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REVIEW! Force Six episode 01 Trick Shot

September 12, 2017 Leave a comment

Annihilators premiere in review

The Annihilators first episode is rewound and reviewed.

Force Six The Anniliators comic cover

Graphic Comic from The Dynamic Universe.

Comicler.com gauges and  gives a great glimpse of the get go episode.

…it’s hard not to look forward to seeing how far this can go. Learning more about the Annihilators and seeing more gorgeous still-choreography is more than enough to deserve readership. Drew Spence might just have something really special at his fingertips…

 

Annihilators Banner

Every now and again the purpose of a story isn’t just about being told, it’s about the medium of storytelling itself. While comic art has come a long way, there are always going to be those who are eager to push the envelope and take the next step into uncharted territory. While these leaps of faith don’t always have the smoothest of landings, there’s a lot to be said about opening the door for future opportunities. Such is the case with Force Six: The Annihilators.

Episode 01: Trick Shot shows off the style and uniqueness of The Dynamic Universe’s Drew Spence. Spence takes 3-D models and carefully renders them in poses over a canyon setting. This is a fast-paced issue that, while feeling more like a tease than a beginning, does tell a complete segment of a story. Playing off the limited time-frame and the unknowing perspective of the reader, Spence has a hit play out before our eyes quicker than we can gauge the full scope of the situation. This makes for a twist at the end that shows that things aren’t as simple as they seem, and the world inhabited by the Annihilators isn’t one to be taken at face value. Other than that, there’s driving and shooting. This action-packed sequence may not give clear motives for the characters, but it definitely tips the reader off to the themes they can expect in subsequent issues.

Louise on car (low setting)

As far as the medium, Trick Shot contains its own soundtrack, playing on the virtual medium of digital comics and expanding the experience in a fun way. While the models may not be as expressive as some art styles in traditional comic books, the action poses look stellar. There’s one sequence involving a technologically-augmented stunt that feels like it was taken straight from a Final Fantasy cut scene. The possibilities of this art style really do beg to be explored, and the Dynamic Universe seems to be the place to go. With enough time and effort, this has a real chance of being placed up there with the great artists of our time. As of now, the rendering can be a bit sloppy. Some motions are unclear, and the lettering leaves something to be desired. Still, credit where it’s due, this is an exciting piece of content.

TrickShot_Page09

Even if the art or narrative don’t have full breathing room in such a brief issue, it’s hard not to look forward to seeing how far this can go. Learning more about the Annihilators and seeing more gorgeous still-choreography is more than enough to deserve readership. Drew Spence might just have something really special at his fingertips, but it’s too early to judge that as of now.

Pros:
Action
Soundtrack
Intriguing concept
Unique art-style

Cons:
Bland characters
Limited scope
Awkward lettering
Emotionless models

Final Judgement: 7.4

It can be purchased here and anywhere fine digital comics are sold.

ComiXology carries Force Six, The Annihilators

iTunes eBooks

Amazon Kindle

Original link to review text is here. Thank you Comicler!

Force Six: The Annihilators Episode 01 Trick Shot

PATREON

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$upport The Dynamic Universe

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Interview! ComicBookBin -Drew Spence

The ComicBookBin

title banner

Interview with Drew Spence

By Hervé St-Louis
Jul 26, 2017 – 22:27

The ComicBookBin connects with comic artist Drew Spence from The Dynamic Universe. His self-published lead title is Force Six, The Annihilators. It’s a mix of science fiction, fantasy and superhero action. He’s tackled the story-telling task with a mix of 3D art and photographic manipulation. We sit down and get a look at his creative process and hear his thoughts on graphic art and what’s really behind the render.

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ComicBookBin: Hi Drew. I think that we have a good start for an interview here! (the interview started in the middle of a conversation!)

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Interview? I’d better choose my words more carefully then.

Now that I’ve read the whole, thing, damn that’s wordy. Might have to make a part I and part II.

CBB: Tell me, how do you feel about 3D comics in the sense of the reaction that people have to them.

