INTERVIEW: Spencer Declassifies "Captain America: Steve Rogers'" Hydra Secrets, Cosmic Connections
We’ve seen Wayne Manor, the Baxter Building and Tony Stark’s many bachelor pads depicted in countless Marvel and DC comic books over the decades. However, in “Interheroes,” illustrator and architect Federico Babina offers a look at the stylish homes of superheroes if they were decorated to reflect their costumed identities.
Hello and welcome to Shelf Porn, the feature that takes you into the home of a fan without getting arrested. Today’s collection comes from David in San Antonio, who shares a space-faring collection that features Star Wars, Star Trek, Silver Surfer and more.
If you’d like to see your collection here, you can find instructions on how to submit it at the end of this post.
And now here’s David …
Artist Clementine Campardou challenged herself to paint a new picture each day that she’d share through an e-newsletter “Colour Up Your Day.” Over the course of two years, she’s produced more than 500 paintings, mostly beautiful watercolors, featuring an eclectic mix of subjects, ranging from birds and flowers to movie characters and superheroes. A lot of superheroes.
Superman, Wonder Woman, Silver Surfer, Wolverine, Supergirl, Gambit — they’re all there, in some cases multiple times, alongside the likes of Goku, Totoro, R2-D2, Astro Boy and Ken from Gatchaman. Oh, and Prince.
Galactus, the Devourer of Worlds, knows a good planetary buffet when he sees one, and he’s apparently willing to cross universes — and publishers — to get to it.
Among the covers debuted this afternoon by DC Comics to celebrate the 75th anniversary of Green Lantern is Wes Craig’s fun variant for The Flash #44, which depicts Barry Allen and John Stewart racing through space, just ahead of a battalion of Parademons. (Is that what you call them, a battalion? A sleuth? A murder?) Scattered throughout the background are tiny cameos by the likes of Ambush Bug, Superman, Wonder Woman, Hawkman,
Starman Mister Miracle, Orion and even Mister Mxyzptlk. But that’s not all …
As difficult as it may be to believe, this tribute to Ron Lim’s cover for Silver Surfer #20 isn’t an illustration. It’s a photograph of a model wearing body paint, applied by makeup artist Cris Alex and shot using strong light to make it appear flat. It’s only upon closer inspection, when you can make out details like eyelashes, whiskers and nails that it becomes clear the Herald of Galactus is an actual person.
It’s not often that we see superheroes enjoying some quiet time and communing with nature, most likely because that would make for some incredibly boring comic books. However, the concept leads to some lovely images, as photographer and digital artist Benoit Lapray demonstrates in his series “The Quest for the Absolute.”
Dropping costumed characters into (mostly) serene settings, Lapray creating scenes of Thor strolling in a lush forest, Spider-Man resting at the side of a winding mountain road, the Silver Surfer pondering a deep valley, Wonder Woman perching in the spray of a waterfall, and more.
Check out some of the images below, and more on Lapray’s website.
Iconic comic characters mostly rely on their looks. This isn’t as shallow as it seems, as comics are inherently a visual medium. It’s why Cable’s creation tends to be attributed to Rob Liefeld rather than Louise Simonson. The best characters have timeless looks, the kind of visual appeal that will work no matter when you’re introduced to him. It’s one of the reasons Spider-Man keeps coming back to the classic red-and-blue costume; he can have a bunch of different costumes, but there’s only one real one.
Two characters who are just as iconic in appearance are Silver Surfer and Ghost Rider. Here in California, there’s barely a beach bum out on the waves that doesn’t know the shiny silver visage of the Silver Surfer. Bikers and tough guys near and far love the Ghost Rider’s signature skull. And yet, for all their visual popularity, I’d be hard pressed to find someone who knows exactly who these characters are. Norrin Radd isn’t a household name, after all. Defining Ghost Rider’s powers gets a little tricky for the average Joe once you move past “His skull is on fire.” There’s just a lot of detail missing from the public perception of who these characters are, but they still remain popular.
Trust me, we all know what it looks like when the characters don’t work, so what do what is it that’s essential for them to make it?
WARNING: We talk vaguely about the new Silver Surfer #1 and All-New Ghost Rider #1, but nothing major is spoiled. Still, grab a copy and read along!
It’s another week, which means a new batch of Marvel series launched as part of the publisher’s “All-New Marvel NOW!” initiative showed up at my local comics shop: Felipe Smith and Tradd Moore’s All-New Ghost Rider, Ales Kott and Garry Brown’s Iron Patriot, and Dan Slott and Mike Allred’s Silver Surfer.
I read two out of the three, as those were the most visually interesting, and seemed to be part of the initiative’s guiding principals: matching striking talents with lower-tier characters for idiosyncratic takes that veer away from the “typical” Marvel comic. Also, those were the two that featured characters who haven’t had a shot at their own book for a longer while. (Sorry, Iron Patriot, it’s not you, it’s me. I’m sure there are plenty of other critics willing to review you).
