Stormtroopers and Klingons descended en masse upon Roanoke last weekend to attend the 18th annual celebration of all that is unreal in southwest Virginia, namely SheVaCon.

The show’s Artist guest of honor was Stephen Hickman, with additional guest artists Seth Bennet, Amanda L. Carruba, Kristy Gilbert, our own Veronica V. Jones, Beck Kramer, Malak, Ron Miller, Chris Range, and Daniel Trout.

Others illustrators and craftspeople in the art show included Gina Canady Adler, Sarah Clemens, Jennifer D. DePaola, Margit Elland Schmitt, and Tiffany Toland.

Our own Johnathan Darkly had been told there was no room for his “digital” artwork in the gallery, so we were surprised to see more than a few empty panels at the show. We never found out if this was an organizational problem, or simply a bias against non-Poser 3D works.

Veronica’s prints were featured prominently in the art show, as well as a winged pig sculpture. She also demonstrated her digital art prowess in one early panel, and shared her freelancing experiences and portfolio tips in two others.

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A certain kind of fantasy aficionado is constantly on guard for the telltale signs of sudden intrusions of mischievous magic, mythological monsters, or other extradimensional mayhem. It seems that David Palumbo also waits patiently for such otherworldly occurrences with a keen eye, ready to capture every detail in his illustrations.

From dragons and detectives to punks with pistols, Mr. Palumbo has a knack for realistically depicting the decidedly unreal. Each of his subjects are given life through the expert application of detail and lighting, daring the viewer to disbelieve what is so clearly seen to be true.

Nearly all of David’s fanciful creations exemplify the warrior spirit, and wield a wide variety of lethal items. Swords are far and away the weapon of choice, but more than a few firearms can be found at the ready. Raw energy itself is at the beck and call of mighty mages. Whatever the adversary, these compelling characters certainly come well equipped.

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It is ironic that we now feature Jeff Carlisle, for if you’ve ever been within a mile from a Star Wars convention in the last few years, not only must you already be quite familiar with his colorful renditions of Mr Lucas’ characters, you will have also surely talked to him in-depth about his storied career.

What was one of your earliest fantasy/sf experiences?

I would have to say it was the barrage of SF in 1977. Star Wars and Close Encounters changed my life (as it did everyone else’s) — I was only four when they came out. I distinctly remember seeing the TV commercial for Star Wars and freaking out when the Sand Person shot up. I also remember a local radio station playing the entire “Story of Star Wars” record on-air. Add into the mix Lost in Space re-runs and WUAB (out of Cleveland) showing SuperHost and Star Trek reruns with Space:1999 every Saturday evening… and it pretty much warped my mind. The Incredible Hulk was my first comic book and it tied nicely into the TV show–and I found the exact issue I used to have at half-Price Books a few years ago. Totally worth the money.

How did you become a professional artist?

Well, I decided I was going to be an artist in High School, but didn’t know exactly what I wanted to do — so I went to Art School for college. I was lucky enough to live in Columbus, where CCAD (the Columbus College of Art and Design) was — and Robert McCall, one of the great space illustrators of all time graduated from there, so i decided it would be the place for me.

At the time I thought I would become a Science Fiction Cover Illustrator (little did I know that Illustrated covers were a dying breed), and during school I thought I was going to be a monster sculptor and movie concept artist.

It was only after graduating that I realized that I couldn’t do that in Columbus, then I started thinking about illustration again. After being out of school for about three years and working as an Office Temp, I met my friends Heather Kreiter and Tony DiTerlizzi at a gaming convention, and thought it might be a good market for my work.

Tony told me to go to GenCon… which I did… and luck was on my side since they were launching the Star Wars RPG from WOTC. Since I was a Star Wars geek and liked to draw spaceships, and they needed spaceships, I started getting work, which led to Star Wars Gamer magazine and then Dungeon magazine and Dragon magazine and work with both WOTC and Paizo.

Because of all my WOTC work on Star Wars projects, I also started getting work from Lucasfilm directly…which made me more noticeable to other markets. And here we are today!

Where do you find inspiration for your work?

Well, having to pay a mortgage inspires you to work! But seriously, almost all the work I do is based upon art orders from Art Directors, so they have a plan and I try to follow it as best I can. I am a detail freak, so it seems to lend itself to more technical illustrations, but I can change it up when needed. As to what inspires me when i design things for my illustrations — it all comes down to research. If I have to draw a group in a Star Wars illustration, I research who is in the group, what other artistic interpretations have existed, what the clothes, weapons and such are — and then try to present it in an illustration that combines all those things without copying too much of the inspiration.

Is there a single message that you find yourself most drawn to?

Self-reliance and discovering the value in yourself is very important to me. So many people think that only other people can do great or good things — they completely lack the ability to see what is inside themselves. I am a humanist at heart, and believe that the ability to succeed exists in everyone and has only to be nurtured to develop. I don’t really believe in luck or fate or anything metaphysical — but I do believe that success is opportunity meeting talent and preparation. When those opportunities come along you have to act on them — even if failure is an option. Failure is an opportunity to learn as well.

What has been your most challenging project?

