It's funny because it's sad.
Четверг: когда вы смотрите на линкспам, линкспам смотрит на вас!
ИнтервьюИнтервью:
Реплика в сторону: когда же Скотт Снайдер уже заткнётся?! Я понимаю: кроссовер, все дела, но есть ощущение, что он вот уже месяц даёт разным ресурсам как минимум по три интервью в неделю. И нет, тут не будет ссылок.
The Alan Moore Interview - архивное интервью 1987-го, данное после размолвки с DC по поводу даваемых комиксам рейтингов. Много интересного, учитывая, что на тот момент дискуссия крутилась исключительно вокруг цензуры.
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It seems very much like a closed book to me now, and it was simply a matter of me quitting the company when I no longer felt that I could abide by their practices. It wasn’t an attempt to bend back that company to my particular way of thinking, and I think that if you re-read my editorial in the [Comics] Buyer’s Guide (printed in Journal #117), I think that somewhere in there I do stress very strongly that if DC wishes to bring in a rating system, then they have every right to do so. But, as a creator, I’m under no obligation to go along with that, and I have the right to take my work elsewhere.
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One is that in the time since quitting DC, I’ve put DC completely out of my mind, more or less, and have been thinking about other things that I’d like to do. So, you know, just on a purely personal level there are other things that I’m interested in doing now, that don’t really involve DC. On another level, just the behavior of DC as a corporate entity during this time of troubles has, to my mind, left much to be desired.
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The morality of that is so vague, nebulous, and subjective that I barely want to get into it. But the result of it is that, on a purely practical level, DC were allowing a rather extreme moral stance to go unquestioned, were accepting without consulting any of the other sort of interested parties. I’m not saying that it was actually immoral or the sort of the thing that they’re going to burn in hell for forever. But it wasn’t the way that I’d rather that they’d done business with me. It was something that I found personally upsetting.
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If people did start, say, for example, treating women more accurately and realistically in their comics, and if those comics were well enough crafted to be superior comics then I would hope that through a process of Darwinian natural selection that there would gradually be less and less sexist material appearing in comics because they would be perceived by the readers as being more and more dated, more and more offensive. That form of pressure I have no qualms against bringing upon people because it seems to me to be perfectly fair and equitable. And there’s no guarantee that I’ll succeed in it. Any other sort of pressure, I really don’t go along with.
CR Sunday Interview: Chris Schweizer - Крис Швайцер, автор серии Crogan Adventures и преподаватель в Savannah College of Art and Design говорит о том, как он дошёл до создания комиксов, о том, как в его жизни сочетаются творчество и преподавание, и о преимуществах образования.
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You mentioned a long-standing tradition of self-training, and I don't think that's exactly true. I think that's a recent development, something that's come about in the last 30, maybe 40 years. Formal comics programs didn't used to exist, but they didn't need to. Some folks went to art school, but even those that didn't, if you worked on a comic, you worked in a bullpen, under the eye and tutelage of your peers and betters. Even after the bullpens died away, you lived in New York, you lived in Ohio, you lived where your editor lived, at least until your strip had found its feet and you more or less had a grasp of what you were doing. You had regular feedback and regular critique; you had schooling, whether you got a diploma or not.
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It's harder to learn on the job now, too, because nothing is disposable. You can't muddle through your first hundred, two hundred pages anymore, they'll be collected in a trade. The Internet will savage you. All that stuff. I personally love that everything is permanent now, everything from someone's body of work becomes instantly and permanently available, or at least is moving in that direction. But it does make starting blind a near impossibility. School gives you the chance to work out those kinks and come out swinging.
You're never going to make enough doing comics to financially justify what you'd spend in tuition on art school. Not here, not SVA, CCS, wherever. You're just not. Unless you're one of those ten or 20 guys who just rakes it in, you're going to earn a modest to comfortable living if you work hard and take advantage of opportunities when the groundwork you've done helps those opportunities to present themselves.
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I think the average is like five years, or somewhere thereabouts, from when a comic artist first starts publishing to when he or she can make a living at it.
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There are a ton of great self-taught cartoonists. But I think about how much more expansive their bodies of work might be, how much stronger their early work might be, if they didn't have to reinvent the wheel while figuring things out, if there was someone there to help them along their way, to turn to with their questions.
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Comics don't have the leeway of depiction that prose has. An image immediately grabs an eye, an expletive alone in a word balloon garners attention.
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So I decided then and there that every book I do from now on, if it is at all historically plausible, they're going to have a female character, someone fun and interesting that can hold her own just as much as the Crogan protagonist. It has nothing to do with marketing. It has nothing to do with being PC. It has everything to do with never having to see the expression of a little girl flipping through my books and feeling like they're not meant for her. They're meant for anyone who likes to read. It was foolish as sin of me to not account for that in the first place, and it's something that I'm sorry for. I'm glad I figured on this notion three books in instead of thirteen.
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I think that readers need a morally straightforward protagonist, almost a cipher, in order to identify with the narrative and place themselves in it. But while we need those characters, we like the ones with whom we could never really identify. Heck, we probably wouldn't want to be near them in real life, but we like them as characters. We love them as characters. I think the danger in using them, in letting them really spread their wings, comes when one tries to make these supporting characters into protagonists. Jack Sparrow is a terrible protagonist, as evidenced by the sequels.
Charles Soule: If You Want It, Then You Can Get It - Чарльз Соуле, музыкант и автор комиксов, говорит о своих проектах (Strange Attractors кажется интересным) и "карьере" комикс-автора.
Nick Spencer on Comics vs. Creativity - короткое видео, Ник Спенсер о разнице между работой над корпоративными франчайзами и собственными проектами.
SUPERGIRL Team on Heroic Choices, Superman Reunion - работающие над "Супердевочкой" Майкл Грин и Майк Джонсон о своём видении персонажа и планах на будущее: Supergirl is the equivalent to someone who went to sleep a normal person and woke up a giant. You have to get used to your new proportions and your new capacity. It's much more sudden and more revolutionary as opposed to a personal evolutionary process. And that's what makes the character to unique to us.
