Sunday, June 15, 2014

Comic Creator Screen Credits

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If for some reason you're like me, and find the following clip to be possibly the best 8 seconds of any super-hero movie ever made:

video


Then you'd probably be interested in the page I just started on Tumblr:

http://screencredit.tumblr.com/
http://screencredit.tumblr.com/archive/
http://screencredit.tumblr.com/random

(note I started it mostly to have a place to play around with on Tumblr for another page I want to put up, so expect the design of it to change frequently and drastically over the next few weeks)

I'm going to try to put up as many examples as I can of the screen credits that comic creators get for screen adaptations of their characters and stories. Mostly screen captures, but the occasional video clip like above where appropriate. I'll also include the unfortunate cases of films and shows that lack any credit to the creators:

http://screencredit.tumblr.com/tagged/No-Credit

I'll put up all that I have access to over the next month (my local library has most things released within the last decade, and Netflix should come in handy), and then put up a list of those I don't have for anyone interested to submit after that.

Sunday, June 01, 2014

Groo vs. Image

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When Groo was being published by Image back in 1994-1995, one regular treat was how Sergio Aragonés incorporated Groo into the Image "i" logo on the top left corner of each issue, following the classic Marvel style character illustration in the corner box which had been used for the Epic series. For all but one of them Aragonés found a way to use the design of the logo for an extra little gag. Here are all the logos, and you can check here to see them in the context of the full covers.


The Valiant Groo

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With the long delayed GROO VS. CONAN: DAWN OF JUSTICE coming out soon (and a return of solo Groo promised soon after), I've been reading a lot of old Groo comics from the Aragones/Evanier/Luth/Sakai team. So lacking anything else to post, expect a few scans of panels that especially tickled me in the next few weeks.


Like this one from the Epic GROO THE WANDERER #16 [1986]:


If you don't get the reference, from Hal Foster's Prince Valiant strip in 1937:


And it was actually a goose, not a duck, but impressive that Groo got it that close.

There might also be another reference related to Mark Evanier's one-time employer.

Wednesday, May 14, 2014

Links, Books I'm Looking Forward To and More

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Mark Evanier has a tale of coincidence in the preparation of the upcoming THE ART OF THE SIMON AND KIRBY STUDIO book. And seriously, early contender for book of the year. A large sized 384-page book featuring reproductions of the original artwork of Kirby, Simon and some of the other artists they worked with in the 1940s and 1950s? If anything better than that comes out than it'll be a great year for comics.

And speaking of the S&K Studio, one artist who passed through there very briefly (three published short stories and some background work on some 3-D comics, some possibly unpublished) is still very much active in creating new comics, and has a Kickstarter campaign going on right now for his newest work, titled #20, which is a pretty on-the-nose description for the 20th release in the series of 32-page Steve Ditko releases that he and Robin Snyder have published since 2008.

Here's a pretty decent interview with Dave Sim from 1998, mostly about actually creating comics, conducted by Michael Cohen and Jimmy Gownley.  Sim also has a Kickstarter going on, which seems to be doing okay.

And Jimmy Gownley has a new book, his first since wrapping up AMELIA RULES a few years ago. I need to pick that up. Wait, I think I never did get that last AMELIA RULES book, either. I'll have to pick them both up.

Al Feldstein and Dick Ayers passed away recently. Rest In Peace, gentlemen. Lots of links around for them, a few I liked were Evan Dorkin on Feldstein and Nick Caputo on Ayers.

And you could do far worse than checking out Dorkin's recent ELTINGVILLE CLUB #1. Can't wait for #2, and the eventual collection which will have a few things I haven't read before, and all the things I have read before in a much larger size.

CAPS' auctions for Stan & Sharon Sakai continue, always some good stuff to look at there, and maybe buy if you've got the funds.  You can also donate directly here. And of course there's always buying Sakai's comics. Just read the recent NILSON GROUNDTHUMPER AND HERMY collection, which had one story new to me, and all of the stories in colour for the first time, that was great. Going to read the 47 RONIN book he drew soon. And fortunately it'll soon be easier to read USAGI YOJIMBO, with Dark Horse announcing a new series, SENSO, following the upcoming colour special reprinting some DARK HORSE PRESENTS stories, as well as the first USAGI YOJIMBO SAGA volume collecting the complete Mirage and early Dark Horse issues of the series. It's good to see some activity after the extended USAGI hiatus since 2012.

