vital to its
educational system: that, given an equal start,
just about anyone can be taught just about
anything. So the “super-hero” is redefined
(with some exceptions, of course) as an average
person, who may have a gift, but who needs to
take the gift, cultivate it, and put it in the service
of friends and colleagues.
Pitcher Ryo Kawasaki is good enough to pitch
against the boys, but she needs a team behind
her to prove it in “Princess Nine”, and Misaki, a
newly-arrived-in-a-futuristic-Tokyo 12 year old,
must cooperate with her battling “Angel” doll if
she expects to succeeed at the game “Angelic
Layer”, in the manga of the same name by CLAMP.
If an approach is too avant-garde, audiences
know it immediately. Anime and manga can
certainly be enjoyed on a surface level by nonJapanese, yet I believe that they also have this
didactic function that someone immersed in the
Japanese culture, would be able to appreciate and
understand.
The social component of Japanese life makes all
the difference, I think. In America the dominant
myth is of the loner who will prove to everyone
that he was right all along--which explains a lot
about Dubbya in Iraq, actually.
LO: Do you still frequently watch anime?
PD: As often as I can. Right now I’m especially
following “Full Metal Alchemist” because of its
very emotional story-line and its treatment of
magic as technology (in a very different way from
the Harry Potter saga), “Ghost in the Shell: StandAlone Complex” because it is such a well-produced
and intelligent continuation of the “Ghost in the
Shell” movies, and “Gundam SEED” because of its
premise that humankind can create a genetically
modified and superior group (the Coordinators)
and still treat them as undesirables.
LO: What do you think of using a term like
Neo-manga (neo-anime) to distinguish
between Japanimation and alternative
culturally influenced anime and manga and
do you think that a distinction should be
made?
PD: As it stands now, America distinguishes
between “comics” and “graphic novels”, but
creating separate names runs the risk of missing
the intrinsic worth of a work by comparing it to
some similar artificial category. I don’t know if
Chinese animation or Korean comics will equal
or surpass the “real deal” from Japan; I know
that, so far, American artists haven’t been able to
truly duplicate manga and anime, and maybe we
should stop trying.
© LO Magazine 2004
This not only takes the “NewType” debate from
the older “Gundam” series to the next level, but
also forces us to consider issues of segregation
and exclusion in our own time. Like the best
anime, these are especially ambitious, and
are a delight to watch when they achieve their
ambitions.
.LO
16
KIDS/TEENS
Nadesico is a space opera much in the vein
of a western series such as Star Trek, but at
the same time it is also a comedy. In fact,
apart from the main storyline there are many
jibes at anime and various other films and
genres with particular pokes at otaku culture
(an often derogatory term in Japanese that
can be translated as “geek” or “fanboy”).
The story revolves around Akito Tenkawa
and Yurika Misamaru the cook and captain,
respectively, of the Nergal Heavy Industries
spaceship Nadesico. A ship created to protect
the earth against the “Jovian Lizards” who had
overthrown Mars a short while before: A raid
which Akito had been present at, but just before
the climax of the confiict he disappeared and
found himself on earth.
On earth he once again meets Yurika, a childhood
friend and neighbour who mysteriously moved
away just before an accident that killed both of
Akito’s parents. Thus he becomes the cook on the
ship in order to find answers to his questions.
Apart from Yurika and Akito there are a whole
barrel of other crew members, who are “experts
in their respective fields, despite minor personality
problems” according to Mr. Prospector who did
the recruitment. Obviously these are more than
“Minor” problems and make for an entertaining
and above all, an unpredictable series as unstable
as its characters.
MARTIAN
SUCCESSOR
NADESICO
Who are the lizards? Are Nergal and the
government of Earth really as benevolent as they
appear?
Nadesico has proven to be one of the most
popular Anime series to be released in the West.
It was voted Best Animated Series at the 1998
Animage Grand Prix. It has also been referred to
as “the antidote to Evangelion” which many fans
felt took itself too seriously.
Nadesico eschews the animation style of newer
series such as the Gonzo Digimation crop of shows
(e.g. Scrapped Princess and Hellsing), sticking
with a more hand drawn appearance despite its
extensive use of digital animation which remains
largely transparent to the viewer.
WRITTEN BY JERICHO
Nadesico is based on a serial published in
Kadokawa Shoten’s Shonen Ace Monthly.
Character designs by Keiji Goto and directed
by Tasuo Sato. The series is ended by a movie
entitled “Nadesico: The Prince of Darkness”
released after the TV series.
