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Dragon Con Moments 2018

Over 80,000 people descended upon Atlanta on Labor Day weekend for the annual fan convention known as Dragon Con, a gathering of passionate gamers, cosplayers, movie and TV fans, and plenty of celebrity guests.

Standouts this year included Knight Fights, an intense cage match developed by Palmetto Knights, in which two men or women engaged in medieval combat, complete with real suits of armor and weapons such as swords and maces. The fights filled up quickly, and the crowd was loving every minute of it!

The Palmetto Knights also hosted several panels, including Castle Sieges and Battle Tactics, which filled up so fast, they decided to do last minute back to back panels!

Castle Sieges & Battle Tactics

 

Another highlight was the new board game called “Urban Insanity,” developed by Mic Mell and Larry Grayson. The tabletop game, which is completely unique, centers on building roads, cities and stadiums, and defending them against aliens, mobsters, and of course, other players. Learn more about Urban Insanity by checking out the Kickstarter page.

Dragon Con would not be complete without the amazing celebrities that get up close and personal with their fans, and I was lucky enough to make it into Vic Mignogna‘s panel, in which the beloved voice actor (known for Fullmetal Alchemist, Vampire Knight, and more recently, Star Trek Continues) walked through the crowd answering questions and telling stories.

Vic Mignogna gets up close and personal with fans

Arguably the best part about the con is seeing so many people dressed up as their favorite characters from TV, movies, anime, and games. Below are some standouts this year!

 

Interview: Voice acting veteran Crispin Freeman at MomoCon

Crispin Freeman has been a voice actor since 1997 and has over 200 acting credits on his resume, and has voiced some of the most iconic anime and video game characters that have graced our screens. A small sample of his characters include Alucard from “Hellsing X” to Zelgadis from “Slayers,” and Legolas in assorted “Lord of the Rings” video games. Freeman also uses his scholarship in mythology to explore the storytelling in film, television and animation on his website Mythology & Meaning.

This weekend at MomoCon 2015 in Atlanta Freeman took time to talk to the press about his career, the voice acting industry, gender equality in animation, and the difficulties of acting in a video game. TAM was there to document the interview and ask some of our own questions.

How do you feel about the portrayal of female characters in animation? Japanese animation (anime) in particular?

It’s a very big topic, and I actually do an entire presentation on female hero journeys as a part of my mythology scholarship that I do at conventions, academic conferences, and film festivals. What I have found is that in Japanese Animation, there are certain female hero journeys that are available to women that are not usually done in America. Specifically, what I am referring to is the sort of magical-girl archetype. The idea of a woman having her own magical powers is usually problematic in American storytelling. In fact, there was a very big deal made in the original Avatar series that what they are doing is not “magic,” but rather, “bending.”

That being said, Japanese culture can be rather chauvinistic, especially for an industrialized nation. So, whereas in America, we essentially aspire to this notion of gender equality, we don’t get there by a long-shot in terms of our storytelling either in Hollywood or in animation and comics. Fortunately, these kinds of topics are now much more publicized, which I think is good. I think awareness is going to change this. But, there’s also going to have to be some institutional changes so that we don’t still have all of these issues, like the fact that Black Widow isn’t included in the Avengers merchandise when they’re showing a picture of all the Avengers. That is ridiculous. It’s 2015. Can’t we get over this already? It is still an issue, because there is still an extreme lack of parity on the subject.

How did you get into the voice acting career?

Well, if you want the gory details and a blow by blow account of how I got into voice acting, I actually have a podcast on voice acting called “Voice Acting Mastery” at voiceactingmastery.com. Episode 4 and 5, I actually go into ALL the details about how I got in. But, in a nutshell, I was working as a theatrical actor in New York City. I was getting my Masters in Fine Arts at Columbia University, but I had always been a fan of animation, ever since I was young, and specifically, Japanese Animation had always been my favorite. There was a studio in New York that was dubbing Japanese Animation into English, and a friend of mine who had worked for them suggested I contact them. I sent them a copy of a radio play that I was working on at Columbia University, even though that was totally the wrong thing to send because it is not really a demo. They took pity on me, I guess. I was able to audition for some anime shows, and that’s how I started doing voice work, which I was doing on the side.