And a random list of other books sitting here waiting to read in the near future:
NOAH
MOLLY DANGER v1
THE FIFTH BEATLE
BANDETTE v1
MONSTERS & OTHER STORIES
RED HANDED
FPB: FEDERAL BUREAU OF PHYSICS v1
FIVE GHOSTS v1

Saturday, April 26, 2014

Recently Read and Re-Read, 2014.04.26

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SPACE USAGI [1998] collects the three 3-issue SPACE USAGI mini-series from 1992 to 1996, plus a few other short stories. In this book, Stan Sakai translates his long-running samurai rabbit character into a science-fiction setting, apparently because he wanted an excuse to draw Usagi fighting dinosaurs. This is a nice little stand-alone book, especially for those who find the over 200-issue and counting run of USAGI YOJIMBO too daunting a challenge to jump into without a warm-up. Sakai brings all his usual skills at writing and art, and quickly lays out a new scenario and plays it out over almost 300 pages.  The plot will probably remind you of the Star Wars films, either due to a direct influence or common earlier influences (one particular plot twist is right out of the Star Wars prequel films, except it pre-dates it by seven years).

THE PROPERTY (2013) is the latest book by Rutu Modan. It chronicles a week long trip by an Israeli woman who returns to Warsaw for the first time since before World War II, accompanied by her grand-daughter, for reasons which she may not be completely honest about. It's an entertaining little book with a little bit of everything, some comedy, some romance, some history, some mystery. Modan's work is clear and detailed when it needs to be, still in the "clear line" school of Hergé, but developed in a few ways from her earlier work EXIT WOUNDS.

FRAN (2013) is the latest silent epic from Jim Woodring, "continuing and preceding" his 2011 book CONGRESS OF THE ANIMALS and featuring his long-running character Frank. I'll have to go back and re-read that, and the other Woodring work, since I think it's all starting to make some sort of sense. Always fascinating to see Woodring's world, where every little detail might be a clue or might mean nothing at all, possibly both at the same time. The standouts in this one are the weird pets(?) Pupshaw and Pushpaw. I saw once that Woodring had a solo book about them that I unfortunately didn't pick up and does't appear to be that easy to find at a decent price.

ATTACK ON TITAN Vol 1 & 2 (2012) are the first two books of Hajime Isayama's on-going science-fiction adventure comic, which has been getting a lot of attention lately as it's been adapted to a successful cartoon about to be translated into English, which is the most sure path for a Japanese comic to become a sales success in English. There are some interesting ideas in here, a future where the world has been taken over by monstrous giants called Titans, forcing the few remaining humans to retreat behind elaborately built barrier walls, which work great until an even larger Titan appears, able to destroy the walls. A little bit silly, but with the potential to provide some light fun. Unfortunately, I didn't find a lot of Isayama's storytelling to be at all clear, often I'd have keep reading to see the characters explain what I had just read. There are a few interesting designs, and the second book closes with what appears to be an interesting revelation which might make the series much stranger than I imagined (but because of the storytelling problems, I can't really be sure until I read the next book to see what the characters say). I'm getting them free from the library and they're quick reads, so I might stick around for a few more books.


THE G.N.B. DOUBLE C (2011) by Seth

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As I mentioned a few weeks ago, I recently re-read Seth's WIMBLEDON GREEN (2005), which is among my favourite modern comics, in preparation for reading THE GREAT NORTHERN BROTHERHOOD OF CANADIAN CARTOONISTS (2011), a second sketchbook comic by Seth on some similar themes, which I somehow missed when it was published.

I've now read THE G.N.B. DOUBLE C, and it's an interesting companion piece to GREEN, although a very different book. Interestingly, Seth's introduction outlines the creation of the works, and it turns out that the initial work on this book actually began before GREEN was created, and picked up again after GREEN was done (all as a sideline to Seth's other work in that period). It sort of makes sense when you think about the two works, with GREEN being much more open and fanciful, less shackled by the bonds of reality than the much more melancholy world of THE G.N.B. DOUBLE C.

For those unfamiliar with the works, GREEN is a pretty broad comedy adventure about a world where vintage comic book collectors are rich and fanciful characters who engage in elaborate and unlikely escapades in the pursuit of rare back issues, most of which are fake golden age books created, sometimes in great detail, from Seth's imagination. THE G.N.B. DOUBLE C is, I guess in theory, set in that same world (or at least uses some of the same fake creators that Seth created for GREEN), but looks at the creators of the comics, in particular the members of the association of the title, of which Seth's stand-in is number 650. In his tour of their clubhouse in the fictional town of Dominion (plus an extended description of their off-site archive far in the north), Seth traces the history of cartooning, both real (Doug Wright's Nipper) and fictional (Bartley Munn's Kao-Kuk, Eskimo astronaut). It's a fascinating presentation, especially when the subjects are so obscure that it takes a few page to realize which are real (I'm still not sure about a few of them, and am resisting the urge to Google non-brand-specific web search for confirmation).

