With the ever changing trends in the independent toy world, we are more grateful than ever for your interest and support of Glyos. Without the connections that we share together, this whole adventure would be meaningless, and the fact that we've survived for all this time is a testament to those bonds.
It's been a year of many strange turns, and I believe more than ever that we are in the midst of a paradigm shift in the way that we interface with our collecting habits. The rise of the independent action figure has been elevated to even greater heights by groups like the Four Horsemen and Boss Fight Studio, with powerful (and well publicized) Kickstarter campaigns that proved both inspirational and eye opening. Fresh companies that also emerged through Kickstarter were Warpo and IAmElemental, both of whom established themselves quickly with exciting and comprehensive campaigns. When you begin to analyze just how small the amount of people that truly make up the independent toy fan base is in comparison to the mainstream toy world, you really start to understand how incredibly risky all these unique and smaller projects actually are.
The pre-order model is quickly becoming the only way for anything to remotely stand a chance of getting produced, targeting the core audience and asking for a commitment up front (where you essentially purchase multiple waves of a toy line at one time) that in nearly all cases becomes a better deal with the more you spend. This is an excellent method for those of us who choose to go "all in", but if someone only wants a taste, the single unit cost usually falls a bit on the high side. This system seems to be the major draw of the Kickstarter model, and I'm extremely interested to see how it evolves as more companies have no choice but to use it. Personally, I'm thankful that Kickstarter exists, even if it has forced certain older models closer to their commercial graves. In many ways, the emergence of the crowd funded model has equalized and rationalized the basic viability of any given project proposal.
Moving forward, we will continue to keep the releases on the smaller side for the majority of 2015 (with only a few slightly larger waves planned), as well as placing additional focus on a few other projects that delve into the mythos of the Glyos System, reminiscent of our older booklets. Some new partner companies will begin to emerge next year, and some older partnerships will separate and travel in different directions. I'm fairly certain that 2015 will continue the roller coaster ride that has been in full effect since 2013, keeping things moving through thick and thin. That being said, no matter what occurs, we'll stay present and focused on bringing you our very best.
Thank you for reading and for inspiring us to keep pushing into the unknown!
KTVU's "Creature Features" presentation on March 3, 1973!
"On the twenty-seventh day of Halloween, my true blood gave to me, twenty-seven ancient demons, twenty-six vampire maidens, twenty-five monkey brains, twenty-four missing corpses, twenty-three bubbling caverns, twenty-two immortal curses, twenty-one bloody vamps, twenty cobwebbed corridors, nineteen bats flying, eighteen butcher chops, seventeen premonitions, sixteen bullets silver, fifteen limbs severed, fourteen Igors fluting, thirteen nightmares tormenting, twelve hunchbacks helping, eleven brains transplanting, ten ghouls feeding, nine yetis chilling, eight mummies crumbling, seven monsters growling, six feathered freaks, five undead things, four maniacs, three evil kisses, two fiendish hands, and an atomic voodoo zombie!"
Throughout numerous missions, Harcoriun has exhibited an almost reckless willingness to push the limits of the Axis Tech, regardless of the risks. Despite this dangerous characteristic, Tracker trusts few as implicitly as Harcoriun.
Unknown to the majority of Travelers that are granted the rank of Sarvos, an inhibitor mechanism is imbedded within the core of the Sarvos armor, which acts as a kill switch in the event a Sarvos goes rogue or defies its orders. The primary reason behind the genesis of the Sarvos Program was to gain absolute control of the strongest Travelers- by tempting them with even greater power. The secret price of this advancement is only realized after it's too late to turn back.
The only known Sarvos that has discovered a way to directly override this effect is Tracker.
Super7 x DKE x Scott Wilkowski Infected Halloween Dokuwashi is here! The 4″ tall spooky spirit totem with ghoulish glowing skeleton insides is going trick-or-treating this halloween! His glow-in-the-Dark resin skeleton is cast suspended in translucent orange resin, creating a uniquely creepy and cute Halloween horror.