Recommend: If you like this type
of anime, then you should try The
Irresponsible Captain Taylor or Mugen
Ryvius Z.
.LO
17
© LO Magazine 2004
DIGITAL CREATIONS
© LO Magazine 2004
18
VIRTUAL IDOL CREATOR
KEI YOSHIMIZU
Through the history of Playstation 1 & 2,
there has been a few virtual idols which
stood the test of time. One of them was
Reiko Nagase, the cover babe of Ridge Racer.
We spoke to her creator Kei Yoshimizu (KY) .
LO: At what age did you decide to become a
3D artist?
KY: I was twenty-two when I decided to become a
3D artist.
LO: Would you say that it is easier to create
a female CG character compare to a male CG
character?
KY: I think it is easier to model a young woman,
because it has less detail than a male character.
LO: You did the designs for the famous Reiko
Nagase in Ridge Racer Type 4. How did this
come about?
KY: When I joined NAMCO, I was modeling the
female character for research in 1995. The
director of the game “Rage Racer” decided to
make the character appear in the game. I named
her Reiko Nagase.
In “R4-Ridge Racer Type 4”, which is the sequel
of “Rage Racer”, she was appointed as a main
character in 1998.
LO: Did you expect Reiko Nagase to become
so famous across the world?
KY: No. I only expressed her as a character in
the game. However, by becoming the mascot of
the game, she became famous.
LO: Tell us a bit more about your work
“Peanuts”.
KY: “Peanuts” is a full-length original animation
I made on my own. Although I made numerous
animations for the game, I wanted to make a
completely original animation. So I designed the
19
© LO Magazine 2004
KY: I just finished development of the game
“Ridge Racers” on PSP (PlayStation Portable)
for NAMCO. That is the latest work about Reiko
Nagase.
LO: If you had the freedom and money to
create anything you like, what would you
create?
KY: Original animation. A movie or a continuation
program.
LO: Do you have any tips for new artists here
in South Africa?
KY: 3DCG is a medium for the expression of
various styles. You should always offer the style in
character with you.
All images © Kei Yoshimizu
We have edited some of Kei Yoshimizu’s answers
(with permission), because English is not his first
language.
.LO
...continue
character in a comic tone rather than the real
thing, and made a slapstick animation. This was
very pleasant work.
LO: Are there any artists whom you admire
and whose work you find inspiring?
KY: I looked at Katsuhiro Otomo’s “AKIRA” and
was inspired into creating animation. I think
that photographer Christopher Doyle and Mika
Ninagawa also had an influence on my present
style.
LO: Why do you think that “virtual idols” are
so much more accepted in Japan, compared
to the West?
KY: The “idol” culture has been in Japan from
the 70s. There is also the culture of comics and
animation, which adults still appreciate, and a
huge gaming culture. I think that the virtual idol
includes elements of these three cultural products,
which makes it easier to accept in Japan.
LO: What projects are you currently working
on?
© LO Magazine 2004
20
21
© LO Magazine 2004
LETTERS
RAW UNEDITED EMAILS FOR YOU
Hey great mag.
Can you maybe tell me or give
me a idea of when you will
publish your great mag.
And how much it will cost.
Thanks
Fudgie
[When someone volunteers
to sponsor the printing or if I
win the lotto. Ed.]
I’m a pretty avid anime fan and
look forward to getting your
magazine each month.
Unfortunately I’m having a hard
time finding a good website
with reviews and information
(number of episodes, dates,
etc) on different anime series.
It would really be useful for
planning what to get next.
Do you (or anyone out there)
know of any? It would really
help if you could tell me about
any.
Zac
[w3.animeondvd.com. Ed.]
Yo-ho!
great work on the mag!!
I like the social ethics part. It
would be cool if you could do
a piece on the whole promise
theme in a lot of anime, cos
the last 5 series iv’e watched
revolved a lot around peoples
promises (especially Maburaho).
Anyway, keep up the good
work!!
*the crimson chin*
[Okay. I’ll think about it.
Promise! Ed.]
© LO Magazine 2004
Greetings Lo.....
I’m reading Issue 6 at the
moment...good work as always!
On to my request, well, its isn’t
speci cally about the magazine
but rather about your website.
