Alex Ross Archives - Robot 6 @ Comic Book Resources
When Marvel’s new Secret Wars series hits next year, one of the biggest secrets may be who exactly is in this comic.
Since the publisher released a high-res version of Alex Ross’ promotional painting for the Jonathan Hickman/Esad Ribic event this morning, fans have been spotting a number of left-field additions to the fray – some which barely qualify as Z-listers.
In addition to modern Marvel mainstays like the new female Thor, Sam Wilson as Captain America and the Ultimate Universe’s Miles Morales, the image also includes a variety of alternate-universe combatants, including:
On Thursday, Mondo will offer six posters by Alex Ross, Francesco Francavilla and Jay Shaw that were previously only available at MondoCon, held last month in Austin, Texas. So if you’re a fan of those artists, or of The Iron Giant, Afterlife With Archie or Deadpool, you’ll probably want to keep an eye on Mondo’s Twitter account for the on-sale announcements.
Check out the prints, and the details, below.
Superman is the world’s greatest superhero, Wonder Woman is the world’s greatest superheroine. They have so much in common — their superpowers, their costume colors, their hobbies, their social organizations — that they seem perfect for each other … if only it weren’t for that nosy reporter friend, or girlfriend, or wife, or object-of-his-affection that’s kept the Man of Steel more or less spoken for over the course of his 75-year career.
I suppose that’s why Superman and Wonder Woman so often become a couple in various out-of-continuity stories like Kingdom Come and Injustice, and a large part of why DC Comics decided to use its 2011 reboot as an opportunity to make the pair a super-powered power couple, one of the more dramatic, non-sartorial changes in either characters’ milieus the reboot has so far introduced.
With Kurt Busiek and Benjamin Dewey’s Tooth & Claw set to launch in November, Image Comics has debuted variant cover by fan-favorite artist Alex Ross for the series’ second issue, which details a full menagerie for the fantasy series.
“The world in Tooth & Claw is kind of a quasi-medieval fantasy, joined with classical designs,” Ross said in a statement. “That made me think of paintings like The Raft of the Medusa, and I wanted to capture that feeling, with the characters and situations from the series. Although really, the only reference I had was the Pogues album, Rum, Sodomy & The Lash, so in a way, that was my reference and my inspiration.”
Mondo has announced the complete lineup for the inaugural MondoCon, the Sept. 20-21 event in Austin, Texas, celebrating film, music, art and toys. And it turns out the participation of artists Geof Darrow, Francesco Francavilla, Jock, Mike Mignola and Bernie Wrightson is only the tip of the comics presence.
There’s the world premiere of Future Shock! The Story of 2000AD, a documentary celebrating 35 years of the influential comics anthology (watch the trailer below); a “Designing Movies” panel, with Darrow, Jock, Mignola, Wrightson and others discussing their film work; and “Geof Darrow’s Shaolin Cowboy,” which includes a presentation of eight minutes of never-before-seen animation from an uproduced adaptation of his comic.
Art dealer Sal Abbinanti has unveiled two new Alex Ross lithographs that will be available next month at Comic-Con International.
Ross, who’s been reaching back into Marvel history for a series of variant covers celebrating the publisher’s 75th anniversary, here depicts the 1970s X-Men lineup and a fairly timeless Captain America. The renowned artist recently tackled both subjects in a pair of variants, capturing Xavier’s first students in a later era.
Deadpool #27 made headlines yesterday when it was announced that the cover had set the record for the most comic book characters on a single issue cover, as declared officially by Guinness World Records. It also brought a lot of discussion in our comments, as fans asked what the previous record holder was and if, indeed, it truly beat out every other cover out there as depicting the “most comic book characters on a single issue cover.”
So I thought maybe we should take a look at some of the candidates folks pointed out …
Art dealer Sal Abbinanti has revealed a new Captain America cover by Alex Ross, part of a series of 12 variants to celebrate Marvel’s 75th anniversary.
As you can see below, the cover depicts the Sentinel of Liberty as a hero of two eras, serving with the Invaders in World War II and with the Avengers in modern times. In the middle is a pre-Super-Soldier serum Steve Rogers.
No information was given about a release date for the cover.
Marvel has debuted Alex Ross’ cover for Miracleman #5, which kicks off the reprints of “Book Two: The Red King Syndrome,” by Alan Moore, Alan Davis, John Ridgeway, Chuck Beckum and Rick Veitch.
The issue, which arrives May 7, also features variants by Jim Cheung and Humberto Ramos.