Drawing on Traditions: Yanick Paquette - основной художник Swamp Thing о своей работе над серией и не только: In horror, it works for you because you want an emotional response to something amazingly bizarre. I make sure my restaurants are accurate and people are wearing normal things; all this is for horror later on, because I know that if someone is turning his head just a bit too much for comfort, it's creepy! It's subtle; the most crazy, horrible stuff resides in reality just being a bit off. But doing a convincing reality is art; it takes most of my time, actually.
All in the Family: A Cartooning Roundtable - круглый стол авторов, которые "унаследовали" существующие десятилетия комикс-стрипы от своих родственников. Сказано много любопытного про технику, приёмы и суть этого подвида медиума, но копировать не получается, так что цитат не будет.
Об индустрииОб индустрии:
WHO REVIEWS THE REVIEWER? - ответ автора книги "Leaping Tall Buildings" на "рецензию" Тима Мачмана: Okay, we get it, Marchman’s not a fan of contemporary superhero comics. That’s fine, no one’s twisting his arm but I do disagree with where his finger is pointed. Yes, it’s true neither Marvel or DC has figured out how to get the vast majority of folks who go to the multiplex to see The Avengers or Dark Knight Rises to step into a comic store but, if anything, the creators he’s name-checked are probably responsible for keeping comics alive.
Some words of kindness for DC Comics and Marvel Comics - советы Большой двойке: одним нужно больше Бэтмена, а вторым - больше "всевозрастных" комиксов.
DC Comics and the Continuity Lie.html -о том, что, что бы там DC не говорило, всерьёз упрощать континьюити желания у них нет: If DC is so worried about confusing continuity issues driving readers away, and if they have a real commitment to a fresh, standardized continuity new readers can use as a jump-on point, then WHY OH WHY are they producing so many alternate-continuity projects?
Comic value - о том, что одна из основных нынешних проблем мейнстримных комиксов - попытки быть "взрослыми и серьёзными": It seems that in comic books, the people in the field have been chasing a rather cliched and outmoded view of “legitimate cultural product,” and ended up making dour, uninteresting “serious” art. The tragic irony is that “serious art” isn’t why people loved comics and comic books to begin with.
Where Does "Marvel Comics" Come From? - история происхождения названия издательства и заодно немного о ранних годах существования индустрии.
Growing Up a Gay Comics Reader Part 2: A ‘Star is Born (or, The Maturation of an Industry) - продолжение рассказа о том, каково было подростку-гею быть ещё и фанатом комиксов.
My Ninety Percent. - сравнение мейнстрима и альтернативы медиума как сообществ.
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None of my friends understand me. I hang out with independent cartoonists, far away from the superhero world. I struggle to articulate to them what I find lacking in the alternative comics scene. I tell people that I don’t have a strong sense of community, which obviously baffles my friends in the alternative comics community.
But that is the problem. We are the cartoonists. It’s a community of artists. I never have a strong sense that I belong to something larger than myself. Something greater than what my peers and friends and I have built over these years.
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In alternative comics, it’s never about the art, it’s always about the people who make the art. So-and-so sucks. BUT HE’S SUCH A GREAT GUY! Such-and-such is overrated. HEY, HE STARTED THIS-AND-THAT MOVEMENT. Nobody cares about comics per se; only status within comics. That never sat well with me. The alternative comics community is a circle of back pats. We’re all smiles when we see one another while setting up our flea market tables and we’re all see-you-next-time when we break our tables down at the end of the weekend. Alternative comics lack a basic concern with the artform. It becomes about the personalities involved, and “community,” but ironically, that is the core reason why a broader alternative comics community does not exist.
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Mainstream comics have a stronger sense of community because people are invested enough in them to speak about them. Publicly on message boards and blogs, locally at their favorite comic shops, privately among their friends. I scarcely ever experienced this involvement during my eleven or so years of alternative comics.
О комиксах как медиуме вообщеО комиксах как медиуме вообще:
Confessions of a Cranky Comic Book Cartoonist: Cartoony Comic Books – Threat or Menace? - о том, что лучше: "реалистичный" или более "карикатурный" стиль. Мне сама постановка вопроса кажется странноватой, но статья интересная и с множеством примеров.
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So, what is “realistic”, anyway?
Well, it sure ain’t Neal Adams’ drawing style. Neal’s art is impeccably executed, but it’s an idealization of reality as seen through a perspective from Madison Avenue.
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I studied up on Josh and his approach to drawing comic book art. My impression is that he shoots specific photographs that relate to the scripts he illustrates, uses PhotoShop to trace them, adds backgrounds and props, inks the tracings and, with his impeccable color sense, paints each image digitally. If that’s not accurate (and it may not be, considering my aversion to technology), I apologize to Mr. Middleton, but the final result is some very impressive “realistic” art, even if the pages of original artwork that Josh was selling hand-over-fist to an eager following did resemble extremely well-drawn coloring book art.
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Are the vast majority of modern comic books going for a dark and/or photorealistic approach to storytelling because their publishers think they’re competing with the various live-action films? Or instead, are they trying to attract the attention of live-action filmmakers?
“Literary” Comics - коротко о том, что делает комикс "литературным": Most often comics are considered “literary” because of qualities that are not inherently about language: well-structured narratives, sophisticated plotting, strong characterization, rich themes. These are all factors that tend to highlight the divergence of “literary” comics from the historically more prevalent types: pulp/genre comics and comic strips. Literary is taken up in this way as a sign of quality.
A GOOD IDEA - о том, что претензии к авторам, создающим комиксы исключительно чтобы напроситься на экранизацию, несправедливы и/или беспочвенны.
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Is wanting to expand the audience for your creative endeavors beyond the relatively limited horizons of the comics market really a bad thing?
And have we seriously arrived at a place where it's okay to cheer corporations on as their comic book properties are adapted for film and television, but any and all attempts by individuals to do something similar is scoffed at?