Then I realized that I was getting more excited about working on the animation stuff than working in theater. That’s when I decided that I needed to move to Los Angeles to get to a bigger marketplace and pursue voice acting full time.

How has the growth of movie, television, video games and animation production in Atlanta affected what you do for a living? Have there been any ripples in the voice acting industry?

Well, I’m not that aware of what’s been happening in terms of Atlanta and its business. To be perfectly honest, many times if it is a game project, gaming companies will come to Los Angeles to record voice actors because they want to access that talent pool in Los Angeles. I may not always be aware that the game company may be based out of Atlanta. So, maybe it is having an effect and I am just not paying close enough attention.

Because everything moves at such a fast pace, especially with games where everything is so secretive, it’s so difficult to figure out who I am working for, what the project is, even what the name of my character is in real life.

I just found out that with a game I have been working on for years, they have been telling me what my character’s name was, and that’s not actually the character’s name in the game. So, even if it was coming from Atlanta, there are so many different non-disclosures and secrecy that I may not even know. So, I guess I am blissfully unaware.

How has that secrecy affected your process, when you are not given the full story of what it is that you’re trying to portray?

It’s quite frustrating! As voice actors, we want to do the best job possible, and the way to do the best job possible as an actor, is to have as much detail and information as possible. But, that is exactly what they don’t want to give us. So, it can be really frustrating. It feels like you train all your life to be a Formula One race-car driver, and then they ask you to drive the golf course, but you KNOW that that’s not what they want. You know that they want you to race at 200 mph, but you can’t if you don’t know the course. So, it is frustrating.

I understand that on their side, they are worried about people poaching their ideas, and they are worried about how to market their product. I get all that, but we’re supposed to be their collaborators. We’re supposed to be the people working with them. So, on some level, while I have some sympathy with them, it sure makes our job as voice actors a lot more difficult. I wish there was some way that they would feel a lot more trusting to give us the information we need to help their project be that much better. That’s really what it comes down to. We want to make their project better, and the more information we have, the better we can make it.

With the expansion of new technologies as well as new niche markets, have you found yourself being offered opportunities in any of those new media forms?

It’s interesting. The fact that recording equipment has become relatively inexpensive has certainly democratized the voice-over industry in a way. It’s not dissimilar from what happened when the Macintosh was invented in the 1980’s with desktop publishing. Suddenly everyone could do desktop publishing. Now you can buy a professional quality microphone for two, three hundred dollars and if you can treat the space in your home with enough acoustical foam and sound isolation, you can have a decent sounding booth to do professional work in. So that means that voice-over is more accessible to more people than ever before.

However, that doesn’t necessarily change the production pipeline for certain things like animation and video games. Especially with character based voice-over because everyone has to be recorded on the same equipment, almost all of the time. So, that means that everyone has to come to the same studio. So, Disney and Warner Brothers aren’t really changing the way they do stuff just because you can buy a $300 microphone and record from home. They still need you to come to the lot to do stuff. But, when it comes to promos for companies, industrial narration and things like audiobooks, that kind of stuff is certainly open to people being able to work from home. There’s all sorts of independent video games now that are taking advantage of the fact that there is this talent pool that has their own recording equipment at home. So, that has expanded the eco-system, shall we say? But, the big-ticket stuff still tends to get done the same way. We may audition from home, but we still have to record at the studio.

What is the guild / union situation with professional voice acting, and is it something that independent artists and developers can tap into in order to acquire talent for their projects?

The Screen Actor’s Guild just recently combined with the American Federation of Television and Radio Artists, and the guild is now called SAG-AFTRA. The guild covers all media for union actors from television to film to new media. Anyone who wants to use union actors, they need to be signatories with the union and pay them union minimum rates and pay into pension and health and all that stuff. That all gets technical if they want to do that.

