Why The Russos Are The Best Thing to Happen to the MCU Since Joss Whedon
Chris Weston doesn’t blog that often — the perils of working more and more in a business where your projects are accompanied by non-disclosure agreements — but he recently posted a big update featuring art he’s created for his own amusement, some commissions and convention sketches, and some recent 2000AD covers finally seen without intrusive trade dress.
He also updates us on the fate of the “Carry On X-Men” poster we featured in December, stating that he was going to produce a silkscreen print but changed his mind in the post-Friedrich litigation landscape. Weston responded to a question about this image on Facebook this week: “I have asked Marvel three times for permission and offered to pay for a license to do a limited-edition print, but they haven’t bothered replying to me.”
The Nosferatu piece is a good example of the insanely complicated rendering Weston can bury in the background of an image, unnoticed at first glance. Hundreds of rats, thousands of bricks, each one hand drawn. And that’s before we even get to the ornate etching on the ship or the likeness of Max Schreck. Really, I’m dumbstruck by this.
The image of Judge Dredd within a bombed-out Mega City 1 features a nice nod to director Albert Hughes. “I figured seeing as Albert has pretty much paid my mortgage for the last three years,” Weston wrote, “the least I could do was immortalise him as a City-Block in the Big Meg!” That makes it a nice companion piece to this The Book of Eli design. Click on that link to see the layers upon layers of work Weston puts into a cover for 2000AD.