Because here's the thing: Disney and Warner Bros. do not put money into Marvel and DC because they want to make a bunch of great comics for the fans. They do it because they want more Bat Man movies, more Iron Man movies, more Avengers. They do it because they want more cartoons, more video games and more toys. They do it because it's easier to sift through the decades worth of creativity in Marvel and DC's back catalogues than figuring out how to come up with something new.
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I'm not discounting the existence of creators who generate work with the express aim of having it optioned – I have met some of them, I know some of them, I have worked with some of them – but they're in the minority. Most people in comics simply want to tell stories and develop their ideas, either through words or pictures. They aren't that fussed about the movie part. If it happens, great; if it doesn't, so what? The main thing is making comics.
Pop-up Comics And Technological Revolutions - про новые комиксы в мире новых технологий: The problem motion comics seem to have is that they come across like cheap animation. A shallow criticism to be sure, but I think the sentiment warrants deeper introspection. The inherent problem with motion comics is that to experience a comic is to read it. Reading is an active pastime, however sedentary it may look, whereas motion comics are ultimately passive. Even the perfect adaptation of comic to motion comic is just that: adaptation. And the change from active to passive absorption of story is fundamental.
Great Responsibility: The Death-Ray And Daniel Clowes' Film Career - и к слову о: то, как работа над экранизацией "Мира призраков" и Голливуд повлияли на Дэниела Клоуза как автора комиксов.
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Regardless of the motivation, it seems obvious to me that Ice Haven is a reaction to film as Clowes endeavors to put the language and feel of the comic into very comic-book terms. It's as anti-cinematic a comic as I can imagine, fracturing the narrative and look of the comic into newspaper-style strips. There are frequent narrative digressions into killer bunny rabbits and cave men that have nothing to do with the temporal narrative but have significant connections to the emotional narrative that moves in a straight line from strip to strip.
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It doesn't seem to be too much of a leap to see this as a sardonic autobiographical statement about how Clowes felt as an artist while working in Hollywood, especially as he started to take on work that wasn't based on his own comic.
The Nearly “Worthless” Art of Howard Chaykin - анализ нескольких страниц оригинального контура Говарда Чайкина для American Flagg!.
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The thick paste-ups of Bruzenak’s letters which seem so integrated in the comic are now seen in their rough state, the jarring changes in type (sizes, fonts, shape) a soundtrack for the city. The ink lines more clearly reveal their purpose—circular panels rising like thought balloons from the corpse at the bottom of the page, the killer’s face cracked and distorted in its final moments, the final cognitive dissonance of the android.
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It is Oliff’s colors which form the dividing line between the grey marble interiors of Cosmo Jacobi’s office and the dirty red pavement of a back street killing. We might find something comparable in that confusion of sound and image seen at the start of Segio Leone’s Once Upon a Time in America where Robert De Niro remembers the past through an opium haze.
О супергероях и супергероикеО супергероях и супергероике:
Bendis vs. Johns: Conquering the Big Threat - сравнение двух главных имён Большой двойки последнего десятилетия и срежессированных ими Больших Событий.
Heroes Are The New Villains - продолжение размышления над уже поднимавшимся неделю назад вопросом о том, почему герои всё чаще дерутся преимущественно друг с другом. Вывод, правда, делается едва ли не прямо противоположный обычному "верните нам злодеев!".
Quote of the day | No ‘web-sized hole’ - коротко о значимости для читателя героев и значении их трансформаций различными авторами: That’s a frustrating spot to be in: in love with a character while loathing how that character is currently represented. It leads to all kinds of fan outrage, the likes of which we’ve all seen over and over again on countless comments threads and message boards.
The Movie Industry's Kill-Happy Super-Heroes - о разнице отношения к убийствам у супергероев в кино и в комиксах, а заодно и о разнице между супергероическим кино и простым боевиком.
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I think the problem has its root in the fact that The Hero With a Code Against Killing is really only a common element in super-hero comics. In other media, adventure stories tend to be a lot less strict about their heroes' morality.
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. Unlike most other genres in other media, super-hero comics aren't generally designed to be finite. Even when they are, that's no guarantee that someone won't eventually try to wring a little more cash out of them by exploiting the property anyway, but that's something you can read about elsewhere. The point is, a successful comic isn't usually supposed to end. Unless it's specifically built with an ending in mind, it's supposed to keep going for as long as people want to pay money to read it. And when your protagonist kills his enemies, it's pretty difficult to have a recurring villain.
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Movies are a completely different beast. For one thing, they're built differently. Even the ones that are made with a sequel (or trilogy or saga or whatever) in mind tend to be geared towards telling a complete story in and of themselves. They're crafted to include a sense of finality that leaves the audience satisfied, and -- unless the story involves ghosts and the busting thereof -- it doesn't get much more final than death.
That's especially true of Action Movies, and that's where you really hit the snag. Even now, when Batman and the Avengers are making literal billions of dollars at the box office, super-heroes aren't as defined as a film genre as they are in comics. Instead, they're just a subset of the Action Movie genre, which has its own language and conventions and tropes, just like super-hero comics do. And part of that language is that, more often than not, the bad guys die at the end.
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It happens right in the middle of the movie, because Tony Stark's story in that film isn't based around revenge. It's about his transition from being the kind of self-obsessed narcissist who wants revenge into being the kind of hero who will sacrifice himself for others. His journey isn't a quest for vengeance, it's becoming someone who wants something more than that.
Alan Scott and readers through the ages - о том, насколько последние изменения являются "предательством" персонажа, его фанатов и авторов.
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To me at least, all this is rooted in the extent to which fans honor characters’ original creators — but not everything gets the same amount of deference. I doubt seriously that Martin Nodell and Bill Finger thought one way or another about Alan Scott’s sexuality. If pressed I suppose they’d have deemed him straight, because at the time what else would he have been?
