Daryl Lindquist studied Fine Art more years ago than he cares to remember. He worked in comics for Inkspots (oz comic publication), then on and off doing graphics of various kinds for more than  25 years, including a number of covers and illustrations for books and magazines (mainly SF). He started to get into computer graphics around 15 years ago and has worked with various 3D and 2D programs ever since. Daryl made his first book trailer 10 years ago for the T’En trilogy. Daryl says, he’s still having fun!

Can you tell us about the history of R & D Studios?

R&D Studios has been around for around 12 years. It is basically an elaborate front that allows me to indulge myself in fun projects. I actually started out doing comics way back when for a local publication in Melbourne called “Inkspots” in 1982. It contained several ‘up and coming’ young artists from Melbourne at the time, including Fil Barlow, Chris Johnston, Stephen Campbell, and others. My wife was a partner in GASPP (a graphics studio in St Kilda in Melbourne in ’83 through to ’90). I was involved in the periphery of that. When we moved to Brisbane we set up R&D Studios as a side project from our main income streams. So it is basically me with some input from Rowena when she gets a chance. Now that I have retired from my day job, I’ll get a chance to devote more time doing the things I really enjoy.

Are you specialising in book trailers or is that one of the many services you offer?

Book trailers are one of our many services, although a major one. I’ve just completed a series of six book covers for example for crime writer, Sandy Curtis and ClanDestine Press. So our work covers the whole range of graphics. I actually started doing book trailers back in 2002 for the third book of Rowena’s trilogy. The digital revolution has certaintly come a long way since then.

What projects have you most enjoyed working on?

The King Rolen’s Kin trailer for Rowena, Death Most Definite for Trent Jamieson, and Angel Arias of course, which is the first time we’ve ventured into
filming, rather than 3D animation and animatics. Bascially the projects where the clients trust you to do a good job and gives you complete artistic freedom are the most fun.

Where would you like your skill base to take you?

I don’t have any lofty ambitions. I would just like to potter away doing the projects I enjoy, but always trying to push the boundaries of my ability. I guess I’m in the fortunate position of being able to pick and choose what projects I decide to do.

What are your thoughts on the New Media/Trans Media revolution?

The lines are getting very blurry. There is a voracious appetite for content out there, which will be filled but quality will always stand out. We live in a time where money is no longer the barrier that it used to be. For example, it is now possible to put together a feature length film for under $50K. Now that is a lot of money, but it is not out of the reach of a great many people who have the drive, the vision, the talent and the inspiration to do it. You can record your own album at home. You can do your own graphic novel and publish it. Write your own book and publish it. We are in the middle of a creative explosion where a great number of people can now realise their vision from their own desktops. The fact that all of this is being made possible by the web and computers means that the distinctions between media are disappearing. They are all using the same tool, so it can only converge.

Where can people contact you?

Email is good – daryl at rdstudios dot com dot au

httpv://www.youtube.com/watch?v=0U5uZbt052w

Queenie Chan was born in 1980 in Hong Kong, and migrated to Australia when she was six years old. In 2004, she began drawing a 3-volume mystery-horror series called “The Dreaming” for LA-based manga publisher TOKYOPOP. To date, it has been translated into multiple languages.

She has since collaborated on several single-volume graphic novels with best-selling author Dean Koontz. As prequels to his “Odd Thomas” series of novels, they are called “In Odd We Trust” and “Odd Is On Our Side”, the latter becoming #1 on the New York Times best-seller list the week it came out. A third book, “House of Odd”, is coming in April 2012. In 2009, she also provided art for the “Boys Book of Positive Quotations”, by best-selling inspirational author Steve Deger.

Currently, she is working on “Small Shen”, a prequel to Kylie Chan’s best-selling “White Tiger” fantasy series. Apart from her professional work, she also draws a number of online comic strips on her personal site: http://www.queeniechan.com/

1. What is it that appeals to you about manga over other forms of storytelling?

Manga is a very visual form of story-telling, and being a big fan of cinema, I found the cinematic nature of the pacing to be quite appealing. As a child, I read a lot, watched a fair number of movies, and played a lot of video games… but as a teenager, it was really manga that captured my attention, and showed me that it’s a medium where anything is possible. You can take a blank piece of paper, draw anything on it, and it will be completely from your own imagination. The freedom and possibilities offered was very attractive.

Being able to read a lot of translated manga in Chinese was also a blessing, because at the time, a lot of the work wasn’t yet available in English (and many still aren’t). Compared to mainstream American comics, manga offered a great deal of diversity in its subject matter, and I learned a fair amount about other walks of life that I otherwise wouldn’t have had an interest in. There was manga about surgery, about fire-fighting… and so on, and so forth. Again, the visual aspects of the medium made it easy for me to understand what was going on, moreso than if it was in prose.

2. What was it like working with TokyoPop on The Dreaming graphic novels?

“The Dreaming” was an unusual project for me, because I was rejected multiple times when I first submitted to TOKYOPOP. Eventually, they asked me to do a “haunted school” story. While I wasn’t too thrilled at that possibility at first, when I sat down and had a think about it, I realised that there is potential in this particular (narrow) genre. I wanted to do something that would showcase Australian culture, and therefore be appealing to anyone who isn’t from Australia (especially to Americans, which was the target market at the time). When I explained my idea to the editors at TOKYOPOP, they gave me their blessing, especially since one of them was a big fan of the “Picnic at Hanging Rock” movie from the 80s.