I think it would be an absolutly
fantastic idea to have a forum
on your website where readers
of LO can go and discuss
anything on their minds relating
to anime/manga. You could have
different topics and even a place
where artists can submit their
own artwork. Just an idea ;)
Ugan
[Seeing that by the time
you read this, I probably
would have come up with a
solution, I will just say: “I’m
working on it.” Ed.]
I’ve bought NAG for years and
ever since the LO Mag appeared
on there, I needed it on paper.
It would make a better collection
and I wouldn’t have to turn on
my pc for any little anime name
I want to know.
If or when you do put it on
paper, you should put a cover
CD.
If everyone likes anime the way
I do then it should be succesful.
Think about it : the fans will be
pleased and your bank account
will expand(if you don’t mind
me saying). Dont forget to put
lots of anime videos on the CD.
You could put wallpapers, ads,
music.
22
There are alot of J-POP songs
out there (unrecognised by
some of us) that are quite
tasteful. Many may disagree but
that’s just my thought.
Krisan
[Have you ever heard of the
term “baby steps?” In order
of requests, I would need the
following: Money, money,
permission, permission, free,
permission and probably
unrecognised by MOST of us.
Ed.]
ARTWORK
Thanks to Christo (below)
and Roland (right) for their
artwork.
23
© LO Magazine 2004
THE LOCAL SCENE
© LO Magazine 2004
24
VINCENT SAMMY
A LOCAL PERSPECTIVE
LO: Where does your love for comics come
from?
VS: I started collecting comics from about the
age of 12, as it was one of the most fun ways of
escaping the mundane realities of my world. The
first comics I started to read and collect were
mostly the British publications such as BATTLE
ACTION FORCE and EAGLE, and later I moved on
to collecting 2000AD.
that this is a medium I could get into.
LO: What is your current occupation?
VS: I am currently employed as a graphic
designer and do work mostly in the field of
web based media. From time to time I also do
freelance illustration as well as web design.
LO: Can you tell us a bit about your comic
“The Carnivore Codex”?
VS: “The Carnivore Codex” is the name given to
a graphic novel I am currently working on. It is
part of the DOGTOOTH VIOLET series and I plan
to provide a complex story of the main character’s
origins as well as to tell a tale that is steeped in
South African mythology and culture.
I had a small collection of American titles as well,
but at the time they were of less interest to me
as I pretty much preferred the anthology style of
British publications, as well as its format. Later
on in life I pretty much opened up to all forms
of comics literature, but it wasn’t until I first laid
eyes upon Grant Morrison’s ARKHYM ASYLUM
(lavishly illustrated by Dave Mckean), that I felt
It’s kind of a fantasy/horror story, but I am trying
25
© LO Magazine 2004
to keep its substance as unique as possible, as
well as to make use of different visual and text
combinations to create something that I am really
excited about. It will also incorporate my love of
cryptanalysis and word play to add a further layer
to the story.
gets answered. Terms like cartoon and comic
are in actual fact rather antiquated terms. A
cartoon was originally used to describe the quick
preliminary drawings that artist do before they
went on to do the actual painting. Because of the
drawing style, this term was attached to modern
cartooning, which include newspaper satire art, as
well as the daily funny strips.
LO: Do you use any software in the creation
of your comics?
VS: I use Adobe Photoshop or Macromedia
Freehand primarily to add text. I also used
Photoshop to add effects to a lot of my work, but
I am in the process of trying to limit my use of
these effects, as I feel that it starts to encroach
upon the work and can tend to give it a bit of a
‘plastic’ feel. Photoshop can however be put to
good use in enhancing line-work and contrast of
light and shadow.
The term comic was used to describe the first
form of newspaper published strips, as they were
all of a funny nature. But later when the genre
progressed to a self-contained magazine format
that addressed more serious or even violent
content, the name remained as to most people it
was still the same thing that originally appeared in
newspapers. So comic art isn’t something that is
a specific style , but just another term in a range
of vastly interchangeable and confusing terms
such as comic strip, sequential art, comix, graphic
literature, the funnies, graphic novels, cartoons
etc.
LO: Do you think that it is important for local
artist to have local content in their work?
VS: I think it is important for a local artist no
matter what field they are in, to have a sense of
belonging firstly to this country before belonging
to the rest of the world. The concept of identity
is an important one and I think that it would be
really good for a lot of artist to create stories with
local ‘perspective’, and at the same time blend it
with a high international quality.
LO: Are there any other artists on the various
mediums who inspire your work?