Well, it varies. I’ve heard all types of comments- how 3D is easier or is fake art or doesn’t make real comic books, etc. I take those kinds of statements as different than opinion-based reactions like “I prefer…” or “I dislike…” Someone is speaking as an authority and trying to convince me of an empirical truth whereas, the evidence actually points to the opposite. I draw too. Anyone can draw a comic. Anyone can color a page and anyone can throw some word bubbles across a panel and thus, ‘make a comic’. But what some like to do, is draw (no pun) from the greatest masters and legends of 2D work and compare that to the kid who just made his first 3D comic piece and go “See the difference?” It’s a silly exercise and your taste really needs no justification. Like what you like and support the work that you feel is meaningful no matter the chosen medium. If it speaks to you, listen. If it doesn’t, find the right conversation.

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3D has established itself quite well in animation and even visual effects yet still has not made an important breakthrough in comics. Why do you think that is and how do you intend to change this?

A breakthrough is code-word for a big financial success after a big promotional campaign. That would require a book that doesn’t look like or work like traditional comics being pushed by the very same entities who’d have a lot to lose if something too different comes along and catches on. Until they have an engine in place, prepared to capitalize on a 3D trend, you won’t see any risk-taking or support from the major 2D players.

Established comics tend to have separate writers and artists, if not a whole team. The grass-roots3D is still so new and experimental, that for most, it’s still a one-creator show. When I look at many of the 3D books on offer, I find – either the graphics or the story has a challenge. So you have these wonderful illustrations doing uninteresting stuff or a great narrative hampered by the rough visuals. Somebody needs to get both parts right. And enough people need to make solid work so that it creates a wave, even if a single artist breaks first and everyone else follows.

All I can do is my part. I create a 3D comic to the best of my sensibilities and hope the readers enjoy it. I consider myself a storyteller first and illustrator second. I don’t want a book that is only worth your time because it looks cool or novel. But, we are telling stories in a very visual medium so I can’t have the limitations of my imagination or skill get in the way of the narrative.

CBB: Would you argue that 3D comics suffer from the same hyper realism fate as photo-comics?

The goal of my 3D work is not to fool you or show you ‘better looking images’. When still pictures serve as the foundation, you tend to lose the comic part. What’s a comic book- other than an exaggeration of a moment or event? Everything is pushed to its limits: fast is the fastest, strong is the strongest, evil is the most evil, etc. Hyper-real is the opposite. If the goal is to tell a fantastic story with extraordinary visuals, why would an artist choose the most faithful medium possible- a snapshot? It actually doesn’t make sense. An artist needs to control the visual punctuation. When and how do I underline? Where’s the ellipsis pause? How do I boldface and add punctuation marks? We know what to do in the bubbles, it’s important to control the volume and tone with the artwork as well.

 Force-Six-episode-03-_Bullets-and-Blades_-Page-17

And the opposite happens in the quiet moments. Can you capture a dynamic moment at rest? Sometimes, the inclusion of details is exactly what taps your emotion. The faithful representation of an idealized moment becomes that much more meaningful. Look at the work of comic legends John Byrne and Barry Windsor-Smith. So much happens when their characters are at rest. The weight, the posing, the heroes’ presence in a static backdrop. That’s where you need to understand the concepts of good photography along with all the tricks that come after. That’s hard to do in any photo-based engine without pre-planning or awareness.

CBB: Which 3D app do you use to render the shots?

DAZ STUDIO is the foundation. It is a free 3d rendering suite – backed by their online store, where you can purchase a massive variety of content for every genre and interest you can imagine. For comic enthusiasts, the look can be edited through shaders, which are basically filters to achieve every comic look you could want. There are morphs that can make characters look very Pixar-like or idealized like the  Marvel and DC superheroes.

For traditional artists, it’s used for anatomical reference and a drawing aide for perspective and composition. Some draw on top of the models and figures and sketch directly from the template. There are licenses for video game programmers and even some tools for animation.

The engine is really there for you to customize and you can get as deep as you want. Many digital artists do the photoreal stuff where you can’t tell if it’s CGI or Photoshop. You’ll see Daz at work for book covers, movie posters, story boards, but I make use of what it offers for comic illustration. You just need to remember Daz won’t make your artwork for you. It’s an incredibly powerful environment that places the tools in your hands, but you still need to learn the proper techniques and apply your creative talents. 3D is still not a shortcut for being an artist, it’s just a medium.