It's also kind of funny that I only read the book now, since a few months ago I would have had no clue that one of the last major "cartoonists" discussed was loosely based on Martin Vaughn-James and his fairly obscure 1975 book THE CAGE, which was only just republished with an introduction by Seth.

This is the type of book it's going to take me a few readings to fully digest.  At some point I want to re-read it, WIMBLEDON GREEN and Seth's earlier, more "serious" book IT'S A GOOD LIFE, IF YOU DON'T WEAKEN together, since I realized half-way through that these two are sort of cousins to that book, which revolves around Seth becoming fascinated with an obscure NEW YORKER cartoonist who turned out to be just as real as Albert Batch of "Trout Haven" fame (I assume).

A good companion piece to WIMBLEDON GREEN, or worth checking out as an independent book, especially if you find comic book history fascinating, whether real or imagined.

GRENDEL OMNIBUS #1 [2012] by Matt Wagner & Co.

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Matt Wagner's GRENDEL was always a bit of a blindspot for me in terms of the long-running major 1980s independents. I started shopping at direct market supplied stores in the late 1980s, just as the original run was wrapping up. Most long-running independent books that were in progress I either tried and liked, so I ending up getting at least the first long run of issues, or tried and dismissed as not for me. I know I read a few issues of GRENDEL, but while it seemed intriguing, it also seemed very hard to jump in the middle, and the early stories weren't readily available. Everything I heard about the series seemed like I would like it, especially the stories of the original incarnation of the character, Hunter Rose (which pre-dated the stories I sampled), but there never seemed to be an easy entry point when I was interested.

A few years ago I did finally get the 1986 collection of the original Hunter Rose story, the prose/comics hybrid "Devil By The Deed" that ran as a back-up in MAGE, as well as the two Grendel/Batman crossovers Wagner did in the 1990s. "Deed" was great, as was the first Batman story, the one which featured Hunter Rose. The other one I didn't quite get, and I think needs more knowledge of later Grendel tales than I have. Still, getting more at that point seemed to involve navigating a hodge-podge of back-issues and often out-of-print collections. Fortunately, that changed with the recent publication of four volumes of GRENDEL OMNIBUS, which seem to collect most of the Grendel stories Wagner wrote and occasionally drew over the years, except those with Batman.

The first volume, subtitled "Hunter Rose", collects "Devil By The Deed" by Wagner and Rich Rankin, now in a black-white-and-red format matching the rest of the contents, two short-story anthology books, "Black, White & Red" (1998) and "Red, White & Black" (2002), written by Wagner and drawn by various artists (plus a few other scattered short stories from various publications), and "Behold The Devil", the 8-issue miniseries by Wagner solo from 2007-2008.

"Devil By The Deed" is still a powerful work. It looks pretty good in this duo-tone format, except that the typeset lettering is way too small in this more compact size (6x9 instead of the 8.5x11 of the 1986 book). It was an fascinating way to begin the story, pretty much starting with the death of your lead, and then going back and telling his life story from a skewed perspective (the conceit of "Deed", for those who don't know, is that the narration is from a book written a generation later by Christine Spar, the child of one of the characters, who becomes a main character in the next story, based primarily on the diary of Hunter Rose plus other research, though the images sometimes show a version of events not evident in the text). There's a lot of story, some of it glossed over quickly, but creating a solid foundation to build on.

That building came with the 45 short stories that take up almost 400 pages in the middle of the book, a few drawn by Wagner but mostly by other artists, exploring various aspects of the life of Hunter Rose. It's a bit of a mixed bag, but mostly high quality, as Wagner is very clearly writing to the strength of each artist, and playing with various storytelling styles to flesh out the original story, looking at how Hunter Rose became the person he is, how he rose to power in his criminal empire and how he ultimately fell, often by exploring the lives (and frequently deaths) of those affected by his actions, including lawyers and literary agents and the other supporting characters. A few times I thought Wagner was explaining a bit too much, robbing the story of the elegant simplicity of some of the passages in "Devil By The Deed" (I didn't really need to know the names and circumstance of death of each of the 23 crime bosses Grendel killed in one night), but for the most part he explains just enough and treats Hunter Rose more as a force of nature in the stories. There's some exceptional art in there, a few stand-outs include Stand Sakai, Michael Zulli, Tim Bradstreet, Paul Chadwick, Jill Thompson and Cliff Chiang.