Conversely, what difference does it make to have the Alan Scott of the new Earth-2 gay? Does it lessen the chances he’ll father two super-powered kids who’ll become charter members of the JSA’s successor group? Probably. Does it mean that every Alan Scott appearance since 1940 has had him in the closet? Not the way I read it. That Alan, who fought the Axis and defied McCarthy, who teamed up with Hal Jordan and was almost Kyle Rayner’s father-in-law, has gone back into limbo.
The Wonder Woman The World Needs - о Чудо-Женщине, какой она должна быть: This actually might be part of the ongoing problem trying to solidify Diana’s character: she is either too much of a hard-ass that people find her unrelatable, or she is so kind-hearted that she’s not taken seriously as a superhero. So, what is the right balance?
The Problem with Superman - про то, как в последние годы авторы не понимали Супермена: In 2002 Joe Quesada said of DC Comics, "They have Batman and Superman, and they don't know what to do with them. That's like being a porn star with the biggest dick and you can't get it up." It does seem that DC Comics have gone out of their way to prove him right, at least as far as Superman is concerned.
The Reign of Pixie - про Писки, самую, по мнению автора, удачную из сравнительно новых героинь Marvel: In an industry where anybody can write a grim, dark steampunk series and publish it online, it takes a lot more craft to cultivate a fun, innocent character like Pixie and make her into one of the core draws of a decades-old, established franchise.
Jim Phelps, Meet Terry Slon(e) - возмущение превращением Джеймсом Робинсоном старого героя в нового злодея Земли-2. История самого героя тут: Mr. Terrific: The Making of a Villain
Ultimate-вселенная MarvelUltimate-вселенная Marvel:
Bendis Still Sends Me - хвалебная ода Алтимейт Человеку-Пауку Брайана Майкла Бендиса.
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I’m not saying that Bendis’s work on Ultimate Spider-Man is an achievement to be ranked alongside Carroll’s or Baum’s or Sendak’s. That would hardly be comparing like-with-like, after all. I’m simply saying that there are only a tiny handful of quality monthly genre titles that can engage an adult audience while remaining appropriate for younger readers — and Ultimate Spider-Man is one of them.
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To put it another way: I don’t expect a Bendis superhero comic to deliver the kind of introspective reflections on parenting and childhood that I expect from, say, the new Alison Bechdel book (which I recently purchased and am keen to read). I don’t expect his representation of high school to mirror that of an autobiographical cartoonist such as, say, Ariel Schrag. But within the established conventions of the superhero genre, I find his work consistently entertaining, and often brilliant. And I think he deserves the highest praise not only for his current work on Ultimate Spider-Man, but also for his previous decade of scripts for the title.
Ultimate Nick Fury? Why I Loathe And Detest Him Too, The Great Heartless, Egositic Bully - гневная ода о Нике Фьюри.
Review: Ultimate Comics Avengers: Next Generation - рецензия: It's a good thing they put some iron cross tattoos on Ultimate The Red Skull's head, and showed him throwing a baby out the window, because otherwise it's really, really hard to root for Millar's Captain America, upon whose head the "A" stands not for France, but Asshole. As in, Captain America: Total Asshole.
Review: Ultimate Comics Avengers Vs. New Ultimates: Death of Spider-Man - ещё одна сравнительно старая рецензия от того же автора.
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The series was written by Mark Millar, and it was kind of a depressing read in that it seems to fit so seamlessly with what he was doing in his first two volumes of The Ultimates and his Ultimate X-Men and Ultimate Fantastic Four, back when Marvel's "Ultimate" brand and "Ultimate Universe" setting were so carefully constructed and curated by Millar, Brian Michael Bendis and a handful of artists.
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Rather, the "Ultimate" line ran into Jeph Loeb, his strange take on the concepts, the "Ultimatum" cross-over, his Ultimate X, re-titling, re-booting and a general 180-degree turn away from the premise of The Ultimates and the Ultimate line.
In other words, this sort of suggests what might have been, if Marvel and Millar just kept doing what they started out doing, instead of doing what they did.
Отзывы, рецензии и рекомендацииОтзывы, рецензии и рекомендации:
Black Widow: Required Reading - то, что вам стоит про читать о нашей любимой русской шпионке.
Greatest Comic of All Time | Daredevil #220 - Мэтт Сенека о Daredevil #220.
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What makes the best of Mazzucchelli’s pre-alt-comics work so special is how convincingly he was able to pull off the meat and potatoes of superhero action without ever resorting to the lexicon of stock poses, angles, and compositions laid down by Jack Kirby and company in the mid-20th century. Instead, Mazzucchelli’s best pre-Born Again work looks something like action comics by an artist who combines the best of Bernard Krigstein, Raymond Pettibon and Edward Hopper. The slashing, immensely bold brushwork gives straightforward shots of hands and faces the visual might of a great punching panel, and when the punches do start flying his emphasis on figure drawing and realist gesture sells the bones they jar and the blood they draw much better than the kind of amplified blocking this comic makes a point of avoiding would. The approach to violence on display in this issue’s panels is almost a matter-of-fact one, far removed indeed from the balletic fury most comics about fighting strive for. Mazzucchelli saves the high drama for ink-splattered panels of ran falling, buildings jutting into clouded skies, fog turning a city into a collection of grainy gray rectangles.
It’s an atmospheric, deeply dramatic approach to comics art, and yet one that never sacrifices its sense of realism for a big moment. In this, Mazzucchelli is perfectly simpatico with O’Neil and Miller’s story, which is one of the most unremittingly downbeat things superhero comics — even now, but especially in 1985 — have played host to. Had an artist other than Mazzuchelli drawn this comic it wouldn’t be the tour de force it is, but the content would still shock.
Spandexless Reads | 06-07-2012 - хорошая колонка о нескольких интересных вещах (от I Kill Giants до Теда МакКивера) сразу.