CBB: What’s your production process?

Working in 3D is more like film making where I create the characters. Dress them, make a set. Place them, do lighting and such, place a camera and snap a picture.

From there it’s all post-editing. And way after- assemble the book from all the artwork. I can work panel by panel or page by page. It’s all design decisions. My eye and taste is really what I lean on. I’m no graphic expert and I will always push and experiment. What does this do? How can I use this tool differently? What if I…

CBB: I’d like to know more about the current story that you are developing and how it fits in the greater picture of past or current work being developed by your team.

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Force Six, The Annihilators is meant to combine all the things that I’m passionate about. That’s why I made the world so open-ended. Almost anything can happen. My story-telling style has the rules set in place, but we have lots of creative and visual freedom. I create many types of music so I added a soundtrack and I will be venturing into video and other 3D forms to continue telling stories.

Force Six, The Annihilators was something I started drawing back in 1984. Yep 1984 as a kid. I kept all my drawings and now, years later I’m redoing all the stories with very minor edits. In the beginning it was very silly and derivative of whatever I was into at the time. Over time, I kept adding more adult sensibilities and their world grew darker. This series is about fleshing it all out and telling the story from the beginning, well almost the beginning.

CBB: Anything else?

Yes, thank you for your time and thank you for all the readers and supporters for helping us spread the Annihilator graphic comic. We have some awesome stuff coming up, keep turning those pages.

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Drew Spence is a graphic comic writer and illustrator from the United States. He creates under the title The Dynamic Universe. He is both interested in music and video and has created several works, including the Mark of the Griffin, both a graphic novel and web series. The instrumental group fallout Shelter provides the soundtrack for many of his releases. The band members are Domino grey, Dynamics Plus and Xodus Phoenix. He currently lives on Long Island, New York and produces his work from the aptly named Fallout Shelter studios, where he crafts crafty and clever comics using CGI and photorealistic image manipulation.

Purchase Issue #1 of Force Six, The Annihilators at Comixology.

READ THE INTERVIEW HERE

 

ComiXology carries Episode 01 Trick Shot

Force Six, The Annihilators on ComiXology!

Comixology Banner

ComiXology carries Episode 01 Trick Shot

The Dynamic Universe has connected with digital retailer giant ComiXology and placed Force Six, The Annihilators in their catalogue of titles. You now have  a new way to support The Dynamic Universe and enjoy our graphic comics in a very accessible format. Thank you ComiXology!

Comixology Screen capture

 

ComiXology is a cloud-based digital distribution platform for comics. It offers a selection of more than 100,000 comic books, graphic novels, and manga across Android, iOS, Kindle Fire, Windows 8 and the Internet. In April 2014, ComiXology became a subsidiary of Amazon.com.

ComiXology’s digital platform with Guided View reading technology is used in the company’s own branded applications, and is the engine used by most major comic book publishers in the United States, including Marvel Comics and DC Comics for their privately branded digital services.

The Dynamic Universe on Patreon

The Dynamic Universe Patreon Banner

THE DYNAMIC UNIVERSE goes live on PATREON

Thank you for supporting The Dynamic Universe! We are a creative engine- turning out Graphic Comics, Music and Video. Help us generate new content by getting involved. We are Recording Artists Dynamics Plus, Domino Grey and Fallout Shelter. We are Mark of the Griffin. We are Dynamica Comics – serving you graphic comics and art. Our tastes swing from ambient to epic, from the symphonic to the synthetic. Thank you for joining us on this amazing ride. Together, we’ll bring the far future – closer, faster.

Get involved for behind the page access, exclusive and un-edited content, new music and art. Add your voice and help decide where we go next. It’s your universe. We’re just here to make it more Dynamic. Thank you for your support. It means everything.

https://www.patreon.com/TheDynamicUniverse

 

F.A.Q.    The Dynamic Universe on Patreon

 

Firstly, you are NOT buying a product. You are $upporting The Dynamic Universe and, in turn, getting FREE access to everything we create based on your level of support. You can increase, decrease or modify you $upport level at any time you wish.

