Dollar Bill?!? We're going to get a comic on Dollar Bill?
If you don't remember him, you're not alone. If you do remember him, its because you've read Watchmen a million times and you remember that he was the laughing stock, the one panel joke about how not to dress for the part of being a superhero.
And now, as a late addition to the Before Watchmen line, we get Wein and Rude's Dollar Bill.
Sadly, reading this while reading "Marvel Comics: the Untold Story" dovetails with Heidi McDonald's older post about DC's treatment of Moore, and how utterly distasteful the fans are towards the greatest writing genius that comics has ever had.
I really hate to see all the top notch talent that has been working on the Before line. I don't even have to name the names, you all know exactly who is doing those books. I would just have killed to have had them all working on new, amazing projects rather than desperately trying to fill in the gaps on a comics that was systematically designed to have gaps in just the right places to make the meat of the story work along the way. Its sad. And as they have said, "Hate the game, not the playa."
Well, there has never been a bigger gap in the Game and Playas than there is right now. Comics are more name driven now than since the first wave of "big names" changed the how the marketing worked in the mid-80's. And never has the potential for new properties and publishers existed alongside Marvel and DC trying desperately to hold on to the properties they have, and to squeeze every ounce out of them.
It would be interesting if, when we looked back, this was one of the final straws that might have broken the back of creators being willing to have their work published under the old paradigm. Such superior "name' creators such as Jimmy Palmiotti and Justin Grey are off doing their Creator Owned Heroes book, and are clearly busy creating more characters and ideas than just about anyone else right now. More innovation from that writing team alone than anything that we're seeing at Marvel and DC currently.
I like Len Wein, and I love Rude's artwork, just as i love Hughes and Jones, but i don't think that i need a Dollar Bill comic. I hope that the royalties are enough to help Steve out from his financial difficulties when they collect all this. But i wish that this industry was so... so different.
Friday, November 02, 2012
Thursday, October 25, 2012
Charles Burns & Chris Ware: Talking Comics
The audience was all artists. Really, you could have held a very interesting Mini-Con in the aisles.
I'm talking about last night at Jewish Community Center in SF, which hosted Charles Burns and Chris Ware talking comics and showing art and generally being raconteurs about a profession that delights in hiding in your room hunched over your drawing table. And it was utterly fascinating on a number of different levels. Ware and Burns come to the table with a veritable ton of critical accolades, and a couple decades of material behind them, so to see and hear process from them is terribly interesting if you're an artist, but it is hearing the thinking behind the work that is even more interesting.
Ware, in particular, has always presented work that very clinically seems to rip apart seconds and minutes into tiny fragments and present them in both a combination of logical progression and dream order. Your eye gets pulled, sometimes, into the negative space surrounding the moments, and for the dizzying combination of images presented in the two page spreads in his latest Building Stories box, when he illuminated the under drawing and progression that it took to build such a page, it was quite a bit more organic that you would originally have thought. The interesting part: Ware's comment that, and i'm paraphrasing here, that "he continually looks drawing the next panel in context of all the panels that he had done prior." One of his best quotes: "I consider the writing of comics to be the writing and drawing of the comics." while showing a full page of blue line under sketches with black ink lettering on top. For all the division of labor in corporate comics, Ware's work in that stage looks no different that an old Snuffy Smith page in progress.
Burns' work has always carried a more organic quality to me, it was obvious the amount of ink that was being loaded up on the brush, and how he was feathering the dual lighting that highlights his darkest works, so it was doubly interesting to see him present the Tintin images that formed part of his childhood, and that now influence his current trilogy, of which "The Hive" is book one. When one thinks of Tintin, you think of well constructed panels in the "clean line" aesthetic, not the ink heavy noir of Black Hole, but it all starts to make sense in context. The surreality of some of Herge's work fits perfectly into the Burns aesthetic.
Moreover, it was interesting to hear two artists coming from a completely different background than i usually see. After having worked the mainstream business of superheroes, its not unusual for me to look at guys like David Mazzuchelli, who broke free from that style to form his own unique work. Much like the guys i knew growing up who read only undergrounds, and idolized Rick Griffin, Robert Crumb and Gilbert Sheldon, here was a compeltely different aesthetic, and whole different way of approaching the look of the material. Artists who weren't necessarily burdened with the need to shed any lingering Kirby or Swan influence before moving off on their own. Really, the blue line construction of Ware's looked for all the world like very simple and very solidly constructed drawings ready for inking. It is in the ink and color stages that they take on that utterly unmistakable "Ware look and feel". Burn's mainstream influences were global ones, such as Tintin, and it has left him with an organic legacy to his work that feels both familiar and much like the other.