Available as a made-to-order edition during the week of Halloween, the Infected Halloween Dokuwashi will be offered for pre-sale Monday, October 27th 12Noon PST through Midnight on Halloween Night, Friday October 31st. Figures will ship in December. $85 ea.
Available online now!
The Japanese government commissioned a report on the history of Japanese robot animation. Yes, the government. My government's robot studies are undoubtedly focused on stuff like killer Predator and Reaper drones. Japan's? Astro Boy, Tranzor Z, and Voltron. More power to 'em, I say. (Pun intended.) "Japan" and "robots" go together like chocolate and peanut butter. It's fair to say that no other country has become so intimately associated with robots both real and fictional.
But until now, precious few have explored the history of the robot shows that are a virtual synonym for Cool Japan. Ryusuke Hikawa wrote the majority of the report. He's been on the front lines of otaku culture since day one, chairing the fan club that played a big role in getting the Space Cruiser Yamato movies made back in 1977. Today he's one of Japan's top anime critics and I can't think of anyone better suited to have authored the report along with Sunrise's Koichi Inoue and writer Daisuke Sawaki.
AltJapan was hired via the Mori Corporation to translate the 90-page beast into English. And now it's available for free download on the Agency for Cultural Affair's Media Arts Content site. (Scroll down for the English link.)
The English-language ebook editions of Fujiko F. Fujio's classic manga "Doraemon" have started coming out. AltJapan translated it for Voyager Japan in association with Fujiko Productions - some 12,000-plus pages over the course of last year, easily the biggest manga localization with which we have ever been involved. It's finally being released in 3-episode chunks: volumes one through ten have come out via the Kindle Store as of this posting. (Apologies if you can't see them - they're only available for download in North America at present.)
This release is a really big deal. Doraemon is Japan's single most popular character, yet the comic has never been officially released in English. There have been a handful of bilingual editions created for students of English, but never a truly localized edition intended purely for enterainment's sake.
If you've never read Doraemon, you can't truly call yourself a connosieur of manga. I challenge anyone to find a middle-aged or younger Japanese person, otaku or not, who hasn't read at least a few pages (and probably a lot more than that.) It is the first sci-fi most Japanese read. It's part of the fabric of Japanese life in the same way that classic Disney films or Peanuts are in the West. The cast of characters are archetypes: Nobita the nerd, Sneech the rich kid, Big G the bully, Shizuka the neighborhood idol. They are given homage in countless other works, parodied in nationwide advertising campaigns for car companies. People casually drop references to them in daily conversations in the same way an American might refer to Homer Simpson's love of donuts or Lucy yanking the football away from Charlie Brown.
So why hasn't it ever come out in English before? It's hard to say. Perhaps because manga and anime are often associated with dark, edgy imagery in America, and that's the last word anyone would ever apply to Doraemon. It is kids' entertainment par excellence, but quintessentially Japanese kids' entertainment, meaning it's filled to the brim with subtle cultural references, occasional nudity, and inevitable toilet humor of the sort that sends certain types of parents into a tizzy. And simply due to the age of the series - it debuted in 1969 - modern-day analogues of many of Doraemon's "22nd century" gadgets are available to anyone with a credit card. The Asahi Shimbun quotes a "former industry ministry official" theorizing that Americans can't sympathize with a passive loser like Nobita, but that can't be right - Charlie Brown is an even gloomier protagonist, minus any hope of salvation from a pal like Doraemon.
Whatever prevented Doraemon from getting an English release didn't stop it from being translated into many European and Asian languages, where it retains a huge following (particularly in SE Asia.) The English-speaking world is simply behind the curve on this one, and it's been our loss - until now. Doraemon is a cornerstone of Japanese pop culture, and it has been an honor to be part of the team that is bringing it out in English for the very first time.