X-POSITION: Nicieza Body-Slides From "Age of Apocalypse" to "Deadpool & Cable"
As artists begin to draw, they look to others who have come before them to learn from their experiences and their output — and comics is no different. Virtually all of today’s top artists have traced panels of the greats, sometimes on their own sheets and sometimes inking over their penciled work to discern their decision-making process. A recent post on Daniel Clowes’ website reveals two early examples of the Eightball legend learning by inking over two earlier greats, Steve Ditko and Jack Kirby.
According to Alvin Bonaventura, who posted these, the Ditko page was something a young Clowes got as a photocopy from a friend in 1985. The Kirby pin-up of Thor supporting character Volstagg was done on top of the original pencils of the King, for a tribute pin-up anthology in 1994. The Ditko page was pulled from Clowes’ archives, while the Volstagg inking is from Fantagraphics’ Eric Reynolds, who has the original hanging in his home office.
Creators | Contrary to some reports this morning, reclusive comics legend Steve Ditko won’t be a special guest at the second annual London Super Comic Convention, to be held Feb. 25-26 at the Excel Centre in London. A press release that circulated has been confirmed as a hoax. [ComicConventions, Bleeding Cool]
Publishing | Trajectory, publisher of the Classics Illustrated comics, announced at the Beijing Book Fair that it has begun publishing Chinese translations that will be available as ebooks. The first two titles: Jules Verne’s 20,000 Leagues Under the Sea and H.G. Wells’ The War of the Worlds. [press release]
Creators | Following the appearance of the Infinity Gauntlet in Thor and the cameo by Thanos in The Avengers, Marvel appears poised to expand the cosmic elements of its cinematic universe with The Guardians of the Galaxy. While some fans eagerly await a movie announcement next week at Comic-Con International, Thanos creator Jim Starlin (who had to buy his own tickets to Thor and The Avengers) may be laying the groundwork for a legal challenge: Heidi MacDonald points out that Starlin has posted an early drawing of the Mad Titan on his Facebook page, writing, “This is probably one of the first concept drawings of Thanos I ever did, long before I started working at Marvel. Jack Kirby’s Metron is clearly the more dominant influence in this character’s look. Not Darkseid. Both D and T started off much smaller than they eventually became. This was one of the drawings I had in my portfolio when I was hired by Marvel. It was later inked by Rich Buckler.” [The Beat]
Comics | Tim Marchman, author of that much-discussed Wall Street Journal article, is at it again, this time interviewing Watchmen editor Len Wein about his work on Before Watchmen, and including the interventions of DC Comics Publicity Manager Pamela Mullin as part of the story. Between the embargo on the comic and Mullin doing her job, it sounds like the most interesting parts of the interview never made it into the final product. [The Daily Beast]
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a splurge item.
If I had $15, this ever-lovin’ comics fan would first pick out Dark Horse Presents #12 (Dark Horse, $7.99). First off: John Layman and Sam Kieth doing an Aliens story, can you believe that? That debut, coupled with the return of Mike Baron and Steve Rude’s Nexus, makes this another DHP worth buying. After that, I’d jump into Prophet #25 (Image, $2.99) to see Brandon Graham’s rollicking story with special guest artist Farel Dalrymple. The creators lined up on this Extreme Comics revival continue to impress me, and I’m excited to see new work by Dalrymple here. Third up would be Secret Avengers #27 (Marvel, $3.99), and I’m all hyped up to see how Rick Remender handles the touchy subject of Marvel’s original Captain Marvel. As for the artist, I’m still waiting for Renato Guedes to wow me the way he did before he jumped from DC to Marvel; the previews for this show some promise, so I’m excited to see the entire package.
If I had $30, I’d double back to get the return of Batman Incorporated #1 (DC, $2.99). Grant Morrison’s schedule, along with the New 52, seemed to harpoon this title last year, but I’m hoping this is some attempt to right that ship. Next up would be Fantastic Four #606 (Marvel, $2.99), seeing Jonathan Hickman come full circle as his run nears conclusion by going back to where the FF started: with four people in space suits. Ron Garney is an interesting choice to draw this one, and his take on the Thing is right up there with Stuart Immonen’s. Last up would be Irredeemable #37 (BOOM! Studios, $3.99). I admit I switched to trades a couple issues ago, but I’m jumping back in — spoilers be damned — to find out the end to this story. I’m a little bit morose that artist Peter Krause isn’t the one drawing the finale given all he put into this, but Diego Barretto is an able artist to draw what Waid has set out for this final issue. Oh, hey, I’ve got $5.06 left so I’ll live up to the the title of this Robot 6 feature and get some food: a hot dog from Voodoo Dogs in Tallahassee. Have you seen their new commercial?
If I could splurge, I’d finish eating my hot dog and pick up Comic Book History of Comics (IDW Publishing, $21.99). I’ve failed at life when I couldn’t track down all six of these issues on my own, but IDW offering it all up in one package saves me from that level of hell. Fred Van Lente and Ryan Dunlavey have put on a master class here in doing bio comics, especially bio comics about comics, and as a journalist, comics fan and would be comics writer myself this hits all the right spots for an engrossing read.