Conventions | Rob Salkowitz, who wrote a book about Comic-Con International, looks forward to this weekend’s sold-out Emerald City Comicon, and explains why it represents the convention of the future: “One reason ECCC is such an ideal place to talk about the future of comics is because the show itself looks like the future of comics–at least the one that I call ‘The Expanding Multiverse.’ Supportive of creators and celebrities alike, embracing the broadest conception of styles and subjects from indie work to mainstream superheroes, self-consciously diverse and inclusive in its conception of fandom, ECCC and shows like it represent a sustainable path forward for geek culture in an age of super-saturation and sensory overload.” Salkowitz will be a participant, not just a fan: He has developed a programming track on comics and digital culture that will feature a number of people (IDW’s Ted Adams, Monkeybrain’s Alison Baker) giving short presentations, similar to the format and spirit of TED Talks. [ICv2]
Animation designer Andry Rajoelina has created an uplifting, and occasionally funny, series of prints featuring the families of superheroes. That’s “family” as in Superman Family, not as in Jonathan, Martha and Clark Kent. The first set was focused on DC, but he’s now done a second group with Marvel characters.
Some of the characters, but not all, are biologically related, and that’s part of what makes the series so heart-warming. One of the nicest, most reassuring messages of the X-Men was always that people without families could form their own. (I’ve always loved the idea of the X-Men as a family much more than the idea of them as a school.) Rajoelina’s two series highlight that. They focus on adult/child relationships (the Fantastic Four leaves out Johnny Storm and Ben Grimm, for example), but Rajoelina is able to figure out a workaround for Green Lantern, even if it’s a little sad in a humorous way.
Prints of the Justice Families series can be purchased at the Geek Art Store.
Booster Gold was introduced in 1986 as a glory-seeking time traveler eager to sign endorsement deals, and in his appearance on The CW’s Smallville wore a costume emblazoned with corporate logos, similar to a NASCAR racing suit. But what if other superheroes followed in Booster’s footsteps?
In his series “Sponsored Heroes,” Roberto Vergati Santos envisions costumed heroes from comics and films if they were getting some sweet, sweet sponsorship money from the likes of Nike, Apple and Coca-Cola (although why a cosmic entity like Galactus, the Devourer of Worlds, would need corporate cash is beyond me).
Some of the results a much better than others. You can see a sampling below, or view the entire series at Behance.
Macedonian illustrator Marko Manev has designed minimalist superhero-themed posters before (check out his Watchmen and Marvel projects on Behance), but his latest series, Superhero Noir, is quite a step up from that work. These are powerful, cinematic, renditions of classic comic book heroes. No wonder these images are showing up all over the internet right now — they’re breathtakingly good, reminding you of how dramatic (or downright majestic) these characters can be when used right. No wonder that when the Bottleneck Gallery announced they were selling prints of a couple of these designs yesterday, they sold out in minutes.
I’ve loved Jonathan Edwards‘ work since he was drawing dandies in powdered wigs for Deadline. I was even known to occasionally buy the NME just for his POP! A Complete History strips. Last week he posted these images to his blog: abstracted versions of some of Kirby and Ditko’s classic character designs for Marvel superheroes. Lovely stuff, and they speak volumes to just how durable those designs are, remaining recognizable even when rendered in a minimum of lines and blocks of color.
A page of Silver Surfer original art by Jack Kirby and Joe Sinnott from 1966’s Fantastic Four #55 sold last week for $155,350 in an auction of vintage comics and comic art that included the very first Teenage Mutant Ninja Turtles sketch. According to Heritage Auctions, that price for the Page 3 half-splash marks the most ever paid for a panel page of comic art.
Held in Dallas, the auction brought in a total of nearly $5.5 million, including $113,525 for a restored copy of Detective Comics #27, featuring the first appearance of Batman, $107,500 for a near-mint copy of The Amazing Spider-Man #1, and $101,575 for Detective Comics #29, the second-ever Batman cover.
Other items included a good copy of Pep Comics #22, featuring the first appearance of Archie ($35,850), and Archie Comics #2 ($31,070).
Titled “When Strikes the Silver Surfer,” Fantastic Four #55 was the fourth appearance of the Herald of Galactus. The page, which you can see in full below, was signed by Stan Lee during a 1983 convention appearance.
As a chief architect of the Marvel Universe, Stan Lee co-created everyone from the wall-crawling Spider-Man to the rampaging Hulk to the flaming Human Torch — y’know, characters grounded in science — but he admits he finds the powers of one high-flying superhero a little “frustrating”: the Man of Steel.
Explaining his approach to creating the classic Marvel superheroes, Lee told TV Kids, “Basically, if you’ve read my stories you know I’m very scientific minded. For example, I didn’t just have Spider-Man gain a spider power miraculously, I did it as scientifically as possible — he was bitten by a radioactive spider. It could have happened to anybody. When the Hulk became the Hulk, it just didn’t happen casually — there was a gamma-ray bomb that exploded. If you ask me what a gamma ray is, I would have no idea at all, but it sounds very scientific, I think. The Fantastic Four, they gained their powers from cosmic rays, of which I know as little as I do gamma rays, but they sound impressive. At that point I ran out of rays, so when I had to do the X-Men, I took the cowardly way out, I said, well they’re just born that way, that’s all. They’re mutants. That got me off the hook there.”
After referencing Lady Gaga, the legendary writer has a little fun, insisting — with tongue firmly planted in cheek, no doubt — that, unlike so many of his characters, Superman’s flying ability doesn’t make much sense.