Major props to the Jewish Community Center of San Francisco, which put on this panel, for free, on a night when people could actually come. Excellent work by them. They deserve support and kudos for makes talks such as this available to the artistic community. Also props to Isaac Brynjegard-Bialik, who alerted me to the talk talking place as it had slipped beneath my radar.
I'm talking about last night at Jewish Community Center in SF, which hosted Charles Burns and Chris Ware talking comics and showing art and generally being raconteurs about a profession that delights in hiding in your room hunched over your drawing table. And it was utterly fascinating on a number of different levels. Ware and Burns come to the table with a veritable ton of critical accolades, and a couple decades of material behind them, so to see and hear process from them is terribly interesting if you're an artist, but it is hearing the thinking behind the work that is even more interesting.Ware, in particular, has always presented work that very clinically seems to rip apart seconds and minutes into tiny fragments and present them in both a combination of logical progression and dream order. Your eye gets pulled, sometimes, into the negative space surrounding the moments, and for the dizzying combination of images presented in the two page spreads in his latest Building Stories box, when he illuminated the under drawing and progression that it took to build such a page, it was quite a bit more organic that you would originally have thought. The interesting part: Ware's comment that, and i'm paraphrasing here, that "he continually looks drawing the next panel in context of all the panels that he had done prior." One of his best quotes: "I consider the writing of comics to be the writing and drawing of the comics." while showing a full page of blue line under sketches with black ink lettering on top. For all the division of labor in corporate comics, Ware's work in that stage looks no different that an old Snuffy Smith page in progress.
Burns' work has always carried a more organic quality to me, it was obvious the amount of ink that was being loaded up on the brush, and how he was feathering the dual lighting that highlights his darkest works, so it was doubly interesting to see him present the Tintin images that formed part of his childhood, and that now influence his current trilogy, of which "The Hive" is book one. When one thinks of Tintin, you think of well constructed panels in the "clean line" aesthetic, not the ink heavy noir of Black Hole, but it all starts to make sense in context. The surreality of some of Herge's work fits perfectly into the Burns aesthetic.
Moreover, it was interesting to hear two artists coming from a completely different background than i usually see. After having worked the mainstream business of superheroes, its not unusual for me to look at guys like David Mazzuchelli, who broke free from that style to form his own unique work. Much like the guys i knew growing up who read only undergrounds, and idolized Rick Griffin, Robert Crumb and Gilbert Sheldon, here was a compeltely different aesthetic, and whole different way of approaching the look of the material. Artists who weren't necessarily burdened with the need to shed any lingering Kirby or Swan influence before moving off on their own. Really, the blue line construction of Ware's looked for all the world like very simple and very solidly constructed drawings ready for inking. It is in the ink and color stages that they take on that utterly unmistakable "Ware look and feel". Burn's mainstream influences were global ones, such as Tintin, and it has left him with an organic legacy to his work that feels both familiar and much like the other.
Major props to the Jewish Community Center of San Francisco, which put on this panel, for free, on a night when people could actually come. Excellent work by them. They deserve support and kudos for makes talks such as this available to the artistic community. Also props to Isaac Brynjegard-Bialik, who alerted me to the talk talking place as it had slipped beneath my radar.
Marin Magazine: A Little Local Publicity
Clearly Marin magazine has lowered their standards, as yours truly gets half a page in the November issue. The interview is by the irrepressible Eve Pell, who made me sound better than i usually do.Many thanks to both, of course, for their time, effort and ink.
Sunday, October 21, 2012
The Rudderless 70's
Was just perusing a few of the Amazon reviews of Marvel Comics: the Untold Story when i ran across this bit:
I've prepared a number of times, and scrapped, posts about using someone else's properties to make a meaningful personal comment, and just how difficult and, yes, strange it is to think of using someone else's character for that. And yet, with no other venues available, that is exactly what those 1970's arteurs did.
Shall we see the rudderless '70's as a company with no over arching vision? Of course, because if someone was really watching, and Jim Shooter would soon be, we would never have had Steve Englehart doing his own personal take on Watergate with his Secret Empire storyline in Captain America, or Jim Starlin exercising his personal Viet Nam and Catholic upbringings in Captain Marvel and Warlock. Don McGregor wouldn't have been able to make Jungle Action: Starring the Black Panther into a personal forum to battle racism and social injustice, nor made Killraven less a derivative science fiction story than a mediation on the rising and advancing of the last free people traversing North America. Would P. Craig Russell have had the chance to develop his singularly lyrical art elsewhere under a DC house style? Starlin wouldn't have given us Thanos. And Gerber, yes, Gerber would have never breathed life into the Man-Thing, let alone Howard the Duck.