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a “Splurge” item.
If I had $15 I would be in comics heaven, starting with Shade #4 (DC, $2.99). I’ve loved what Cully Hamner and James Robinson have done so far, but seeing Darwyn Cooke drawing this issue knocks it up to a whole new level. It’s like seeing David Bowie sit in on an up-and-coming band’s gig one night. Next up would be the reunion of Warren Ellis and Stuart Immonen in Secret Avengers #21 (Marvel, $3.99). I was halfway hoping they would break from the serious tone of the title and revisit the inanity of Nextwave, but the preview dashes that hope; still, excellent work of two guys at the top of their game. Next up would be Invincible #87 (Image, $2.99), promising an all-new level of beatdown for Mark Grayson. Lastly, I’d get Jason Aaron’s fresh take on Marvel’s mutants with Wolverine and the X-Men #4 (Marvel, $3.99). Part return to basics and part brand-new day, seeing Logan having to be the respectable one and not the plucky wildcard is fun, and the cast Aaron’s assembled is great.
If I had $30, I’d continue reading Aaron with Wolverine #300 (Marvel, $4.99). Jokes about the constant renumbering/reshuffling/rejiggering of Aaron’s run aside, it’s been a swell ride and looks to be heading up to a finale of sorts. Next up would be Batwoman #5 (DC, $2.99). Williams’ art continues to impress, and while the story doesn’t match up to his levels with Rucka on Detective Comics, he and Blackman are striving for something I haven’t been able to fully understand yet. Lastly, I’d pick up Northlanders #47 (DC/Vertigo, $2.99). Artist Declan Shalvey is an inspired get for this series, really showing off what he can do outside Marvel’s Thunderbolts.
If I could splurge, I’d dive into Eric Powell’s adaptation of Mark Twain’s Adventures of Huckleberry Finn (IDW, $19.99). Putting Powell together with Twain isn’t an obvious team-up, but given Powell’s depth of work I’m interested to see how it turns out.
Back in 2010, when Thomas Scioli started bolstering his online presence and entered the realm of webcomics with American Barbarian, I was curious to see how things would play out (as may or may not have been obvious in my June 2010 interview of him). I’ll be honest and admit that now, more than a year later (and with far more of the project online to read), American Barbarian far exceeds what I expected. As much as I have always enjoyed and respected his Kirby-influenced approach to visual storytelling, after reading this double post Apocalyptic tale, I am far more impressed with Scioli’s funky ear for dialogue. It’s like reading a 1970s comic written by a minimalist version of David Mamet. Doubting my quirky endorsement of the work? Then realize AdHouse is collecting the webcomic for a 256-page/6 ” x 9 ” /hardcover release early this year. If you don’t trust my tastes, then you should definitely trust AdHouse publisher Chris Pitzer. To mark the upcoming release, Scioli and I did another of our quick email interviews. Before diving into the interview, let me take a second to agree with JK Parkin’s sentiment in this post, back in June, that DC Comics should have considered Scioli for one of the New 52 titles that it launched back in September. So I was surprised to learn (as you can read in this interview) that DC did not contact Scioli when assembling the creative team for the new OMAC title. As I edited this interview I realized it was hard to find my favorite part of our discussion, but it may be the revelation that the look for Two-Tank Omen came to Scioli in a dream. A close second was learning a bit about his next webcomic, Final Frontier. Feel free to chime in with your favorite part of this interview and/or Scioli’s work in the comments section, please.
Tim O’Shea: As an independent creator, the job of marketing your work falls to you. Do you think over the years, you have gotten more comfortable marketing yourself? On a related note, how did you decide upon doing this one minute trailer for American Barbarian?
Thomas Scioli: Even the largest comics publishers don’t seem to have a budget for promotion, so I’d say any creator, independent or mainstream, can benefit from doing their own promotion. It’s something that I’ve never been comfortable with, but do out of necessity. I think I have gotten better about it, because in the beginning, it would give me crippling anxiety, now it’s just mild trepidation. The idea for doing a trailer came from having seen other people do it. AdHouse’s own Afrodisiac trailer and [Top Shelf’s] Infinite Kung-Fu [trailer] are two that made an impression on me when they made the rounds. It got me excited about those two works, so I wanted to do the same. I’d been dabbling with animation, back when I started AmBarb so it was a natural outgrowth of that, too. Once you start doing a webcomic it isn’t long before you realize, hey, why not just do a cartoon?
Ditko’s World #1 (1986), page 19. Steve Ditko.
Few careers in comics are as full of bizarre happenings and unanswered questions as Steve Ditko’s — and yet it often seems to me that the crowning strangeness of Ditko’s six decades (!) as a cartoonist is his popularity, the fact that even the most unadventurous of comics readers know his name and are at least familiar with his work in passing. Ditko’s work is almost aggressively non-mainstream, and grows more so with every passing year. He happened to be in the right place at the right time once, when an angular, surrealistic strip with a near-pathological lead character and the unlikely name “Spider-Man” hit it big with a generation of comics readers on the lookout for something different. But even Ditko’s most famous creation only really took off once he walked away from it, leaving John Romita to smooth the rough edges from a strip that Ditko lanced through with menacing shadows, an urban landscape on the brink of decay, and an attitude that danced between aspiration and hatred, pulling back the curtain on the dark side of youthful energy.