VS: I try and draw my inspiration more from
other media than that of comic books. I think
that different media provide a unique platform
for a more individualised approach to the comic
book medium. I am inspired by black and white
film noir as well as silent movies. I love the stark
contrast in this monochromatic medium, as most
of my work is monochromatic.
It isn’t easy to try and compete in such a small
industry in this county, when you have titles such
as X-MEN, SPAWN and YU-GI-OH to compete
with. Worse still is that if you want to crack the
international market, especially if you wish to try
and get a foot in the American comic industry, you
have to be able to draw in their style with their
content. But if you truly love this medium and
you aren’t driven by financial gain, you have the
opportunity to create something totally unique
that will stand the test of time.
I am also inspired by classic literature. Books
such as James Joyce’s ULLYSES, is a great
influence on my work. I love the atmospheric
contrasts of the music of SONIC YOUTH and try
and introduce their layered approach and do-ityourself approach in my use of media. From a
purely comic creators’ view, I love the work of
Dave Mckean and Enki Bilal, as well as Tsutumo
Nihei.
The market is so saturated with stories that
all look the same and have similar storylines,
that it is the ideal opportunity to make a bold
move and make your mark as part of an African
phenomenon. You don’t necesarily need to tell
a South African story, but as long as you have a
South African perspective on it you can go a long
way to further advance the local industry.
LO: What are you currently working on?
VS: Currently I am working on THE CARNIVORE
CODEX. This will be my biggest challenge to
date, and will most probably be a while before it
nears completion.. I am also working on a space
comedy of errors called PICKELCHICKENSOUP
which tells the tales of 2 alien scoundrels in
the field of infomercials. Most of these will be
published by the group I belong to called DARK
KONTINENT PRODUCTIONS (formerly IGUBU).
There will also be other short stories I will be
brewing that will appear in CLOCKWORX.
LO: Do you think there is a difference
between cartoon art and comic art and if so,
what is the difference?
VS: Well it’s one of those questions that always
seem to pop up from time to time and very rarely
© LO Magazine 2004
26
27
© LO Magazine 2004
LO: This being an anime and manga
magazine, I have to ask. Do you read manga
or watch any anime at all?
VS: There are quite a few manga that I enjoy
such as Junji Ito’s Uzumaki and Tsutumo Nihei
works of Blame and Noise. I have a preference for
mangas that are a bit more on the dark side, but I
also love the unique approach these two creators
have in their art style and stories.
On the anime side I like classics such as Ghost
in the Shell, Neon Genesis Evangelion, Vampire
Hunter D and Serial Experiment Lain. One of
the things I appreciate about this art style, is the
attention to detail and the research and dedication
that goes into it.
LO: Do you have any advice for aspiring
South African artists?
VS: Be exposed to as many things as possible,
especially as many art formats as you can get a
hold of. Be aware of what is going on in these
industries at this moment, but also try and get to
grips with the history of your interests and how
these things developed over the years. But most
important, be dedicated to what you do and don’t
get side tracked.
It is so easy to just fall in the trap of just talking
about what u are gonna do and not doing
anything at all until its to late for you to do
anything at all.
All images © 2005 Vincent Sammy
The images in this article do not necessarily represent the
complete picture. Some of them have been cropped to fit the
article.
.LO
© LO Magazine 2004
28
29
© LO Magazine 2004
LIVE-ACTION
BOOGIEPOP PHANTOM
& OTHERS
In 2001 Right Stuf International released
the Boogiepop Phantom anime and we were
treated with a dark tale of a female named
Boogiepop, who appeared during the night
and stole the souls from unfortunate people
(imagine Lain with a serial killer).
In March 2005, they will release the live-action
adaptation Boogiepop Phantom and Others.
Scenario work by Sadayuki Murai (Perfect Blue,
Cowboy Bebop) and directed by Ryu Kaneda
(Video Girl Ai, Shenmue), Boogiepop Phantom
and Others is the quietly chilling tale of ten high
school students whose lives are all intertwined in a
twisted and deadly web of secrets.
Young girls have begun to mysteriously disappear
from the Shinyo Academy. The school is alive
with rumours and people who keep assuring
themselves that the girls are just runaways and
that there is nothing to worry about. But as
the disappearances start to heap up, the fear
increases - the fear that a shinigami...the very
spirit of death...is prowling through the streets of
the city. A spirit that you never see coming until it
is to late.