Oh, and have we forgotten that, in 1975, a little book called the All New, All Different X-Man would come along and basically save the industry?
I can't wait to read more on this book.
Having my local bookseller, as always, order it for me, not on Amazon.
The history of Marvel reads like a series of epic story arcs. There's the Big Bang of the 'sixties; the rudderless 'seventies; the Jim Shooter era, with an editor-in-chief seemingly dedicated to sabotaging Marvel's entire line of books; the boom and bust years of the early to mid 'nineties, in which the Heroes World distribution debacle and the mass defection of artists from Marvel to Image (who, once there, were incapable of releasing their books on time) helped to put thousands of comic shops out of business, just as Marvel, the former industry leader, declared bankruptcy.And it caught me in that, as many bad '70's books as there were (and YES, there were some terrible 1970's Marvel Comics), there were a significant handful of truly amazing Marvel Comics that came out in that decade which may be glossed over by that simple phrase in the review above.
I've prepared a number of times, and scrapped, posts about using someone else's properties to make a meaningful personal comment, and just how difficult and, yes, strange it is to think of using someone else's character for that. And yet, with no other venues available, that is exactly what those 1970's arteurs did.
Shall we see the rudderless '70's as a company with no over arching vision? Of course, because if someone was really watching, and Jim Shooter would soon be, we would never have had Steve Englehart doing his own personal take on Watergate with his Secret Empire storyline in Captain America, or Jim Starlin exercising his personal Viet Nam and Catholic upbringings in Captain Marvel and Warlock. Don McGregor wouldn't have been able to make Jungle Action: Starring the Black Panther into a personal forum to battle racism and social injustice, nor made Killraven less a derivative science fiction story than a mediation on the rising and advancing of the last free people traversing North America. Would P. Craig Russell have had the chance to develop his singularly lyrical art elsewhere under a DC house style? Starlin wouldn't have given us Thanos. And Gerber, yes, Gerber would have never breathed life into the Man-Thing, let alone Howard the Duck.
Oh, and have we forgotten that, in 1975, a little book called the All New, All Different X-Man would come along and basically save the industry?
I can't wait to read more on this book.
Having my local bookseller, as always, order it for me, not on Amazon.
Wednesday, October 17, 2012
Return of the APE: 2012 In A Nutshell
.JPG)
Without question, this is my favorite show on the circuit. While all the Marvel and DC names were sitting in the dedicated artist's room on NYCC, we Indie artists WERE the show at the concourse here in SF. I practically sold out of my own book, a full printing of The Carnival: The Human Hourglass in a first edition with color cover, got to talk to some other great artists, and picked up some books that i can't wait to read.
Tablemate Alex Sheikman, pictured below, talking to some of his fans, sold his handsome hardcover of the Dark Crystal Prequel Volume 1, and showed off originals for volume 2 due in December. I kept my originals out to catch people's eyes as they walked by. For no advance notice, after all, no one was coming to the show to pick up my book, I was happy to see that the work had some visual appeal as it certainly drew a decent number of folks over the table's edge.
.JPG)
Apparently I'm pretty old skool with my art, as i'm still using ink on paper. But really, should we be surprised at anything anymore? With the digital age upon us, there really is no way anymore to know just how images are being created. You could be scanning your sketches, creating your own brushes in photoshop, doing work on your Cintiq, or simply putting ink on 2 ply bristol with real, not virtual, brushes.In any case, the computer has clearly led to images as striking as Sho Murase's single illustrations, images that would have been far more difficult to produce in a less digital age.
I have a great stack of books to read on the shelf behind me: Sushu Xia's China Comics, the Lilah-O one shot, Gabrielle Bell's The Voyeurs, Daniel Cooney's Valentine TPBs, the Holguin/Sheikman Dark Crystal and Luke Pearson's Hilda and the Midnight Giant (which looks like an instant classic).
Wednesday, October 03, 2012
The Human Hourglass Color Cover
This version of The Human Hourglass will have a full color cover, black and white interiors and sketches in the back.
Alex Sheikman and I will be at table 740, so come by and say hello. Buy comics, have fun!
Friday, September 28, 2012
A new panel, coming into focus...
The Carnival: One Last Note, Before I Go Preview Edition should be available at APE in San Francisco October 13th and 14th. I'll also have The Carnival: The Human Hourglass for sale, and my friend Alex will have lots of good stuff as well.