Every new thing I work on always feels like the most challenging. I do have to say that Comics are an overwhelming amount of work — anyone who can do issue after issue of comics are heroes in my eyes — and in Concept Design, it is challenging to be true to whatever world you are working in, but not just re-hash what has already been designed.

And of course, portraits are amazingly hard — because people can tell instantly if there is a problem in your proportions when you draw a human face — and you try to also find a little look that feels individual to the person you are drawing. Very hard Stuff!

What are you working on now?

Well, since October I have been working on WebComics to tie into the Star Wars Clone Wars TV show on Cartoon Network. Three other artists and myself do all the art for stories that tie into each episode of the show — and the deadlines and art are very challenging. We just finished the season and hope to return for more adventures next season.

On top of that, I have been doing a lot of spot illustrations for the Star Wars RPG and graphic/typographic design and concept design for Paizo’s Pathfinder RPG — as well as working on a number of newer projects I can’t talk about yet. One highlight was that I got to design the Production Company Logo for Knights of Good Productions, who produce the award-winning (and very funny) Webshow “The Guild”. It has been a real treat to see them end every episode with that Logo, let me tell you!

Follow Jeff’s artistic ascension at jeffcarlisle.com!

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For those intimately familiar with the complexities of the natural world, it is only a small step into the realm of mythological fantasy. Brenda Lyons takes obvious delight in imbuing exotic, wondrous creatures of the mundane world with magical abilities, and honoring their rich mythological traditions.

Gryphons and unicorns feature prominently in Ms. Lyons’ gallery, as do terrestrial birds of prey. Each of these creatures, however, seem equally enchanted in her colorful visions. Almost all of her humanoid figures are given animal aspects as well. While winged women are no stranger to fantasy, angels and fairies here are far more grounded and naturalistic that would otherwise be expected.

Expect a lush, verdant landscape and flights of feathered fantasy when visiting Brenda’s gallery, with spiritual creatures of all shapes and sizes.. and species.

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Heralded as the harbinger of cinema’s new age of enlightenment, James Cameron’s 3D extravaganza Avatar is a feast for the eyes and a light snack for the spirit. The script’s primary ingredients of corporate greed, military zealousness, indigenous spirituality, and flawed heroes going native are nothing new, but this thematic skeleton is given flesh and blood through the masterwork of over ten visual effect studios that have made the tall blue aliens and the fantastic flora and fauna of their world Pandora come alive.

The understated 3D effect was a subtle boost to immersion, but the meticulously detailed, flawlessly animated Na’vi and Na’vi-Human hybrids were the true saving grace of this otherwise lackluster story. The creature designs were also exceptional, but the effects studios long ago mastered the art of providing convincing critters.

Early concerns that the vivid computer-generated characters would not blend well with the “real life” cast were completely unfounded. In fact, the subtle stylistic unrealities are what saved the Na’vi from the uncanny valley, and allowed moviegoers to fully appreciate their alien beauty and intricate expressions without an overly critical eye.

Laundry list of tired tropes aside, Avatar is an engaging, entertaining experience, that may only afterwords pose a few thorny questions: Do blue half-human clones — self-aware or otherwise — have no rights in the future? Has Ripley’s great-granddaughter atoned for Sigourney Weaver’s hand in the death of Hicks and Newt?

Only time can tell, as a sequel is certainly in our future.

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In a world so oppressively dominated by gravity, it is so surprising that our dreams are filled with sensations of flying, floating, and falling? Jon Foster molds the raw stuff of these dreams into haunting images of disturbing clarity and dark mystery.

Within Mr. Foster’s powerful compositions, figure and environment interact in empowering, unsettling ways. Deceptively familiar settings are torn asunder by the sudden appearance of malevolent forces or seeming fluctuations in gravity itself. Valiant hero and unwitting victim alike struggle bravely in the face of such unrelenting elemental chaos.

Truly the only constant in Jon’s works seems to be change itself, and the guarantee of another thrilling glimpse into the mind of a slightly mad artistic genius.

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With all of its explosive combat, deadly weaponry and grievous injuries, it’s easy to see how moviegoers could mistake Ninja Assassin for a martial arts movie. Yet the superhuman acts of acrobatics and recovery, and a liberal application of shinobi magic throughout, place this raucous action adventure firmly in the world of fantasy.

Ninja Assassin was born of Korean pop star Rain’s martial prowess in the psychotropic Speed Racer’s big-screen venture, and sits atop a frenetically rewritten script from Babylon 5’s J. Michael Straczynski. This goes a long way to explain not only the beautifully stylized combat, but the occasionally awkward dialogue and groan-inducing plot devices as well.

When a rogue ninja turns traitor on his clan and teacher, everyone knows that there’s trouble ahead for all involved. Rain performs admirably as the killer with a conscience Raito, and Naomie Harris does as well as can be expected as a Europol agent targeted for assassination by Raito’s clan for discovering the Global Ninja Conspiracy.

Those who leave their history books at home and seek a mindless romp into flashy fantasy violence will be richly rewarded.

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If flights of fantasy are born in childhood, it may be surprising to find that they cannot be fully explored or shared without the experience and maturity that comes with time. Annie Rodrigue clearly has the illustration skills to realize her visions, while keeping a clear eye on the dreams and nightmares of her youth.