Yes, Amazing Spider-Man will return with a new #1 in April, as first leaked online a week ago and then confirmed by Marvel this past Sunday. One of comics’ most famous series making a semi-long-awaited comeback certainly seems like an opportune time for one of Alex Ross’s 12 75th anniversary variants scheduled for release from Marvel this year, and it looks like the publisher agrees. Ross’s Amazing Spider-Man #1 variant cover is also the cover of this month’s Previews, as revealed Monday on Twitter.
The first cover in Ross’s anniversary series is for Avengers #25, on sale next week. Ross also illustrated a variant for March’s Daredevil #1, another relaunched volume of a Marvel series birthed in the Silver Age.
While Ross’s Amazing Spider-Man cover pays tribute to the past, don’t expect the interior of the comic to be retro: “If we woke up in a world where J. Jonah Jameson was in the Bugle, and Peter Parker was taking pictures for a living, and Aunt May was in the hospital, I would shoot myself,” series writer Dan Slott told CBR in an interview on the new series. “It’s the ongoing story of Peter Parker, Spider-Man. His life moves forward.”
Update: A look at the cover sans text, courtesy of Marvel, below.
Art dealer Sal Abbinanti has revealed Alex Ross’ cover for Origins, the Zombies map included as part of the upcoming Apocalypse downloadable content package for Activision’s Call of Duty: Black Ops II.
From the sound of it, Origins is pretty much what you’d imagine, with players fighting to survive wave after wave of the undead. Only in this case, it’s set during World War I, with giant mecha and the like — which you can see looming in Ross’ art, below.
Ah, Comic-Con International: when comics publishers are tripping over themselves to announce new projects, and movie producers throw star-power at the fans to drum up word-of-mouth support for their latest efforts. Of course, there will be all kinds of lower-profile launches that can tend to get bulldozed off the front pages by the big ticket news items.
Ashley Wood’s 3A Publishing releasing Kent Williams: Ophthalm there is probably a case in point. It’s an art book by a painter whose last major comic project was published in 2005. I’ve loved Williams’ work since he was collaborating with Jon J. Muth in the 1980s, but the work he was producing then doesn’t hold a candle to the canvases he now exhibits. It’s amazing work, as viewable at his website. Wood is quite the advocate for Williams, publishing several portfolios of his work in IDW’s Swallow, then a pocket book of his paintings in their Sparrow series, and recently a collection of drawings through his own Goya imprint. The book’s press release is, however, rather purple. This is the art world we’re dealing with now, people, not comics! And the book’s title? That’s Greek for “the eye.”
Kurt Busiek, Brent Anderson, Alex Ross and Alex Sinclair returned to Astro City this week, with a brand-new first issue published by DC Comics’ Vertigo imprint. The creative team introduces us to several new characters, including the fourth wall-breaking Broken Man and the anime-inspired American Chibi. Old favorites are also still in residence, including Samaritan and Bill Pullam, one of the ordinary citizens we met earlier in Astro City’s history.
It’s a first issue that feels comfortably familiar but also refreshingly different, as we kick off what looks like a big event within the Astro City world. I definitely found it well worth my $3.99, but if you don’t believe me, here are a few more reviews that might convince you:
DC Comics is calling June “Superman Month,” but next week is Snyder Week. The first issue of Scott Snyder and Jim Lee’s Superman Unchained arrives next Wednesday, and the premiere of director Zack Snyder’s Man of Steel premieres in most places two days later.
Therefore, because there will be a lot of Superman talk coming down the pike, I thought I’d get mine out of the way early.
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One thing that comics blogging has taught me is a healthy respect for the roles (including the rights) of creators. Creators’ rights aren’t unique to comics, of course, but you really can’t talk about the history of superhero comics, or the development of corporately handled superheroes, without at least acknowledging the people who first introduced the concepts. In this respect Superman is a special case, because he seems to have developed past his creators’ original idea (or, certainly, past the original parameters) into something Jerry Siegel and Joe Shuster might never have imagined — and people seem pretty cool with that, in a way that perhaps doesn’t apply to similarly long-lived characters.
The odds of a Justice League movie ever making it to theaters are probably about even at the moment and, if rumors are to be believed, largely dependent on the box-office performance of Zack Snyder’s Man of Steel. Thankfully, however, we won’t have to wait until 2015 or beyond to see Superman, Wonder Woman, Batman and Green Lantern together in live-action form.
Director/producer Andrew List has released a low-budget fan trailer for Kingdom Come, based on the acclaimed 1996 miniseries by Alex Ross and Mark Waid. (How low-budget? The project’s indiegogo campaign generated $5,617.) Sure, some of the acting and green-screen work — to say nothing of Superman’s Southern accent — are a bit suspect, but there are a few moments that look as if they were taken right out of the comic. Considering the budget, it’s kind of impressive.