Monday, September 24, 2012
Front Cover Color: One Last Note, Before I Go
Not finished however, just getting there.
Hope to see some new folks out at APE, the Alternative Press Expo in San Francisco. Its basically all different kinds of comics, just about everything you can imagine, except superheroes. Its a great reminder of how diverse the medium can be. Alex Sheikman and I will be out there on saturday and sunday at table 740.
Sunday, September 23, 2012
Sneak Peek: The Carnival - One Last Note, Before I Go
Yes, bad blogger, no question. I'll try to get better. But in the meantime, I've hard at work at the next Carnival story, trying to get it done in time for this year's APE in San Francisco. Just wanted to put up a small peek at the front cover, sans color. You'll see the small thumbnail, worked out with marker, as well as the finished art. comments appreciated of course.
Thursday, August 30, 2012
You did WHAT to my comics - Opening Sept. 9th
Normally the idea of someone taking an Xacto knife to their comics would have me shaking my head in frustration, and yet Isaac Brynjegard-Bialik finds a way to transform the pieces he cuts into striking, colorful Jewish themed compositions. He has a Northern California show in San Rafael with the opening on September 9th.Its really, as you can see here, stunning, intricate work that has both a sense of playfulness as well as a much deeper layer of meanings, but only if you find yourself enough of a geek to recognize the texture of Johnny Storm's flame or the glow of a Lantern power ring being used in the service religious metaphor.
The reception will be from 4pm - 5:30pm, Sunday, September 9th at the Osher Marin JCC on North San Pedro Road. It is being held in association with the one and only Marin comic shop, Blue Moon Comics.
What is so fascinating to me is to see the comic book iconography taken and changed so dramatically with the context that Isaac put it in. It is one of the most amazing reimaginings of the panel work that I've see, and I've certainly seen a lot of comic book iconography appropriated over the last couple decades. Somehow, there is a spin to the design that never completely divorces the pieces from their past while at the same time allowing the visuals to become completely themselves.For more visuals or text, check out Isaac's site here.
Its cool stuff. come check it out the originals. I'll be there, talking comics and having wine when i should be working on my stuff for the 2012 San Francisco Alternative Press Expo. Yes, I'll be at APE again this year with new work. Sharing a table with Alex Sheikman (of Robotika and Mouse Guard fame) again. More on this later!
Monday, June 25, 2012
Avengers Annual #10: Worst to Best Cover Ever by Michael Golden
Among the hyperbolic winners in our comic group's informal chat sessions: best comic with the worst cover. As opposed to many issues of Rom: Space night that had great covers and regrettable interiors, or plenty of other issues with solid interesting Cockrum covers and, again, generic interiors.
#1 on the list, always, was Avengers Annual #10, the utter tour de force from Michael Golden and Armando Gil, a comic where, literally, every page was a stunner and a new lesson in how to do Marvel comics. Introducing Maddy Pryor and Rogue, it turned into a lynch pin of understanding the New X-men as well. Amazing. And it was saddled with this cover.
Don't get me wrong, I love Al Milgrom. As I've said, he was one of the two biggest influences on my inking and it is to my current regret that i've not met him in person to thank him. But this was not his best work. It honestly looks like something knocked out at the last minute in the office when another cover didn't work and the deadline was, well, passed most likely.So I've honestly no idea where this piece came from, other than it might be a commission by a fan for Golden to do what would have been his take on the cover. The style says to me that its fairly recent, but your could try to convince me otherwise. Either way, its beautiful, and i'm psyched that someone went to the trouble to get the correct trade dress for the art. Enjoy the comic that might have been.
#1 on the list, always, was Avengers Annual #10, the utter tour de force from Michael Golden and Armando Gil, a comic where, literally, every page was a stunner and a new lesson in how to do Marvel comics. Introducing Maddy Pryor and Rogue, it turned into a lynch pin of understanding the New X-men as well. Amazing. And it was saddled with this cover.
Friday, June 22, 2012
The Toby Keith Project: Gulacy, Yoakum & Mounts
Wow. Paul and I never had it so good.
The animated piece is for the song "Beer for my horses", and is playing, so I understand, at a Toby Keith concert near you. If anyone goes and sees it at the show, I'd love to hear from them how it was presented.
Sketch A Day #42: Fernanda Zombie Slayer pt. 2
Me trying to ink it like David Mazzucchelli inked Batman Year One, which had a loose and lively ink line to it. Does anyone mind not having every lace done in the boots, as opposed to the suggestion of there being laces in the boots? The artist in me wants to put in the suggestion, the fanboy in me wants to put in all the laces.