 

1) WHY and HOW does the $upport per release vs monthly contribution work?

 

Since the amount of releases per month may change, we feel it is best to accept your pledge ONCE per month. If we do not release any material, you simply do not pay anything for that month. Also, for example, if you pick the $8.00 level of support and we release three projects, you will NOT be charged for each product. You would be charged your one-time contribution of the $8.00 for the ENTIRE month and receive your complete share of the Dynamic Universe content.

 

2) What do you create and release?

 

The Dynamic Universe is the combination of the AVXP music label (Dynamica Music) and Dynamica Comics. We are home to recording artist Dynamics Plus, electronic music producer Domino Grey and the instrumentalists Fallout Shelter. We produce graphic comics with the lead title being Force Six, The Annihilators. We have plans to branch into other mediums and properties. As we get a better idea and a reliable timeframe, all of our Patreon supporters will be updated.

 

3) Can I just give you something in one lump sum?

 

Sure! What I suggest is heading over to the Dynamica Music store and grabbing a few titles. (http://www.dynamicamusic.com/store.asp) Grab multiple copies of the same release if you feel the urge to show some super love this way.

 

4) You have quite a collection already. Can we get your old stuff?

 

Web series and videos like Mark of the Griffin are free to watch and the entire released musical catalogue is available on iTunes, Amazon, Beatport, CD Baby and everywhere digital music is sold. You can also buy it directly from the Dynamica Music store. Once you’re a Patreon supporter, drop us a line and we’ll talk about it. Speaking of which…

 

5) Do the Patreon $upporters have real influence?

 

Of course! This remains flexible. Join us on Patreon to give feedback and help build a better build. This is only 1.0

 

 

For Free Content, you should subscribe to the Dynamic Universe Blog, our youtube.com/DynamicaMusic channel and follow the various artists on the roster. Dynamics Plus, Domino Grey (@DominoGrey), Fallout Shelter, Mark of the Griffin(@MarkoftheGriffin) and The Dynamic Universe @DynamicaMusic.

 

 

 

$1.00 Tier

This is saying ‘Hey, I appreciate your work and want to drop in once a month and say hello.’ No amount of consideration is too small to overlook or take for granted. Thank you.

 

 

$5.00 tier

– early access news updates and releases

– Free download access of the Graphic Comics in PDF format.

– Free access to any musical releases (singles, EPs, albums)

 

$8.00 tier

– early access news updates and releases

– Free download access to an HD QUALITY version of the Graphic Comics PDF

– Free access to any musical releases (singles, EPs, albums) + Remixes

 

BONUS content may include

– unedited version of graphic comics (Mature Version)

– Alternate artwork

– Skype QA session invites

– Behind the panels exclusive looks

– Additional download access of satellite titles

– Prizes and gifts to be announced

– and more is on the way!

 

Thank you for $upporting The Dynamic Universe!

Any questions, drop a line ReachMe@TheDynamicUniverse.com

Dynamics Plus Taxi All Is Fair on WOAFM99

The Rocket Science “Taxi: All Is Fair” plays on Oliver Sean’s WOAFM99

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Today’s episode of the WOAFM99 Radio Show features breakthrough Indie Artists’ song’s that reminded us of old school legendary tracks that defined some of these genres these artists represent. Right from Pop Rock to Rap and Acoustic to Chillout.

Oliver_Sean_New_Poster

The WOAFM99 Radio Show is a weekly syndicated radio show licensed and distributed for free to commercial radio networks and is hosted by MTV EMA Nominee and Vh1 Top 10 Musician and Producer Oliver Sean www.oliversean.com
The artists and songs featured on today’s WOAFM99 Radio Show (Episode 12) are:
Macey Mac – I’m Getting Better
Steven Brown – Its All Glorious
AVXP / Dynamics Plus – Taxi All Is Fare
Dream Eternal Bliss – Don’t Stop
The WOAFM99 Radio Show is produced by Oliver Sean Productions and WOA Films for the WOA Entertainment Group
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You can catch the show online at:

 

 

 

We suggest sharing the online podcast version and getting your fans to comment and like on Facebook/Twitter as that leads to additional airplay for your music on the WOAFM99 Radio Show, which is licensed and distributed for free to commercial FM Radio stations across India & Dubai and is also supported Internationally by PRX on Public Radio worldwide.