However, not all of us fear the darkness. Nagi
Kirimi is determined to uncover the truth behind
the disappearances. The clues left behind are
limited and seemingly unrelated: A mysterious
new drug that’s appeared on the streets... A
homeless man who’s more than he seems... A girl
still haunted by a serial killer who died five years
ago...
Will Nagi solve the mystery before more students
end up missing or dead?
Music created by Japan’s spectacular composer
Yuki Kajiura (Noir, Gundam SEED, .hack//
SIGN, and Kimagure Orange Road: Summer’s
Beginning).
.LO
31
© LO Magazine 2004
NEO-MANGA
IDEA+DESIGN WORKS
IDW doesn’t really classify as a neo-manga
company, but because they are doing comic
adaptations of two of the most popular
playstation game titles of the past decade, we
had to learn more about them.
IDW (Idea+Design Works) was formed in 1999 by
four entertainment executives and artists with the
purpose of creating a company, that would allow
them to work with a variety of clients with interests
in video games, movies, tv, collectible card games,
comic books, and trading cards.
You probably have browsed your local entertainment
store and saw some of IDW’s work without realising
it. With a client base which includes Activision,
Artisan Entertainment, Bandai America, Brady
Games, Cartoon Network, Dimension Films,
Electronic Arts, Fox Family, Golden Books, LEGO,
Lion’s Gate, The Man Show, Microsoft, Pepsi,
Pioneer, Revolution Films, Square, Simon & Schuster,
Trimark Pictures, Upper Deck, and many more, it is
highly unlikely that you haven’t.
In July 2000, IDW made the decision to form a
new division, IDW Publishing, which would focus
on producing a small number of high quality
publications. The company’s first title, Uno Fanta:
The Art of Ashley Wood, received rave reviews
and continues to be heavily reordered by both
comic shops and mainstream bookstores and is
now available in both hardcover and softcover
editions. IDW Publishing’s second title, Popbot, was
immediately acknowledged with two Spectrum Gold
Awards.
© LO Magazine 2004
38
(Paramount has an option).
The company’s first comic series, 30 Days of
Night, started a seven-figure bidding war between
Dreamworks, MGM, and Senator International
with Senator winning and Sam Raimi attached to
produce. 30 Days of Night has been named the
#1 Hot Comic of the Month by Wizard Magazine
(several months running) and the #1 Breakout
Product of 2002. It was also the #4 best-selling
graphic novel of 2003 and has won multiple
awards.
IDW also publishes the comic based on the hit
CBS TV show CSI: Crime Scene Investigation, and
the book has been well received by both comic
readers and fans of the show. The company’s
other licensed comics include Sony’s Underworld,
FX’s The Shield, Fox’s 24, and Konami’s Silent Hill,
Castlevania, and Metal Gear Solid.
In 2004, IDW was named ‘Publisher of the Year’
by Diamond Comic Distributors. Look out for
future interviews with the artists and writers of
the Silent Hill and Metal Gear Solid comics in LO
Magazine.
Various gaming and movie producing companies
have show interest in IDW’s comic titles like CVO:
Covert Vampiric Operations (Konami acquired the
video game rights), Wake the Dead (Dimension
Films has an option with X-2 screenwriter Michael
Dougherty attached to write, and Hyde, with Mike
Fleiss (The Bachelor, Texas Chainsaw Massacre)
attached to produce) and Aleister Arcane
Website: w3.idwpublishing.com
Images © IDW Publishing
39
.LO
LO RECOMMENDS
CLASSICS
Title
Type
Media
Co/Publisher
Genre
Akira
M
Anime
Geneon Ent.
Action/Political
CR Age Content
8
13
N,V,L
Appleseed
-
Manga
Dark Horse
Sci-fi
7
13
V
Battle of the Planets
S
Anime
Rhino Home Vid Action
5
13
V
Ghost in the Shell
M
Anime
Manga Ent.
Sci-fi
7
16
N,V,L
Heidi of the Alps
S
Anime
Adventure
1
ALL
Macross Plus
M
Anime
Manga Ent.
Mech/Action
4
13
V,L
Neon Genesis Evangelion
S
Anime
ADV Films
Mech/Action/Drama
10
13
N,V
Ninja Scroll
M
Anime
Manga Ent.