Mirado Black Warrior, #4 Utrecht red sable, Koh-i-noor india ink
Wednesday, June 20, 2012
The Mighty Logo: Alex Jay's Thor logo
Tuesday, June 19, 2012
Sketch A Day #41: Fernanda the Zombie Hunter
Was clearly rusty on the drawing tonight. Using my inking chops versus drawing are two very different things for me.
Monday, June 18, 2012
Quick Peek: Gulacy & Yoakum Storyboards
As you can see, i've been gone from the blogging world for over a month, pretty sketchy even with my history. Paul Gulacy and I have been hard at work on storyboards for an animated piece for Country and Western singer Toby Keith. Just wanted to share a few of the panels before the esteemed Paul Mounts gets his hands on them and makes them look 10 kinds of incredible.edited to add: for color versions, click here!
yes, it was impossible to keep up my sketch a day with the addition of the freelance work that i picked up. sorry for any of you who were actually entertained by the drawings. they will resume tomorrow!
Monday, May 07, 2012
In Review Of: The Avengers (2012) by Joss Whedon
Be warned, spoilers included amidst the gushing.
I struggled with the opening sentence of this, but the best thing that i came up with, the truest thing, was also the first: Joss put the best part of my childhood up on the screen. Not in any Wonder Years sense, but the part of my childhood that disappeared into the four color world of the comics at the age of 7. Its 1973 and the Avengers are being tricked by Loki and Dormamu into battling the Defenders in Steve Englehart's Avengers/Defenders cross-over. I've just started reading comics, an escape from the nasty playgrounds and bullied bus rides to and from school in Houston, Texas. I'm picking up Iron Man, The Avengers, Captain Marvel, Daredevil and the Fantastic Four. Daredevil and the FF are not in, how shall we put this, their creative prime. The first three? Magic. Iron Man, in the Avengers and guest starring in Captain Marvel, kicks ass and takes names, and there seems to be no end to the inventive stories. The Celestial Madonna? Thanos? The Zodiac team? It was a world of wonder.
And Joss understands everything that was cool about those comics and he's put it all up on the big screen. If the common complaint is that superheros are power fantasies, then we get to see the proper application of that power. this is something is commonly missing among the pundits who want to make a psychological hash out of those of us who loved sueprheros. "Juvenile power fantasies" the common derogatory remark. Yes, but it wasn't out of using the power to bully, we all knew that power all too well. It was how we would use the power if we, the formerly weak, the ones that no one else would protect, ever got the chance. Captain America was a reminder of the root nature of the appeal of the superhero. Just as Joss understood the need to turn the tables on the blonde walking down the alleyway alone in Buffy, here he understands how they should act. How they should fight.
Oh and yes, how they fight. the most glorious fight scenes ever recorded with superheroes and with the proper use of their powers. From Cap's Adamantium shield to Iron Man being both smart and powerful, Stark using his mind as much as his armor. The scene where he confronts Loki out of the armor may be one of the best of the movie. And we get the team, as they become one, deferring to Cap, the ultimate soldier, who gets to turn to a weapon unlike one that any general has ever been able to wield, The Hulk, and give him an order: "Smash."
So why reference the Englehart issues? Because clearly Joss read them and loved them and knows a good moment to steal when he sees it. Here, from Defender #10, still sitting on the spinner rack in my living room, is the moment when the Hulk tries to pick up Thor's hammer... and can't. It plays beautifully on the Shield Helicarrier in the movie.
They finally got the Hulk right as well. Mark Ruffalo plays Banner with a resigned air about him, with an apparent edge underneath as well. Its a great, pocket, tour-de-force performance, hidden among all the effect laden grandeur. Hiddleston's Loki is excellent as well. If there is anything else that Joss brought to the movie it was the sense that everyone in the ensemble had to have their moment to shine, and there are really great moments for all the characters. No small feat that.
Small quibbles, because, yes, there will always be a few. The blue on Cap's uniform was way too bright. And its hard to miss. And since they nailed Iron Man's armor, Thor's Simonson outfit, and the Widow so well, its a little shocking to see that bright a blue. The uniform itself is fine design-wise, but more of a navy next time please. The middle third of the movie could be tighter. We spend a lot of time on the Helicarrier waiting for the coolness to start, and for the heroes to figure out why Loki allowed himself to be captured, and it takes a little more time than it should. Perversely, i wish that the anonymous aliens that attack were some species that we'd see before. Badoon perhaps? Just a name change would have been cool. That's about it.
And because talking about the alien race leads us to the post-credits sequence...