Brave heroes, mischievous sprites, whimsical wisps are all captured with childlike glee in Ms. Rodrigue’s works, with only a hint of malice in their eyes. Bold colors and watercolor washes reveal serene scenes and precocious perils in mythical ponds and ancient forests, illuminated by moonlit skies and magical energies.

While a few of Annie’s characters have more than their fair share of wickedness, the majority of her creations will no doubt bring back fond memories of your own childhood friends…. real or imaginary.

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In a world where tots and teens reign supreme, surely Nick Southam would be king. His whimsical, moody illustrations reveal a youthful spirit, but the studied grace of his forms reveal artistic experience beyond his years. Manically wandering between cartoon and painting, Mr. Southam’s works are unified by the expressiveness of his characters and the depth of his settings.

While precious few of his creations appear old enough to drive, they all exhibit a take-charge attitude that practically guarantees their victory over impossible odds. With all of this improbable pluck, Nick still skillfully avoids the common pitfalls of children’s illustration by neither being too saccharine nor overly glum. What we have here are beautiful illustrations that just happen to feature an awful lot of children.

Like many slightly slacking artists these days, Mr. Southam’s latest projects aren’t in his main gallery, but over at his blog. As long as he keeps creating his uniquely childlike artwork, he can certainly be forgiven for that.

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Some misguided moviegoers have foolishly avoided the recent theatrical release of Zombieland, perhaps for fear of a bizarre slapdash retread of the standard zombie apocalypse. Never have so few been so right and wrong all at once, for this brilliant film is both pleasingly familiar and excitingly innovative.

From the slow motion title sequence to the gopher-themed after-credits quotation of Jean Paul Sartre, the film delivers a pitch-perfect, potent blend of violent survival horror and absurdist comedy. While inspired by Shaun of the Dead, Rhett Reese and Paul Wernick have written a truly American zombie tale, with all of the firearms, big trucks and open — if corpse-strewn — highways unique to our great land.

As told by a reclusive college kid, Zombieland details a series of gristly encounters and accompanying rules to survive by. Jesse Eisenberg’s Columbus gets his hometown moniker from another, considerably more trigger-happy survivor Tallahassee — maniacally played by Woody Harrelson. They soon run into the charming duo of Wichita and Little Rock (Emma Stone and Abigail Breslin) and almost instantly regret it. Their unstable group dynamic is a critical component of the film’s ultimate success, and helps propel the story recklessly forward.

While Zombieland is an undeniably bloody experience, the violence has a touch of style and cinematography that make even the most gruesome zombie kill a thing of beauty. The comedic elements are both dark and uplifting, and are at play in even the most dire of circumstance. Even the romantic elements of Columbus’ journey are naturally integrated into the storyline, and are charmingly innocent.

Whatever genre, or genres you choose to label the film, Zombieland is equal parts shocking and satisfying, but unlike the survival horror films that have come before, the message here is truly unique: Whatever these survivors were initially looking for, what they all find is a reason to keep fighting for life, and each other.

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For many, the ancient past is a dusty collection of books, and a cloudy haze of half-remembered names and dates. Anders Finér sweeps these moldy musings aside with his smoldering, atmospheric works of historical illustration. An undeniable air of authenticity permeates even his fictional and dark fantasy settings, allowing the real and unreal alike glow with life.

Valiant warriors, reluctant heroes and hapless victims are all given an equal showing in Mr. Finér’s portfolio — each in a pivotal moment of doubt or triumph. His portraits, however undramatic or dire their situation, are given form with deftly crafted shadow and light, texture and wash, and perhaps even intellect and emotion.

This grand collection of ancient heroes and nameless monsters may or may not hold many of history’s lost lessons, but there is certainly a wealth of artistic beauty to behold in Anders’ portfolio.

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It certainly seems reasonable to presume that a film about spunky sackcloth puppets would be perfectly suitable for children, but Shane Acker’s first foray into feature films, while beautiful to behold, is truly the stuff of nightmares. His new epic in miniature, simply titled 9, chronicles a small band of mysteriously animated dolls, and their fight for survival against a decaying world.

Our story begins with the last of these dolls waking for the very first time in a ramshackle laboratory, with his human creator dead on the floor below. Voiced by Elijah Wood, the newly alive figurine — also marked with the number 9 — surveys his surroundings and discovers a battle blasted landscape of ruined buildings and a dust-choked sky.

When 9 encounters another figure similarly sewn from fabric and found items — Martin Landau –  his joy is quickly tempered by a predatory beast. From there, 9’s day just keeps going from bad to worse. The vocal talents of Jennifer Connelly, Christopher Plumber, Crispin Glover and John C. Riley breathe life into other stitchpunk figures met by 9 along his journey.

Much like the protagonists, the film itself is beautifully crafted by experts in their craft, but the relentlessly gloomy world that is so meticulously assembled may take a toll on children and adults not inured to the crueler realities of our world. However, those who can see beyond the desolate backdrop will find a classic fable of heroism and personal sacrifice, in 1:10 scale.

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