Action/Fighting
5
18
V,N,S,L
Streetfighter 2: The Movie
M
Anime
Columbia Tristar Fighting
5
13
V,N
Title
Type
Media
Co/Publisher
Genre
Akira
-
Manga
Dark Horse
Sci-fi
7
13
N,V,L,D
Cowboy Bebop The Movie
M
Anime
Ster Kinekor**
Sci-fi/Adventure
6
10
V
Ghost in the Shell 2
-
Manga
Dark Horse
Sci-fi
8
13
N,V
Witch Hunter Robin
S
Anime
Bandai Ent.
Action/Drama
6
13
V
Laputa: Castle in the Sky
M
Anime
Buena V/Ghibli
Adventure
3
PG
V
Metropolis
M
Anime
Ster Kinekor**
Sci-fi
7
ALL V
Perfect Blue
M
Anime
Manga Ent.
Thriller
8
18
N,S,V,L
Samurai X
S
Anime
ADV Films
Swords/History
7
16
N,V,L
Serial Experiment Lain
S
Anime
Geneon Ent.
Sci-fi/Drama
9
16
V, Sa
Millennium Actress
S
Anime
Dreamworks
Drama
8
PG
V,L
Saikano
S
Anime
Viz Ent.
Action/Romance
5
16
V,S
Type
Media
Co/Publisher
Genre
Dead Leaves
M
Anime
Manga Ent.
Fighting/Comedy
*
13
V,L,N,S
Azamanga Daioh
S
Anime
ADV Films
Sit. Comedy
4
13
V,S
Mezzo TV
S
Anime
ADV Films
Action/Comedy
6
16
V,N,L,S
Paranoia Agent
S
Anime
Geneon Ent.
Thriller
9
16
V,S,N
Ikki Tousen
S
Anime
Geneon Ent.
Fighting
7
16
V,N,L,S
Ghost in the Shell SAC
S
Anime
Bandai Ent.
Sci-fi/Action/Drama
8
13
V,L,N
Samurai Champloo
S
Anime
Geneon Ent.
Swords/Adventure
7
16
V,L,N
Texhnolyze
S
Anime
Geneon Ent.
Sci-fi/Adventure
UR
16
V,L
Read or Die: TV
S
Anime
Manga Ent.
Spy/Action
6
13
V,L
Title
Type
Media
Co/Publisher
Genre
Gantz
S
Anime
ADV Films
Sci-fi
Appleseed
M
Anime
Geneon Ent.
Sci-fi
My Neighbor, Totoro
AM
Manga
Viz
Family
GITS Special Edition
M
Anime
Manga Ent.
Sci-fi/Action/Drama
Ghost in the Shell 2nd Ed.
M
Manga
Dark Horse
Sci-fi/Action/Drama
RECENT
CR Age Content
CURRENT
Title
FUTURE HITS
© LO Magazine 2004
40
CR Age Content
AGE RESTRICTIONS
ALL - For everyone
PG - Parental Guidance needed
13, 16, 18 - No one under the
specified age allowed.
Content
V - Violence
S - Sex
N - Nudity
D - Racial Discrimination
L - Foul Language
Sa - Substance abuse
Note:
These restrictions are just a
recommendation. Most of these
anime and manga do not have a
rating given by the South African
Publication Board, because it
hasn’t been release in South
Africa. All items are Region 1
(USA) or published in the USA.
We provide this information so
that you can make an informed
choice on what you and your
family members watch.
CATEGORIES
Action - Comedy - Drama
Documentary - Fantasy
Fighting - Historical - Horror
Mech - Political - Romance
Sci-fi - Spy - Superhero
Thriller - Vampire
Type:[Movie - M][Series - S]
[Ani-Manga - AM]
Manhwa - Korean manga
Complexity Rating: (CR)
1 - Very Easy
2 - Easy
3 - A man’s mind
4 - Soapy plots
5 - Average
6 - Monkey Puzzles
7 - Challenging
8 - A woman’s mind
9 - Really deep
10 - Even the creators are
confused
UR - Unrated
* Either 1 or 10 CR (you decide)
** South African release
Disclaimer: LO doesn’t take
responsibility for the acuracy of
the content ratings.
41
© LO Magazine 2004
SOCIAL PHILOSOPHY
THE BLATANT TRUTH
WRITTEN BY RUDI
Our entire existence is driven by our desire
to escape. Enter the entertainment industry.
This is confirmed by the sad fact that
humanity invests billions more in time and
money into keeping ourselves entertained
as opposed to investing it into peace, cures
for diseases or just helping each other out in
general.
hear, even though it is things that they are in
contact with and affected by every day of their
lives. Hence the excessive violence (no different
than the seven-o’clock news) or the presence
of mythological/religious beings likes angels or
demons (no more than religious text, but outside
of “acceptable” context).