The final chunk of the book is the most recent major Grendel story that Wagner has done, "Behold The Devil". It's kind of a jarring transition from the tight, compact and efficient storytelling in the previous 400 pages of the book, this time there's a single story that takes almost 200 pages to tell. This is presented as a time covered in Spar's "Devil By The Deed" only by outside evidence, as the period is missing from Hunter Rose's diary. We're privy to much more detail than Spar is, as Wagner follows Grendel during that period, as well as a reporter and a detective who are trying to find him. There's a lot of good stuff in the story, but I found it to be the least satisfying part of the book, as the main purpose of the story in the end seemed to be to place Hunter Rose firmly in the the larger legacy of Grendel, an aspect of the character that is mostly absent from the other stories in the book. My feelings on that aspect might change if and when I learn more about that larger legacy from the later volumes. I haven't decided if I'll continue yet, but right now I'm leaning towards reading the next book at least.

So definitely recommended, a good block of entertaining reading for $25, with frequent moments of excellence.

Monday, April 14, 2014

Recently Read and Re-Read, 2014.04.14

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Quick thoughts on a few things I've read or (mostly) re-read lately. I'm on a bit of a paper acquisition moratorium lately, with a few key exceptions I want to avoid getting any new print comics until I've made a good dent in reading or re-reading everything I own, and hopefully finding a way to productively discard some of it. I am still getting stuff from the library and digitally, though. I won't write about all of them, of course (especially not the stuff I decide to dispose of), but here are a few from the last couple of weeks.



Tuesday, February 25, 2014

Will the Shadow get his body back, 25 years later...

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So, Dynamite recently published a reprint of Howie Chaykin's SHADOW series "Blood and Judgment" from DC in the 1980s, and followed up with the subsequent Andy Helfer/Bill Sienkiewicz "Shadows & Light" story that launched the on-going series.  Now it looks like they're going on to "Seven Deadly Finns", where Helfer teamed up with Kyle Baker for what's probably my favourite Shadow story ever.

Which means we might get more Helfer/Baker in the almost as good "Body & Soul" some time after that.  Which is going to beg the question, the last issue of the series, #19, ends (spoiler alert) like this:


With the Shadow in a similar condition. And because I'm a man who owns too much paper, we were promised this for "Nuts And Bolts" in 1989:

Never published, of course, and instead a few months later we got a more traditional take on the character in THE SHADOW STRIKES.  I don't have the early issues of that book, but I've heard that there's some mention of the abandoned storyline there, maybe a promise of a special to wrap it up? Can anyone confirm? Anyway, now 25 years later I doubt we're going to see a continuation of the story by anyone, much less the original creators. But one can dream. Presumably something must have been written and maybe drawn before the plug was pulled.

Friday, February 21, 2014

Remarks on recent comics (2014.02.21)

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More recently read comics, or if you prefer, graphic novels.  No, no one prefers that?  Okay, comics. In particular, these:



BATTLING BOY (2013) by Paul Pope
HILDA AND THE MIDNIGHT GIANT (2011) by Luke Pearson
BAD HOUSES (2013) by Sara Ryan & Carla Speed McNeil
PUNK ROCK JESUS (2013) by Sean Murphy
A WRINKLE IN TIME: THE GRAPHIC NOVEL (2012) by Hope Larson, adapting Madeleine L'Engle
STAR WARS. VOLUME ONE, IN THE SHADOW OF YAVIN (2013) by Brian Wood & Carlos D'Anda


And, if you missed them, I recently had slightly longer comments in separate posts on these:

JOE KUBERT PRESENTS (2013) by Joe Kubert (editor)
THE BOJEFFRIES SAGA (2014) by Steve Parkhouse & Alan Moore

Around the web

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Evan Dorkin has a two-part one-shot (or something like that) concluding his long-running ELTINGVILLE CLUB series coming out this year.  Cover to #1 and cover to #2.

Jason Shiga has a new webcomic, DEMON.

Neil Gaiman has a book coming out reprinting his short story THE TRUTH IS A CAVE IN THE BLACK MOUNTAINS with illustrations by Eddie Campbell (enough illustrations that Gaiman describes it as "almost a graphic novel".  Time to pull out the old "not a graphic novel, Percy" bit). See the cover here. I've read the original short story, and it's pretty good, not great, and has a couple of visual hooks that Campbell could exploit. While looking for info on that, I found out that Gaiman is apparently also writing HANSEL AND GRETEL with artist Lorenzo Mattotti for editor Françoise Mouly's Toon Books line later this year. That could be interesting.