And because Joss knows that, if this makes money, which it has, and if you can actually get everyone back for a sequel, there are very few places that you can go to surpass Loki as a villian. The final, post credits sequence, with the alien complaining to his overlord that the humans aren't as weak as we thought leads us to the one final twist set-up. Anyone reading the bio part of my blog knows that it was Starlin's Captain Marvel series that, literally, changed my life. So punch in the gut when the overlord turns his head and it reveals Thanos is one that, well, took my breath away. If they decide to do a second one, it will be because this makes enough money to validate them doing a film with Thanos, and all I hope is that a certain kree Captain at least gets a name check. But for now, Marvel has, astonishingly, rendered me truly speechless by making the superhero film of my dreams. Wow.
I struggled with the opening sentence of this, but the best thing that i came up with, the truest thing, was also the first: Joss put the best part of my childhood up on the screen. Not in any Wonder Years sense, but the part of my childhood that disappeared into the four color world of the comics at the age of 7. Its 1973 and the Avengers are being tricked by Loki and Dormamu into battling the Defenders in Steve Englehart's Avengers/Defenders cross-over. I've just started reading comics, an escape from the nasty playgrounds and bullied bus rides to and from school in Houston, Texas. I'm picking up Iron Man, The Avengers, Captain Marvel, Daredevil and the Fantastic Four. Daredevil and the FF are not in, how shall we put this, their creative prime. The first three? Magic. Iron Man, in the Avengers and guest starring in Captain Marvel, kicks ass and takes names, and there seems to be no end to the inventive stories. The Celestial Madonna? Thanos? The Zodiac team? It was a world of wonder.
And Joss understands everything that was cool about those comics and he's put it all up on the big screen. If the common complaint is that superheros are power fantasies, then we get to see the proper application of that power. this is something is commonly missing among the pundits who want to make a psychological hash out of those of us who loved sueprheros. "Juvenile power fantasies" the common derogatory remark. Yes, but it wasn't out of using the power to bully, we all knew that power all too well. It was how we would use the power if we, the formerly weak, the ones that no one else would protect, ever got the chance. Captain America was a reminder of the root nature of the appeal of the superhero. Just as Joss understood the need to turn the tables on the blonde walking down the alleyway alone in Buffy, here he understands how they should act. How they should fight.
Oh and yes, how they fight. the most glorious fight scenes ever recorded with superheroes and with the proper use of their powers. From Cap's Adamantium shield to Iron Man being both smart and powerful, Stark using his mind as much as his armor. The scene where he confronts Loki out of the armor may be one of the best of the movie. And we get the team, as they become one, deferring to Cap, the ultimate soldier, who gets to turn to a weapon unlike one that any general has ever been able to wield, The Hulk, and give him an order: "Smash."
So why reference the Englehart issues? Because clearly Joss read them and loved them and knows a good moment to steal when he sees it. Here, from Defender #10, still sitting on the spinner rack in my living room, is the moment when the Hulk tries to pick up Thor's hammer... and can't. It plays beautifully on the Shield Helicarrier in the movie.They finally got the Hulk right as well. Mark Ruffalo plays Banner with a resigned air about him, with an apparent edge underneath as well. Its a great, pocket, tour-de-force performance, hidden among all the effect laden grandeur. Hiddleston's Loki is excellent as well. If there is anything else that Joss brought to the movie it was the sense that everyone in the ensemble had to have their moment to shine, and there are really great moments for all the characters. No small feat that.
Small quibbles, because, yes, there will always be a few. The blue on Cap's uniform was way too bright. And its hard to miss. And since they nailed Iron Man's armor, Thor's Simonson outfit, and the Widow so well, its a little shocking to see that bright a blue. The uniform itself is fine design-wise, but more of a navy next time please. The middle third of the movie could be tighter. We spend a lot of time on the Helicarrier waiting for the coolness to start, and for the heroes to figure out why Loki allowed himself to be captured, and it takes a little more time than it should. Perversely, i wish that the anonymous aliens that attack were some species that we'd see before. Badoon perhaps? Just a name change would have been cool. That's about it.
And because talking about the alien race leads us to the post-credits sequence...
And because Joss knows that, if this makes money, which it has, and if you can actually get everyone back for a sequel, there are very few places that you can go to surpass Loki as a villian. The final, post credits sequence, with the alien complaining to his overlord that the humans aren't as weak as we thought leads us to the one final twist set-up. Anyone reading the bio part of my blog knows that it was Starlin's Captain Marvel series that, literally, changed my life. So punch in the gut when the overlord turns his head and it reveals Thanos is one that, well, took my breath away. If they decide to do a second one, it will be because this makes enough money to validate them doing a film with Thanos, and all I hope is that a certain kree Captain at least gets a name check. But for now, Marvel has, astonishingly, rendered me truly speechless by making the superhero film of my dreams. Wow.