There are certainly independent video game developers who are maybe not interested or maybe don’t have the budget to work with the union talent quite yet. But, in my opinion, I think the cost of working with union talent is pretty minimal compared to the quality of what you get. It depends on how people want to work on projects.

Why MomoCon is the place to be in Atlanta this weekend

This afternoon we sat down with Dan Carroll, the Director of Media Relations for MomoCon 2015, and talked about the convention, what fans can expect this year, and why the Georgia World Congress Center is the happening place to be in Atlanta this weekend.


This is MomoCon’s first year here at the Georgia World Congress Center, and it looks like it is shaping up to be an amazing one! How has the attendance been this year, compared to last?

We are anticipating 20,000 total attendees… last year we had 14,600. The move to the new venue has obviously given us more opportunity, more exposure, and a lot more fun for the people coming. We have convenient parking, MARTA takes the local Atlanta folks right to the conference center, and as you can see from where we’re sitting, we have this amazing, giant, enormous vendor area and the largest gaming square footage area in the southeast at a convention.

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This year it is very apparent how important the inclusion of gaming is to MomoCon’s programming. Is this a sign of the direction MomoCon plans to take moving forward?

Absolutely. We’ve had gaming since our first MomoCon. In fact, MomoCon directors would meet together on a regular basis to play analog games and also plan out the convention. It works out that we just happen to adore games. We’ve had some amazing LAN/console gaming competitions in the past, and right now you and I are looking down on the show floor and can see how large the LAN area is, as well as the console gaming. But, the big new amazing thing is the indie game developer showcase.

The showcase is providing an opportunity for new developers to show their work, and the showcase itself is juried. There are a number of industry experts that are going to be reviewing the games, judging them and giving out cash prizes.

Moving forward, is the indie game developer showcase going to become an even bigger part of MomoCon’s programming?

We are Georgia’s anime and gaming convention. The gaming is going to continue to grow and the anime is going to grow too. Also, it’s not just anime, but American animation too. Next year, I think you’re going to see a lot of growth in the comics area.

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How long do you see MomoCon being booked here at the GWCC? 

I believe we’re currently booked through 2019, and we do have contingencies for growth into other halls here at the GWCC, but we’re going to take it one year at a time and make sure we do the best we can. What we do here at MomoCon is focus on the end-user/attendee experience. The membership brings a lot of fun with it.

What have you personally been the most excited about with MomoCon 2015?

Well, a number of things. We have some of my favorite voice actors here this year. I just got off of a panel with Crispin Freeman, the voice actor who performed as Alucard in “Hellsing.” He does an amazing job. I also got to meet with Greg Weisman, (writer, developer and showrunner in several American animations including “Gargoyles,” and “Star Wars Rebels”) which was great.

Probably for me more than anything else is to see how comfortable, relaxed and filled with enjoyment the fan-base is here. People have commented about our diversity in terms of age, race, gender, LGBT, and how everyone is completely accepted. We are just a warm environment, and as always, anytime you have any event in Atlanta, it’s filled with a lot of hospitality.

What would you say to parents with kids that may be interested in coming to MomoCon, but are unsure of its content and family friendliness? 

There is still plenty of opportunity for people to come and enjoy MomCom 2015, and MomoCon 2016 is just around the corner. The one thing families need to know is that all of our programming is “all-ages” appropriate, 24 hours a day. There are no late night panels that are adult oriented or inappropriate for anybody. We have a pretty solid dress code and we like to make sure that our customers are presenting themselves in the best possible way. We also like to make sure that we are following standards that are family friendly and inclusive.

What kind of programming do you have for the kids?

Well, card gaming is always big, but this year it seems to have exploded. We also have the Chalk Twins here, and yesterday we had a sidewalk chalk art competition here. It turned out really well. The weather has helped out a lot.


MOMOCON IS GOING ON ALL WEEKEND. VISIT HTTP://WWW.MOMOCON.COM TO FIND OUT MORE INFORMATION.