Dynamics Plus Gear Lust Remix Video and Lyric Study

October 14, 2015 Leave a comment

Buyers Remorse remix version video of “Gear Lust”

Gear Lust remix Video screen capture

Lust again for Gear

“Gear Lust” was written as a very personal song and I figured most of the references would fly over the average listener’s head. What might connect- is the numerous equipment, brands and hardware references. If you are into production or even been around studios long enough, you might have an aha moment. Mostly, the concept is centered on collecting equipment for the sake of enjoyment as opposed to creating/amassing tools to perform a particular set of tasks.

Gear Lust: To have an intense desire for equipment usually beyond any logical needs of the musician.

            My earliest studio days saw me doing very much with very little. My first sampler was my parents home stereo system’s dual tape deck. Yep, rewinding one tape and loop-recording on the second. When I bought an AKAI SO1, I thought I had it all. The first big purchase I made was an Ensoniq ASR-10 and the expense (when it was brand new) was enough to convince me I was serious and that this was an investment (or at least it better be).

GEAR LUST

VERSE 1

~I’m at Sam Ash, a credit card in a flash

     -little stash of spending cash soon as the salesman asks

       ASR in my grasp, quickly cashed out

then did the dash — maxed out

big black box carried out

first track I tracked out the First beat blacked out

and since seen the seeds sown

that I’d seek to

own a whole studio

and compose in a grove where fungus grows

(the original darkness of a basement studio)

and go all out for a Fallout Shelter

where time goes in reverse.

I’m so immersed in a verse and reawakened

to when first taken by the Gear Lust thirst

(being reminded of how it all started by this song)

 

There’s been continuous references to radioactivity and all things nuclear, which is all derived from my studio being called the Fallout Shelter.

VERSE 2

Then, then the M.P.C became the M.C.P.        

Master Control Program over quantized beats

(references the AKAI MPC 2000XL which served as the central MIDI box and beat-making starting bit. The movie TRON with the central computer)

Dispatch EMTs this patch bay EMP

Radioactive fallout rays irradiate my Rom Tray

It’s the space knight Rompler verse the titan

Triton astride a tide with his trident

Korg silver surf board

(This is about the big change and falling in love with workstation keyboards. The KORG Triton was the first purchase.)

~I’m Jean Luc Infected by the Borg my foresight

affords me more Cause to amplify chords and multiply

Scores.

(Now we are playing a ton of music and writing out bits of music as notes instead of album and records as sampled sources)

   I’m tied to the microKORG: It’s an applied

optical force brought forth from the visors of Geordie LaForge

less is more, none the less I’m poor, even when blood

pours from my pores I’m still at the store with more gear in store.

(Continuing the Star Trek references and a nod to the very first preset library I designed for the KORG microKORG for Producer’s Edge Magazine. I credit the microKORG as being the first synthesizer I bought. The seeing is about seeing the future because this is where I began to see the impact of adding more and more pieces to my studio – ugh oh here we go)

VERSE 3

The baby plays in his playpen the Rob Papen presets sits

and assists in the bank of the A6.

It’s the basics of a spaceship, in an analog grip equipped with

digital chips, conducting experiments

(I was always sampling the sounds from Sci-fi movies and wanted to tap into the source and generate those sounds myself. I researched analog synthesizers and saw the Alesis Andromeda as a monster addition. I studied the presets designed by Rob Papen and learned a new appreciation for programming and moved away from the ROMpler preset as a final destination.)

Rocket Science cast iron Voltron Black Lion.

Gear with brushed aluminum in all their glory. Well yeah, if we have a Voltron, then the A6 is the black lion sitting in the middle as the body of my studio.

Galaxy Alliance – LFO descends like a UFO

(I start generating the tones I was searching for)

pro tool to edit in Audition, extra exhibition.