Most people prefer to live in their little narrowminded cocoons where there beliefs remain intact.
Anime continually challenges the boundaries of
those beliefs, whereas Hollywood gives people the
opportunity to avoid thinking about it for an hour
and a half.
What lies behind this desire to escape, opens up
a can of worms most people never even bother
to think about. All they care about really, is the
value that they derive for themselves from the
moment (What’s in it for me?). Thinking outside
the moment raises questions about our purpose in
the bigger scheme of things, the origins of life and
religion and the nature of the universe itself, to
name but a few.
So where does this place anime in the
bigger scheme of things? Instead of a mere
entertainment, Anime has the power to transform.
By making you think, it eventually changes the
individual.
These are questions, which form an intricate
part of every anime that I have ever seen. The
list is not that long and maybe I’m choosing to
watch these movies because subconsciously, I am
looking for answers that western beliefs just can’t
answer.
The difference being in that it doesn’t change
people in accordance with a predetermined
design, but rather spills coffee on the blueprint of
modern culture. Blurring the lines between what
conventional beliefs tell us is true, so that we
may instead look in the mirror and ask ourselves,
“What is the truth?”
I’ve found it fascinating that many of the themes
in anime are new perspectives on old Western
beliefs. Take Patlabor for instance, in which a
modern version of the Tower of Babel plays a
major part or Spriggan, where Noah’s ark is
central to the story. Then again, it’s not that
strange if you take into consideration that Japan
has always been a source of “improvement to
technology that was created elsewhere”. That is
their “thing”, so to say. They take what others
give them and make it better, so why not do the
same for religion?
Then again, maybe I just like anime because it’s
so damn cool to see hot babes and cool guys kick
bad-guy @ss.
LO Magazine doesn’t take responsibility for the
strange minds and views of some of our volunteer
writers.
Back to escapism vs. potential truth: Here is
the difference between most Hollywood movies
and anime as I see it (if I dare make that
comparison). Hollywood tries to make unreality
as believable as possible in order to give the
viewer the opportunity to enter an alternate
reality, if only for a short while.
.LO
Anime superimposes things from reality into an
unreal environment. Things that most people
don’t like to think about. In other words, it’s
designed to make you think. It highlights
things that most people don’t like to see or
© LO Magazine 2004
42
SUBMISSIONS
Fan Artwork:
Send us a scan of your work (300 dpi) and we will consider it for placement in LO.
Manga or Anime Reviews:
We don’t do reviews, we only do features. We don’t like to take reviews, because of the inherent bias
in fan reviews. Rather, tell us more about the anime or manga and let people judge it for themselves.
Email us for feature specifications.
Feature Comments:
If you have any comments regarding our features or Social Philosophy topics, please enter the specific
topic in the subject field of your email. For example: Anime Feature Ghost in the Shell 2.
Requests:
If you have any requests for topics, features, new sections, etc., please write “request” in the subject
field of your email.
Copyright:
If you feel that we haven’t honoured your copyright, please do not hesitate in contacting us, so that we
can rectify it as soon as possible. Put Copyright in your email subject field.
General:
We welcome any other comments, whatever they might be. Just think twice before you do send an
email. Email: [email protected]
Remember:
If you don’t tell one new person once a day about anime and manga, you aren’t doing your job right.
Spread the word, it is FREE!
D
A
R
K
H
O
R
S
E
T
I
T
L
E
S
NEXT ISSUE
NEXT ISSUE
Metal Gear Solid © Konami / IDW
Would you like to be in our next issue? Send us your fan
W
art or feedback on our articles and you might be lucky to
W
be selected for inclusion.
W
.
Definately:
D
• Some questions answered on Neon Genesis
A
Evangelion live action.
R
• LO Magazine Design Competition
K
• GANTZ
H
O
Maybe:
• Interview with Kris Oprisko, writer of the Metal R
S
Gear Solid comic
E
• Live-Action Gunhed
.
• Hayao Miyazaki’s Howl’s Moving Castle
C
• and loads more...
O
M
43
© LO Magazine 2004
Acknowledgements
I would like to thank the
following companies, their
software and certain
people for making this
magazine possible.
Adobe Inc.
Adobe Indesign
Adobe Photoshop
Stay informed and
subscribe to our newsletter
on our website.
www.lomagazine.co.za
© LO Magazine 2004