Sometimes it’s been hard for me to process the New 52 as anything but an amorphous mass of, well, Newness. In this respect, DC’s October solicitations are helping to define that mass, with details like the five-year timeframe and Superman’s work boots.
Still, despite the promise of widespread change — and the somewhat-irrational implication that those who aren’t curious now will be left behind later — it’s been fairly easy for me almost to ignore the solicits, and just buy the books when they come out. After all, presumably DC is after new (or returning) readers who don’t follow the solicits and aren’t attuned to the spoilers.
Besides, the October solicits also include some attractive reprints; so let’s get right to it, shall we?
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To see what Tom and the Robot 6 crew have been read, click the link below.
Welcome once again to Food or Comics?, where every week we talk about what comics we’d buy based on certain spending limits — $15, $30 to spend and if we had extra money to spend on what we call the “Splurge” item. Check out Diamond’s release list for this week if you’d like to play along in our comments section.
If I had $15:
There are a lot of great periodicals coming out this week, so I’d have some hard choices to make. With only $15, I’d concentrate first on those with the cheapest prices: the first issue of Dark Horse’s new Mighty Samson ($3.50), Atomic Robo and the Deadly Art of Science #2 ($3.50), and Mouse Guard: Black Axe #1 ($3.50). I’m already a huge fan of both Atomic Robo and Mouse Guard and – based on its concept and vague memories of stories I read as a kid – hope to become one of Mighty Samson too. I’d spend the last of my money on Northern Guard #1, because I’m a sucker for Canadian superheroes.
If I had $30:
I’d add Doc Macabre #1 ($3.99), John Byrne’s Next Men #1 ($3.99), and Strange Tales 2 #3 ($4.99). “Doc Macabre” is an awesome name and I love Steve Niles’ pulp stuff, I’ve been waiting 16 years for that Next Men issue, and the Strange Tales book has a Kate Beaton story in which the Avengers go to a carnival. I’d pay five bucks just for Beaton’s deal, but it’s also got a Thing tale by Harvey Pekar (and yes, Harvey Pekar is in the story).
Here’s another nice catch by blogger Corey Blake, who spotted the Trouble collection on Amazon last month — Blake points out listings for upcoming omnibus collections from DC featuring the works of Jack Kirby and Steve Ditko.
Unfortunately there’s little information on either collection. The description on the Jack Kirby one, due at the end of July, focuses on his Green Arrow work: “In 1957, following the dissolution of his partnership with Joe Simon, Jack Kirby returned to DC Comics. Among his new assignments was the Green Arrow feature that ran simultaneously in ADVENTURE COMICS and WORLD’S FINEST COMICS, pitting the Emerald Archer and his sidekick, Speedy, against a plethora of foes.”
The Ditko one, meanwhile, doesn’t have a description, but the cover artwork (which likely isn’t final) features Shade, the Changing Man … so it’s probably a safe guess that it’ll contain Ditko’s eight-issue Shade series from the 1970s.
Hello and welcome once again to What Are You Reading?, where the Robot 6 crew talk about the comics and graphic novels that they’ve been enjoying lately. Today our special guest is Bill Reed, who contributes to our sister blog Comics Should Be Good!. To see what Bill and the Robot 6 crew have been reading, click the link below.
Hello and welcome once again to What Are You Reading?, where the Robot 6 crew talk about the comics and graphic novels that they’ve been enjoying lately.
Today’s guest is Zom from the Mindless Ones blog. To see what Zom and the rest of the Robot 6 team have been reading, click below.
The excellent blog Ditko Comics routinely unearths some rarely seen gems from Steve Ditko’s immense bibliography, and one last week really caught my eye.
Inside the pages of Charlton Comics’ Strange Suspense Stories #33 from 1957, Steve Ditko wrote and illustrated a five-page highly charged boardroom drama called “Director of the Board.” As the site owner describes it, it’s a “strange little story about an executive turning down a job applicant but encouraging him with the tale of a dream he had as a struggling young job-seeker, dreaming about taking the initiative and risks to rise in the company through any number of unethical actions.” Read on here for the full story.
Strange Suspense: The Steve Ditko Archives Vol. 1
Edited by Blake Bell
Fantagraphics Books, 240 pages, $39.99
I am in no way an expert where Steve Ditko is concerned. My knowledge of him and his work is pretty much equal to that of the average comics fan my age (co-creator of Spider-Man and Dr. Strange, also did Creeper and Shade, big Ayn Rand fan, has a thing for drawing hands). So I don’t feel I can offer some kind of quantitative analysis about Strange Suspense, a new compendium of pre-Code Ditko stories, and how it compares to his most famous and even current work.
I do, however, have a few thought that sprang to mind while reading the book that I thought worth sharing …