I’m Roy Orbison with X-Ray vision

visit my Solar System

(Switching to computers with both Pro Tools and Adobe Audition was a huge change. And once you turn out all the studio lights out, you see a galaxy of stars.)

I’m a Projector wiz with the AV and with the

JP and the JD and the JV all Roland into one

Super Friends/ Justice League.

Greed’s the engine to feed, plus it’s the rush of gear lust.

(All references to Roland rack-synths. I felt like I had missed out on some real gems and began tracking them down one by one.)

VERSE 4

On Craigslist I can’t resist the endless

list of equipment and musical instruments.

I told my wife I need this

Every weekend someone was selling another “classic” at an affordable price. There were times I didn’t even think I needed the piece, but I didn’t want to miss out on a good deal.

   She said get your Focusrite it’s a sounbank that amounts

   A new track to bounce, a few checks bounce,

a new age pronounced, the old sounds drowned out,

moving the crowd, removing any doubts, setting up my debit accounts

my debt mounts, I moved out, first record comes out,

my credit runs out, a few fans ran out.

(And part of the addiction is the music being made. With every new piece it feels like something is changing or growing and the lust begins to feed itself based on output. A new hot track validates the purchase. ‘See, I couldn’t have made this if I didn’t buy...’)

Shots rang out, CD sales count and I surmount

and insert a new serving; this my new album announced

   Rush my Rocket Science – a crush is a crutch,

and hear a bust, – down for the count from the Gear Lust.

(The reality is, it doesn’t take a mound of gear to get the records made. And leaning on new purchases is an excuse to not be productive. I can’t do this until I get this…If I only had a…

I was extremely productive when I had one piece of gear and people starting calling my living room a studio when I put a mixboard in it. I call much of this the difference between working in a studio and owning a studio. You can spend a lot of time and be easily distracted by minor details which really don’t increase your productivity. You may feel better [and that counts too right?] but as far as getting work done, it can really reach overkill quickly.)

Chorus

Closed Captioned a bust, so close to the clutch

It’s Technique over touch- so close to Gear Lust

     It’s at most a Rush, a new plug is a plus

As it grows so Composed In the throes of the Gear Lust

Closed Captioned a bust, so close to the clutch

It’s Technique over touch- when so close to Gear Lust

(Lastly I do want to mention the line a ‘ a new plug is a plus’. In the remix video I was able to better illustrate that line because it’s a play-on- words. I’m talking about a plug as VST Plug-in and the plug as in a hardware power cable. And of course Closed Caption is always my reference needing to see my lyrics written down so you understand my word choice [homonyms and such]) I fell in love with software instruments, but still leaned towards the VSTs that were powered by hardware samples. And yep, we had a ton of those too. For now, it’s a stripped down studio that is more about work than works- lots of pieces abound, but the focus is only on a few bits of kit.

Before I forget, there is a cameo from WUSB 90.1 Battlezone radio host Richie Ruckuss (https://www.facebook.com/richie.rukkuss)

https://www.facebook.com/WUSB-901-FM-Studios-404478346370121/

And that’s Centri and Dok Strange during a station visit.

You can see the original video here.

https://twitter.com/DynamicaMusic

Website http://www.thedynamicuniverse.com/

You Tube https://www.youtube.com/DynamicaMusic

https://www.facebook.com/pages/Dynamics-Plus/112125078834120

Video: Dynamics Plus – Seek End Destroy Cut Supreme Remix

September 17, 2015 Leave a comment

Dynamics Plus Video

Seek End Destroy (Cut Supreme Remix)

It’s DJ Cut Supreme from the WUSB Trim Mix Party radio show taking the remix lead for the Rock It Science album’s “Seek End Destroy”. It’s Hip Hop on Blast Off with this release.

You can purchase the track here.

And the Rock It Science remix album here

And the…Rocket Science album here and ….

Buy them together plus all the remixes as SUPER ROCKET SCIENCE…..

Catch the exploits of DJ Cut Supreme here!

(And he’s on twitter too)

Dynamics Plus Seek End Destroy Remix cover

New nasty cut from Cut Supreme

Seek End Destroy Dynamics Plus

Seek Begin Destroy with a remix by Cut Supreme!