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But it’s this quality of interweaving other influences that completes the I Kill Giants picture. The narrative possesses this dramatic core but all around it Kelly and Nimura dress the material with such things as fantasy, manga technique and a somewhat typical outcast of society plot to give the comic its layered appeal. Giants doesn’t really play the one card as it does multiple, yet it still lands the emotional beat near the finale, something that honestly came as a nice surprise.
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When you read a Ted McKeever comic you don’t really read a story per se, more of a sequence of Rorschach tests designed to toss you into his head space. Every manic line on every page drips with the ink of a man frustrated with the world around him, and he just needs to get that feeling out of him and onto the paper before someone gets hurt.
Best of Enemies: A History of US and Middle East Relations – Part One: 1783-1953 - ммм, метафоризированная документалистика!
On Godzilla #1 by Swierczynski & Gane: Reader's Roulette 2:4 /a> - что интересного можно сказать о комиксе про Годзиллу? Вот что: The manly angst of it all powers one cheap melodramatic excess after another, and it would only take a slight twist of the sсript to render Godzilla #1 a highly effective satire of macho adventure fiction.
Comics as Literature, Part 1: The Usual Suspects, Part 2: Memorable Memoirs, Part 3: Spotlight on Will Eisner - серия рекомендаций. Скорее для новичков, но пока список собирается неплохой.
Director’s Commentary – Hannah Berry talks Adamtine - не то чтобы отзыв: автор рассказывает о своём -хоррор-комиксе, разбирая его местами постранично. Комикс кажется любопытным.
RETRO REVIEW: Adventure Comics #384 (September 1969) - снова не отзыв: перессказ комикса про Супердевочку и гендерные роли.
Картинка
Женщина-КошкаЖенщина-Кошка:
DC выпустило... обложку:
Что вы на ней видите? Да, я тоже не сразу заметила, что голова у неё тоже есть.
Интернет, разумеется, отреагировал и очень быстро:
The Internet Attempts to Comprehend Catwoman’s Newest Look
Webcartoonists Respond to the Cover of Catwoman #0
Artists Respond to DC's Back-Breaking 'Catwoman' #0 Cover
Quote of the day | ‘As a person with eyes, I am a little offended’
Разное интересноеРазное интересное
Sugiura Shigeru’s Sense of Humor - заметко об альтернативной юмористической манге с большим количеством картинок.
Вы помните тур по офисам DC? А вот как рабочие места авторов ваших любимых (старых: комиксов выглядели в 70-х годах прошлого века: DC Comics’ Production Dept., 1979 Part 1, Part 2
THE BIG ZERO - приуроченный к грядущему в DC "Нулевому месяцу" рассказ о "Нулевом часе" 1994-го.
On The Ms. Anniversary - О журнале Глории Стайнем Ms. и истории Чудо-Женщины: William Moulton Marston, by generating a very specific, very deliberate contract with DC, singled-handedly kept Wonder Woman in publication and in the public consciousness in some form for at least 45 years.
В честь Бриллиантового Юбилея Елизаветы II история её появлений в комиксах DC и Marvel (и не только) : Now you think an appearance where she's undressed and tied up by Deadpool would be Queen Elizabeth's weirdest Marvel Comics appearance. And you'd be wrong.
Здесь можно целиком прочитать "Bad Medicine" #1 от Oni Press - там же превью второго номера, и всё это без пиратства!
Вещи, которые вы (почему-то) можете купитьВещи, которые вы (почему-то) можете купить:
Статуэтка Джосса Уидона!
Пинбол машины с Людьми Икс!
Ластики в виде героев (и злодеев) Marvel!
Кроссовки Reebok с символикой Marvel!
Флэшки в виде персонажей DC!
Девятикиллограмовый бэтаранг из вашей любимой видеоигры! Я хочу увидеть, как кто-нибудьв кого-нибудь это бросает.
Разное забавноеРазное забавное:
The 10 Worst BATMAN Villains of ALL TIME!
Ten of a Kind: I'm in a phone booth, baby / With the cold wind right outside - телефонные будки на обложках ваших комиксов!
The 16 Worst 90s Superhero Redesigns
The Choose Your Own Adventure Book Where Tiny Batman Fights a Kitty Cat - "Выбери себе приключение" с Бэтменом. Самая лучшая книга в мире! Нет, правда: Of course, what makes this book really awesome is that no matter which of those two deaths you choose for Batman, he ends up getting out of it, beating the living crap out of the bad guys, and throwing them in jail. That might take a little bit of the actual choosing out of the equation, but I tend to choose choose "Batman punching people in the face" over any other option, so I guess it's a wash.
Alternate Reality Character Designs - а что если бы наших любимых персонажей придумали другие люди?
Картинки"Мстители" от Майка Миньолы:
Иксмены от Пикассо:
Женщина-Кошка от Гигера:
Ну, вот теперь можно и отдохнуть
ИнтервьюИнтервью:
Реплика в сторону: когда же Скотт Снайдер уже заткнётся?! Я понимаю: кроссовер, все дела, но есть ощущение, что он вот уже месяц даёт разным ресурсам как минимум по три интервью в неделю. И нет, тут не будет ссылок.
The Alan Moore Interview - архивное интервью 1987-го, данное после размолвки с DC по поводу даваемых комиксам рейтингов. Много интересного, учитывая, что на тот момент дискуссия крутилась исключительно вокруг цензуры.
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It seems very much like a closed book to me now, and it was simply a matter of me quitting the company when I no longer felt that I could abide by their practices. It wasn’t an attempt to bend back that company to my particular way of thinking, and I think that if you re-read my editorial in the [Comics] Buyer’s Guide (printed in Journal #117), I think that somewhere in there I do stress very strongly that if DC wishes to bring in a rating system, then they have every right to do so. But, as a creator, I’m under no obligation to go along with that, and I have the right to take my work elsewhere.
...
One is that in the time since quitting DC, I’ve put DC completely out of my mind, more or less, and have been thinking about other things that I’d like to do. So, you know, just on a purely personal level there are other things that I’m interested in doing now, that don’t really involve DC. On another level, just the behavior of DC as a corporate entity during this time of troubles has, to my mind, left much to be desired.