Hobgoblin by Romita & Yoakum
final touches added, here is my first work over the legendary John Romita's pencils.I think that i could have done a hell of a Spider-man cover back in the 1970's. Given that i cuold have wrest the job away from Esposito or Giacoia for an issue.
Friday, May 04, 2012
Almost Finished: Hobgoblin by Romita and Yoakum
I'll post the finished product tomorrow....
Thursday, May 03, 2012
In Review: Michael Chabon and the Art of the Conn
Richly imagined, in its own little constrained world, the surrogate dopplegangers of Stanley Leiber and Jacob Katzenburg reach the end of their lifes and try to reconcile or try to avoid reconciliation when little is left of the world that they had started. How does it end? Badly, as you would expect, and messy, in all the ways that you would also expect.
Finally had the chance to sit down and really read through Citizen Conn by Michael Chabon from the February 6 & 13 issue of the New Yorker and it was an interesting read, but ultimately and puzzling one. I'm not surprised by Chabon working comic book territory again, after all, he loves the stuff down to his DNA as much as I do, as much as i expect the readers of my blog to, and so, instead of being upset with him mining comic book iconography and mythology (as I am with Lichtenstein), I appreciate his take on our favorite guilty pleasure medium. He can write, really write, and its a joy to read his sentences as opposed to so many other writers.
So for him to turn to the ugly soap opera ridden uncertainty that is the Stan Lee/Jack Kirby is certainly interesting, and certainly his take on the story is the right one: rather than assigning who did what in the never-to-be-visited past (there is nothing more subject to the Roshamon effect than the origins of the Marvel Comics Group), he visits the later days of these creative giants. Days when the pages no longer fly off the board and the typewriter is still and the effects of money, time, lawyers and long ago signed backs of Work For Hire checks have long since had their way.
But, tellingly, the Kirby of the story has no Roz to take care of him. He is a prototypical loner, who toiled at his drawing board for too many years and never had the support of a wife or children, and so it is the Kirby surrogate, Morton Feather, moving into an assisted living facility while struggling with bone cancer, who has no dilution of focus. The Stan Lee of the story, Artie Conn, may be married, but we see none of that, we only see his attempts to reconnect with Feather so many years after the Fantastic Four, Thor, The Hulk, and, of course, The Avengers.
It focuses the anger that Feather feels towards Conn that neither has a spouse who walks on stage during the story to take the focus. The female rabbi who narrates wisely has a husband who stands in for us, the average fan, and we get the chance to see how ineffectual our love and devotion to those long yellow paged stories is. It puts us in our place almost instantly and takes us out of the narrative to the benefit of the story.
No, the focus, the rabbi would have us believe, is in the betrayal that was felt in the late '60's when promises were reneged on and Lee signed up to a life of solid wealth and Feather... oh, hell with it, Kirby forced to move to DC and a life of decaying freelance assignments and meager checks. After all, the rabbi's husband, and, by proxy, us, have our joy in opening those books and discovering those stories and becoming enmeshed in the world as Lee and Kirby unfolded, month after month, but, lets face it. We're nothing compared to the men who took the time to create and live in those universes first. While we merely rented an apartment there, no matter how vested we THINK we, they built the whole damn subdivision from an empty lot. Chabon's case, as i see it, is that the money and the lawyering and Stan's taking credit was secondary to the betrayal of the partnership with which those two created.
Those of us with interest in those sorts of things have read plenty of contradictory interviews regarding who did what. And its clear that it will never be settled because, for too many years, their working method was too streamlined, too overlapping, too damn quick given the deadlines to not just keep filling the pages and stay on a roll. Like your favorite band, there is no way to know who came up with that one riff that played perfectly off of the rhythm; both the bassist and guitarist will remember it as something that they came up with, when, in reality, there was a synergy that allowed the creativity to spin off into far more interesting directions even through disagreement.
And that's something that gets brought up all too often in the painful details of Stan and Jack's splintering. That there would have been a number years when the business started taking off again and the books got better and Stan and Jack were creating so much that the pages and the issues just flew by. And while it was exhausting it was probably also exhilarating with both men doing what they loved to do and seeing it all start to come together. They were in their moment and that moment would be about 6 brilliant years of sleepless nights and feverish working days and ink stained hands.