Brian Hibbs has his annual look at comic sales reported through BookScan.  With the usual caveats about what those numbers actually represent, it's still a fascinating snapshot of a particular market for comics. For direct market figures, John Jackson Miller has your fix.

Todd Klein looks at the connection between a 1942 Stan Kaye Superman drawing and a painting which hung in the DC offices. Part one, part two.

Steve Bissette has a great new colour TYRANT print. Hopefully news on new TYRANT comics soon.

I briefly fell into the rabbit hole of reading about Dave Sim's adventures in trying to get the early editions of his CEREBUS books in print, now that his old printer is gone and his old printing methods are obsolete, over at A Moment of Cerebus. I don't recommend trying to follow the whole discussion, but this post comparing different reproductions of the tonework on one image is kind of fascinating.

Saturday, February 15, 2014

JOE KUBERT PRESENTS by Joe Kubert (editor)

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JOE KUBERT PRESENTS (2013) is a collection of the six-issue anthology published in 2012-2013, edited by Joe Kubert and almost completed before his death in 2012. Each issue includes work from Kubert (both solo and with various collaborators), Sam Glanzman and Brian Buniak.

Sam Glanzman's contributions are a return to his USS Stevens war stories, a staple of the 1970s DC war comics (also mostly edited by Kubert). Glanzman served aboard the naval destroyer in the Pacific during World War II, and used both his own experiences and those he heard from others in a series of back-up features that primarily ran from 1970 to 1977, plus a few subsequent stories in a pair of graphic novels published as A SAILOR'S STORY and short stories in SAVAGE TALES. For this series he did a series of 10-page stories telling a variety of events, from the oddball to the comedic to the tragic, as well as looking at some of the major events of the war. Beautifully rendered work as always, drawing on memories still vivid after over a half-century, and a nice reminder of a major but mostly unappreciated milestone in comics history. Hopefully someday these pages will serve as the conclusion to a full collection of Glanzman's WWII stories. In addition to the six stories, there's also a feature where Kubert comments on Glanzman and shows a few of the actual illustrations Glanzman drew while serving on the USS Stevens in the 1940s.

Brian Buniak is represented in every issue with a serialized adventure of Angel and The Ape, reviving the short lived 1960s feature. I thought the concept was cute enough for a single story, with a sort of 1980s era MAD/CRACKED look to the work, but it wasn't really strong enough to sustain a six part story. The two-page spread of classic chicken-fat in-jokes, slapstick and non sequiturs is pretty cute, with some interesting cameos (pay close attention if you missed it, Mike Sterling...).

Other than those two features in every issue, Joe Kubert himself provided the rest of the material in each issue.

His first story, as seen on the cover, features Hawkman and is set in Africa. It has some really good artwork, evoking both his earlier work on that character and his well-regarded 1970s work on Tarzan but The story is a little bit preachy and disjointed, though.

The major Kubert work is the long-lost series THE REDEEMER, which was scheduled and widely advertised and previewed back in 1983, but never actually published.  This book has some concept artwork and what would have been the first three issues of that series, as well as some preliminary artwork for the future issues, which is as far as Kubert got before realizing he couldn't fit a monthly book with the other demands of his schedule. The concept is a history spanning story of redemption and reincarnation, giving Kubert a vehicle to draw a variety of settings, a science-fiction future and the American west of the 19th century in the two stories he got to and planned stories of Roman gladiators, cavemen and pirates among those planned. It's all a little strange, but an entertaining concept, and good to finally have some closure three decades after seeing those ads for the book.

The other serialized Kubert contribution to the book is "Spit", a series of vignettes about an orphan boy who ends up aboard a whaling ship around 1850, inspired by, as Kubert explains, his childhood fascination with MOBY DICK.  This is probably my favourite Kubert art of the book, mostly drawn in the pencilled style he used for a few of his later major works like YOSSEL and DONG XOAI. His passion for the subject matter really comes though in the art, and I just wish there was more room to flesh out the story.

Kubert also does a short ghost story "The Biker", which I enjoyed, especially the horror elements drawn in that pencil style. Paul Levitz writes what is sort of a Sgt. Rock story for Kubert to draw, and it was far better than I was expecting, and Kubert co-writes a few short stories for other artists that are an interesting change of pace.

Overall it's a nice thick collection with a wide variety of material at a great price, well worth picking up for a sample of one of the greatest comic book artists.

Weblog by BobH [bobh1970 at gmail dot com]

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