...
The morality of that is so vague, nebulous, and subjective that I barely want to get into it. But the result of it is that, on a purely practical level, DC were allowing a rather extreme moral stance to go unquestioned, were accepting without consulting any of the other sort of interested parties. I’m not saying that it was actually immoral or the sort of the thing that they’re going to burn in hell for forever. But it wasn’t the way that I’d rather that they’d done business with me. It was something that I found personally upsetting.
...
If people did start, say, for example, treating women more accurately and realistically in their comics, and if those comics were well enough crafted to be superior comics then I would hope that through a process of Darwinian natural selection that there would gradually be less and less sexist material appearing in comics because they would be perceived by the readers as being more and more dated, more and more offensive. That form of pressure I have no qualms against bringing upon people because it seems to me to be perfectly fair and equitable. And there’s no guarantee that I’ll succeed in it. Any other sort of pressure, I really don’t go along with.
CR Sunday Interview: Chris Schweizer - Крис Швайцер, автор серии Crogan Adventures и преподаватель в Savannah College of Art and Design говорит о том, как он дошёл до создания комиксов, о том, как в его жизни сочетаются творчество и преподавание, и о преимуществах образования.
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You mentioned a long-standing tradition of self-training, and I don't think that's exactly true. I think that's a recent development, something that's come about in the last 30, maybe 40 years. Formal comics programs didn't used to exist, but they didn't need to. Some folks went to art school, but even those that didn't, if you worked on a comic, you worked in a bullpen, under the eye and tutelage of your peers and betters. Even after the bullpens died away, you lived in New York, you lived in Ohio, you lived where your editor lived, at least until your strip had found its feet and you more or less had a grasp of what you were doing. You had regular feedback and regular critique; you had schooling, whether you got a diploma or not.
...
It's harder to learn on the job now, too, because nothing is disposable. You can't muddle through your first hundred, two hundred pages anymore, they'll be collected in a trade. The Internet will savage you. All that stuff. I personally love that everything is permanent now, everything from someone's body of work becomes instantly and permanently available, or at least is moving in that direction. But it does make starting blind a near impossibility. School gives you the chance to work out those kinks and come out swinging.
You're never going to make enough doing comics to financially justify what you'd spend in tuition on art school. Not here, not SVA, CCS, wherever. You're just not. Unless you're one of those ten or 20 guys who just rakes it in, you're going to earn a modest to comfortable living if you work hard and take advantage of opportunities when the groundwork you've done helps those opportunities to present themselves.
...
I think the average is like five years, or somewhere thereabouts, from when a comic artist first starts publishing to when he or she can make a living at it.
...
There are a ton of great self-taught cartoonists. But I think about how much more expansive their bodies of work might be, how much stronger their early work might be, if they didn't have to reinvent the wheel while figuring things out, if there was someone there to help them along their way, to turn to with their questions.
...
Comics don't have the leeway of depiction that prose has. An image immediately grabs an eye, an expletive alone in a word balloon garners attention.
...
So I decided then and there that every book I do from now on, if it is at all historically plausible, they're going to have a female character, someone fun and interesting that can hold her own just as much as the Crogan protagonist. It has nothing to do with marketing. It has nothing to do with being PC. It has everything to do with never having to see the expression of a little girl flipping through my books and feeling like they're not meant for her. They're meant for anyone who likes to read. It was foolish as sin of me to not account for that in the first place, and it's something that I'm sorry for. I'm glad I figured on this notion three books in instead of thirteen.
...
I think that readers need a morally straightforward protagonist, almost a cipher, in order to identify with the narrative and place themselves in it. But while we need those characters, we like the ones with whom we could never really identify. Heck, we probably wouldn't want to be near them in real life, but we like them as characters. We love them as characters. I think the danger in using them, in letting them really spread their wings, comes when one tries to make these supporting characters into protagonists. Jack Sparrow is a terrible protagonist, as evidenced by the sequels.
Charles Soule: If You Want It, Then You Can Get It - Чарльз Соуле, музыкант и автор комиксов, говорит о своих проектах (Strange Attractors кажется интересным) и "карьере" комикс-автора.
Nick Spencer on Comics vs. Creativity - короткое видео, Ник Спенсер о разнице между работой над корпоративными франчайзами и собственными проектами.
SUPERGIRL Team on Heroic Choices, Superman Reunion - работающие над "Супердевочкой" Майкл Грин и Майк Джонсон о своём видении персонажа и планах на будущее: Supergirl is the equivalent to someone who went to sleep a normal person and woke up a giant. You have to get used to your new proportions and your new capacity. It's much more sudden and more revolutionary as opposed to a personal evolutionary process. And that's what makes the character to unique to us.
Drawing on Traditions: Yanick Paquette - основной художник Swamp Thing о своей работе над серией и не только: In horror, it works for you because you want an emotional response to something amazingly bizarre. I make sure my restaurants are accurate and people are wearing normal things; all this is for horror later on, because I know that if someone is turning his head just a bit too much for comfort, it's creepy! It's subtle; the most crazy, horrible stuff resides in reality just being a bit off. But doing a convincing reality is art; it takes most of my time, actually.
All in the Family: A Cartooning Roundtable - круглый стол авторов, которые "унаследовали" существующие десятилетия комикс-стрипы от своих родственников. Сказано много любопытного про технику, приёмы и суть этого подвида медиума, но копировать не получается, так что цитат не будет.
Об индустрииОб индустрии:
WHO REVIEWS THE REVIEWER? - ответ автора книги "Leaping Tall Buildings" на "рецензию" Тима Мачмана: Okay, we get it, Marchman’s not a fan of contemporary superhero comics. That’s fine, no one’s twisting his arm but I do disagree with where his finger is pointed. Yes, it’s true neither Marvel or DC has figured out how to get the vast majority of folks who go to the multiplex to see The Avengers or Dark Knight Rises to step into a comic store but, if anything, the creators he’s name-checked are probably responsible for keeping comics alive.