Chabon sums it up in the penultimate paragraph, when Lee's doppleganger gets to exclaim, "You know what? that wouldn't surprise me a bit. he always took everything so seriously." in reference to the idea that the partnership was the defining moment for Kirby, while Lee, more easy going in temperment, simply moved on. Kirby's desire to create was likened to a force of nature within him, so of course he'd take it all so damn seriously. And when you add in the money, oh all that money we know about, then it changes things. The story's solution is a simple solution, and one that we know works well in comic book logic: sadly, real life is so often messier and far more complicated.
Finally had the chance to sit down and really read through Citizen Conn by Michael Chabon from the February 6 & 13 issue of the New Yorker and it was an interesting read, but ultimately and puzzling one. I'm not surprised by Chabon working comic book territory again, after all, he loves the stuff down to his DNA as much as I do, as much as i expect the readers of my blog to, and so, instead of being upset with him mining comic book iconography and mythology (as I am with Lichtenstein), I appreciate his take on our favorite guilty pleasure medium. He can write, really write, and its a joy to read his sentences as opposed to so many other writers.
So for him to turn to the ugly soap opera ridden uncertainty that is the Stan Lee/Jack Kirby is certainly interesting, and certainly his take on the story is the right one: rather than assigning who did what in the never-to-be-visited past (there is nothing more subject to the Roshamon effect than the origins of the Marvel Comics Group), he visits the later days of these creative giants. Days when the pages no longer fly off the board and the typewriter is still and the effects of money, time, lawyers and long ago signed backs of Work For Hire checks have long since had their way.
But, tellingly, the Kirby of the story has no Roz to take care of him. He is a prototypical loner, who toiled at his drawing board for too many years and never had the support of a wife or children, and so it is the Kirby surrogate, Morton Feather, moving into an assisted living facility while struggling with bone cancer, who has no dilution of focus. The Stan Lee of the story, Artie Conn, may be married, but we see none of that, we only see his attempts to reconnect with Feather so many years after the Fantastic Four, Thor, The Hulk, and, of course, The Avengers.
It focuses the anger that Feather feels towards Conn that neither has a spouse who walks on stage during the story to take the focus. The female rabbi who narrates wisely has a husband who stands in for us, the average fan, and we get the chance to see how ineffectual our love and devotion to those long yellow paged stories is. It puts us in our place almost instantly and takes us out of the narrative to the benefit of the story.
No, the focus, the rabbi would have us believe, is in the betrayal that was felt in the late '60's when promises were reneged on and Lee signed up to a life of solid wealth and Feather... oh, hell with it, Kirby forced to move to DC and a life of decaying freelance assignments and meager checks. After all, the rabbi's husband, and, by proxy, us, have our joy in opening those books and discovering those stories and becoming enmeshed in the world as Lee and Kirby unfolded, month after month, but, lets face it. We're nothing compared to the men who took the time to create and live in those universes first. While we merely rented an apartment there, no matter how vested we THINK we, they built the whole damn subdivision from an empty lot. Chabon's case, as i see it, is that the money and the lawyering and Stan's taking credit was secondary to the betrayal of the partnership with which those two created.
Those of us with interest in those sorts of things have read plenty of contradictory interviews regarding who did what. And its clear that it will never be settled because, for too many years, their working method was too streamlined, too overlapping, too damn quick given the deadlines to not just keep filling the pages and stay on a roll. Like your favorite band, there is no way to know who came up with that one riff that played perfectly off of the rhythm; both the bassist and guitarist will remember it as something that they came up with, when, in reality, there was a synergy that allowed the creativity to spin off into far more interesting directions even through disagreement.
And that's something that gets brought up all too often in the painful details of Stan and Jack's splintering. That there would have been a number years when the business started taking off again and the books got better and Stan and Jack were creating so much that the pages and the issues just flew by. And while it was exhausting it was probably also exhilarating with both men doing what they loved to do and seeing it all start to come together. They were in their moment and that moment would be about 6 brilliant years of sleepless nights and feverish working days and ink stained hands.
Chabon sums it up in the penultimate paragraph, when Lee's doppleganger gets to exclaim, "You know what? that wouldn't surprise me a bit. he always took everything so seriously." in reference to the idea that the partnership was the defining moment for Kirby, while Lee, more easy going in temperment, simply moved on. Kirby's desire to create was likened to a force of nature within him, so of course he'd take it all so damn seriously. And when you add in the money, oh all that money we know about, then it changes things. The story's solution is a simple solution, and one that we know works well in comic book logic: sadly, real life is so often messier and far more complicated.
Subscribe to:
Posts (Atom)