“The Dreaming” is only very loosely inspired by “Picnic at Hanging Rock”, but I like to mention it when I talk about the series’ influences. Perhaps because of the “foreign” nature of the story to the American editors, they largely left me alone to work on it. I had editors and copy-editors who helped me from time to time, but apart from that, I was given a great deal of freedom. I’m not sure how normal that is for a series from TOKYOPOP, but “The Dreaming” was quite successful, so I know that the story and the characters must have resonated with the readers, no matter where they’re from (and I got a fair amount of fanmail from it too!).

3. You’ve just finished the third manga adaptation of Dean Koontz’s Odd Thomas novels. Can you share some of that journey with us?

Firstly, the “Odd Thomas” graphic novels aren’t adaptations of the original novels. They are original, stand-alone stories, with the story summaries written by Dean Koontz, and a comic book writer hired to flesh the story out and turn it into a comic book script for me to draw from. They star the same cast of characters from the novels, which is why they’re popular. When I was doing “House of Odd” (book 3 of the series), the second book “Odd Is On Our Side” was a #1 best-selling graphic novel on the New York Times best-seller list. Hopefully the third book is as popular as the second book was. Certainly the development process was almost entirely the same, though the comic book writers were different.

“House of Odd” was adapted from Dean’s story summary by Landry Walker, and his writing style was different to that of Fred Van Lente (writer for “Odd Is On Our Side”, whereas I wrote the first manga “In Odd We Trust”). It was interesting to compare and contrast the two writers, but as the illustrator, my job is to tell the story in as best a way as it can be told, so I did just that. Sometimes this means not following the script, because while the story was complete when I received the script, Dean tends to go through the comic book script and sometimes rewrite the character’s lines in order to fit his vision more. This can make for some odd moments, so it’s my job to smooth over these situations and make sure that the pictures correspond with the dialogue.

Dean is very easy to work with, and he’s never had a problem with the way I interprete the script. So I must say that despite having to keep an eye on the dialogue VS. the panel descriptions at times, the overall experience was quite rewarding and not at all difficult.

4. Can you tell us about your next project with Kylie Chan?

Kylie has written a best-selling series of Chinese fantasy novels called “White Tiger” (the first book). When she approached me, I found the story setting quite appealing, which is why I became interested in doing the prequel for the series – called “Small Shen”. The fact that it’s a prequel gives me some space to do interesting things with it, especially since the prose already exists, and I’m working from what is literally a finished (though yet unpublished) book. I can’t give away any details at this time, but I can tell you that it won’t be a straight-forward graphic novel. It’ll be a blend of prose and comics, which for me, is quite fun to attempt.

The book is due to be completed in July next year, in time for a Christmas release. I believe both Kylie and me will talk more about it when the release date approaches. So far, she’s been very satisfied with how it’s going, so I hope everyone will like the final product.

5. What would you like to be doing in ten years?

Probably doing the same thing as I am now, or at least that’s what I hope. Given the way life tends to pan out, it’s hard to say what I’ll be doing in 5 year’s time, let alone 10 years. Technology has changed the entertainment landscape a lot, so I’ll be interested in seeing how distribution models will change over the next few years. Like it or not, these kinds of outside forces are really what shape an industry, so I will be keeping a close eye on how things go in that field.

When Yunyu and I started collaborating on a book/song release with Burn Bright I had no idea how much fun I’d have and how interesting it would be. For those who don’t know the background, when I released Burn Bright (book 1) of my Night Creatures YA trilogy, Yunyu also released a song called Angel Arias written specifically to to accompany the book.

The song was made available for download via iTunes and Bandcamp for a small fee. We also released two videos using a sample of the music. One video was produced by Random House using a remixed version of Yunyu’s song and perfectly captured the hard core party atmosphere of Ixion. The second video was released by Yunyu and was more of a sneak peak at the song proper.

The result of all this was an enhanced reading/listening experience for the fans of the series. I still get excited every time I hear Yunyu’s song, Angel Arias, and it will forever take me back to the world I created – in the same way that songs take me back to other times in my life; past loves, experiences, places and emotions.

On the creative side, the collaboration was a wonderful, enriching experience. On the administrative/production side there were a few bumps along the way but we got there in the end. I reminded myself a few times, that nothing worth fighting for comes easily.

As the book 2 got under way, Yunyu and I revisited the music/book idea and agreed that we loved working together. For me, Yunyu (her sense of humour and crazy-arsed brilliant mind) is nothing but a pleasure to have in my life and I hope I brought something to her in return. And so … we lined up for round two…

Things were a bit different this time. Yunyu and I planned it on the fly between us and she chose a song, already written, that fitted perfectly with the frantic flight of the my main character through the second book. The song, Bluebeard, is fierce and full of energy and fear.

This time Yunyu said we could make the song available free specially for those who purchased the book. Being the tech savant that she is, she suggested we place a QR tag in the back of the book which would allow anyone with a iPhone or Smartphone to download from the link.

This is a simple and graceful approach, and as of today our plan has been realised. Anyone who has purchased a copy of Book 2 Angel Arias, just needs to point their QR reader app at the tag in the book and it will take them to a free download link of the song. And if you’d like an idea of the kind of song it is, you can get a taste of it by watching the book trailer below made by R & D Studios (I’ll be running a feature on them soon so you can find out more about them) for book 2.

Will we do it again for book 3? Absolutely!

R & D Studios trailer for Angel Arias

httpv://www.youtube.com/watch?v=H30_T0C1LbY&feature=channel_video_title

Angel Arias Song Preview

httpv://www.youtube.com/watch?v=Y07iogdHqvQ

Random House trailer for Burn Bright

httpv://www.youtube.com/watch?v=Np4iHj1AIMg