Some words of kindness for DC Comics and Marvel Comics - советы Большой двойке: одним нужно больше Бэтмена, а вторым - больше "всевозрастных" комиксов.
DC Comics and the Continuity Lie.html -о том, что, что бы там DC не говорило, всерьёз упрощать континьюити желания у них нет: If DC is so worried about confusing continuity issues driving readers away, and if they have a real commitment to a fresh, standardized continuity new readers can use as a jump-on point, then WHY OH WHY are they producing so many alternate-continuity projects?
Comic value - о том, что одна из основных нынешних проблем мейнстримных комиксов - попытки быть "взрослыми и серьёзными": It seems that in comic books, the people in the field have been chasing a rather cliched and outmoded view of “legitimate cultural product,” and ended up making dour, uninteresting “serious” art. The tragic irony is that “serious art” isn’t why people loved comics and comic books to begin with.
Where Does "Marvel Comics" Come From? - история происхождения названия издательства и заодно немного о ранних годах существования индустрии.
Growing Up a Gay Comics Reader Part 2: A ‘Star is Born (or, The Maturation of an Industry) - продолжение рассказа о том, каково было подростку-гею быть ещё и фанатом комиксов.
My Ninety Percent. - сравнение мейнстрима и альтернативы медиума как сообществ.
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None of my friends understand me. I hang out with independent cartoonists, far away from the superhero world. I struggle to articulate to them what I find lacking in the alternative comics scene. I tell people that I don’t have a strong sense of community, which obviously baffles my friends in the alternative comics community.
But that is the problem. We are the cartoonists. It’s a community of artists. I never have a strong sense that I belong to something larger than myself. Something greater than what my peers and friends and I have built over these years.
...
In alternative comics, it’s never about the art, it’s always about the people who make the art. So-and-so sucks. BUT HE’S SUCH A GREAT GUY! Such-and-such is overrated. HEY, HE STARTED THIS-AND-THAT MOVEMENT. Nobody cares about comics per se; only status within comics. That never sat well with me. The alternative comics community is a circle of back pats. We’re all smiles when we see one another while setting up our flea market tables and we’re all see-you-next-time when we break our tables down at the end of the weekend. Alternative comics lack a basic concern with the artform. It becomes about the personalities involved, and “community,” but ironically, that is the core reason why a broader alternative comics community does not exist.
...
Mainstream comics have a stronger sense of community because people are invested enough in them to speak about them. Publicly on message boards and blogs, locally at their favorite comic shops, privately among their friends. I scarcely ever experienced this involvement during my eleven or so years of alternative comics.
О комиксах как медиуме вообщеО комиксах как медиуме вообще:
Confessions of a Cranky Comic Book Cartoonist: Cartoony Comic Books – Threat or Menace? - о том, что лучше: "реалистичный" или более "карикатурный" стиль. Мне сама постановка вопроса кажется странноватой, но статья интересная и с множеством примеров.
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So, what is “realistic”, anyway?
Well, it sure ain’t Neal Adams’ drawing style. Neal’s art is impeccably executed, but it’s an idealization of reality as seen through a perspective from Madison Avenue.
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I studied up on Josh and his approach to drawing comic book art. My impression is that he shoots specific photographs that relate to the scripts he illustrates, uses PhotoShop to trace them, adds backgrounds and props, inks the tracings and, with his impeccable color sense, paints each image digitally. If that’s not accurate (and it may not be, considering my aversion to technology), I apologize to Mr. Middleton, but the final result is some very impressive “realistic” art, even if the pages of original artwork that Josh was selling hand-over-fist to an eager following did resemble extremely well-drawn coloring book art.
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Are the vast majority of modern comic books going for a dark and/or photorealistic approach to storytelling because their publishers think they’re competing with the various live-action films? Or instead, are they trying to attract the attention of live-action filmmakers?
“Literary” Comics - коротко о том, что делает комикс "литературным": Most often comics are considered “literary” because of qualities that are not inherently about language: well-structured narratives, sophisticated plotting, strong characterization, rich themes. These are all factors that tend to highlight the divergence of “literary” comics from the historically more prevalent types: pulp/genre comics and comic strips. Literary is taken up in this way as a sign of quality.
A GOOD IDEA - о том, что претензии к авторам, создающим комиксы исключительно чтобы напроситься на экранизацию, несправедливы и/или беспочвенны.
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Is wanting to expand the audience for your creative endeavors beyond the relatively limited horizons of the comics market really a bad thing?
And have we seriously arrived at a place where it's okay to cheer corporations on as their comic book properties are adapted for film and television, but any and all attempts by individuals to do something similar is scoffed at?
Because here's the thing: Disney and Warner Bros. do not put money into Marvel and DC because they want to make a bunch of great comics for the fans. They do it because they want more Bat Man movies, more Iron Man movies, more Avengers. They do it because they want more cartoons, more video games and more toys. They do it because it's easier to sift through the decades worth of creativity in Marvel and DC's back catalogues than figuring out how to come up with something new.
...
I'm not discounting the existence of creators who generate work with the express aim of having it optioned – I have met some of them, I know some of them, I have worked with some of them – but they're in the minority. Most people in comics simply want to tell stories and develop their ideas, either through words or pictures. They aren't that fussed about the movie part. If it happens, great; if it doesn't, so what? The main thing is making comics.
Pop-up Comics And Technological Revolutions - про новые комиксы в мире новых технологий: The problem motion comics seem to have is that they come across like cheap animation. A shallow criticism to be sure, but I think the sentiment warrants deeper introspection. The inherent problem with motion comics is that to experience a comic is to read it. Reading is an active pastime, however sedentary it may look, whereas motion comics are ultimately passive. Even the perfect adaptation of comic to motion comic is just that: adaptation. And the change from active to passive absorption of story is fundamental.
Great Responsibility: The Death-Ray And Daniel Clowes' Film Career - и к слову о: то, как работа над экранизацией "Мира призраков" и Голливуд повлияли на Дэниела Клоуза как автора комиксов.
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Regardless of the motivation, it seems obvious to me that Ice Haven is a reaction to film as Clowes endeavors to put the language and feel of the comic into very comic-book terms. It's as anti-cinematic a comic as I can imagine, fracturing the narrative and look of the comic into newspaper-style strips. There are frequent narrative digressions into killer bunny rabbits and cave men that have nothing to do with the temporal narrative but have significant connections to the emotional narrative that moves in a straight line from strip to strip.
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It doesn't seem to be too much of a leap to see this as a sardonic autobiographical statement about how Clowes felt as an artist while working in Hollywood, especially as he started to take on work that wasn't based on his own comic.
The Nearly “Worthless” Art of Howard Chaykin - анализ нескольких страниц оригинального контура Говарда Чайкина для American Flagg!.
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The thick paste-ups of Bruzenak’s letters which seem so integrated in the comic are now seen in their rough state, the jarring changes in type (sizes, fonts, shape) a soundtrack for the city. The ink lines more clearly reveal their purpose—circular panels rising like thought balloons from the corpse at the bottom of the page, the killer’s face cracked and distorted in its final moments, the final cognitive dissonance of the android.
...
It is Oliff’s colors which form the dividing line between the grey marble interiors of Cosmo Jacobi’s office and the dirty red pavement of a back street killing. We might find something comparable in that confusion of sound and image seen at the start of Segio Leone’s Once Upon a Time in America where Robert De Niro remembers the past through an opium haze.
О супергероях и супергероикеО супергероях и супергероике:
Bendis vs. Johns: Conquering the Big Threat - сравнение двух главных имён Большой двойки последнего десятилетия и срежессированных ими Больших Событий.
Heroes Are The New Villains - продолжение размышления над уже поднимавшимся неделю назад вопросом о том, почему герои всё чаще дерутся преимущественно друг с другом. Вывод, правда, делается едва ли не прямо противоположный обычному "верните нам злодеев!".
Quote of the day | No ‘web-sized hole’ - коротко о значимости для читателя героев и значении их трансформаций различными авторами: That’s a frustrating spot to be in: in love with a character while loathing how that character is currently represented. It leads to all kinds of fan outrage, the likes of which we’ve all seen over and over again on countless comments threads and message boards.
The Movie Industry's Kill-Happy Super-Heroes - о разнице отношения к убийствам у супергероев в кино и в комиксах, а заодно и о разнице между супергероическим кино и простым боевиком.
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I think the problem has its root in the fact that The Hero With a Code Against Killing is really only a common element in super-hero comics. In other media, adventure stories tend to be a lot less strict about their heroes' morality.
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. Unlike most other genres in other media, super-hero comics aren't generally designed to be finite. Even when they are, that's no guarantee that someone won't eventually try to wring a little more cash out of them by exploiting the property anyway, but that's something you can read about elsewhere. The point is, a successful comic isn't usually supposed to end. Unless it's specifically built with an ending in mind, it's supposed to keep going for as long as people want to pay money to read it. And when your protagonist kills his enemies, it's pretty difficult to have a recurring villain.
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Movies are a completely different beast. For one thing, they're built differently. Even the ones that are made with a sequel (or trilogy or saga or whatever) in mind tend to be geared towards telling a complete story in and of themselves. They're crafted to include a sense of finality that leaves the audience satisfied, and -- unless the story involves ghosts and the busting thereof -- it doesn't get much more final than death.
That's especially true of Action Movies, and that's where you really hit the snag. Even now, when Batman and the Avengers are making literal billions of dollars at the box office, super-heroes aren't as defined as a film genre as they are in comics. Instead, they're just a subset of the Action Movie genre, which has its own language and conventions and tropes, just like super-hero comics do. And part of that language is that, more often than not, the bad guys die at the end.
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It happens right in the middle of the movie, because Tony Stark's story in that film isn't based around revenge. It's about his transition from being the kind of self-obsessed narcissist who wants revenge into being the kind of hero who will sacrifice himself for others. His journey isn't a quest for vengeance, it's becoming someone who wants something more than that.
Alan Scott and readers through the ages - о том, насколько последние изменения являются "предательством" персонажа, его фанатов и авторов.
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To me at least, all this is rooted in the extent to which fans honor characters’ original creators — but not everything gets the same amount of deference. I doubt seriously that Martin Nodell and Bill Finger thought one way or another about Alan Scott’s sexuality. If pressed I suppose they’d have deemed him straight, because at the time what else would he have been?
Conversely, what difference does it make to have the Alan Scott of the new Earth-2 gay? Does it lessen the chances he’ll father two super-powered kids who’ll become charter members of the JSA’s successor group? Probably. Does it mean that every Alan Scott appearance since 1940 has had him in the closet? Not the way I read it. That Alan, who fought the Axis and defied McCarthy, who teamed up with Hal Jordan and was almost Kyle Rayner’s father-in-law, has gone back into limbo.
The Wonder Woman The World Needs - о Чудо-Женщине, какой она должна быть: This actually might be part of the ongoing problem trying to solidify Diana’s character: she is either too much of a hard-ass that people find her unrelatable, or she is so kind-hearted that she’s not taken seriously as a superhero. So, what is the right balance?
The Problem with Superman - про то, как в последние годы авторы не понимали Супермена: In 2002 Joe Quesada said of DC Comics, "They have Batman and Superman, and they don't know what to do with them. That's like being a porn star with the biggest dick and you can't get it up." It does seem that DC Comics have gone out of their way to prove him right, at least as far as Superman is concerned.
The Reign of Pixie - про Писки, самую, по мнению автора, удачную из сравнительно новых героинь Marvel: In an industry where anybody can write a grim, dark steampunk series and publish it online, it takes a lot more craft to cultivate a fun, innocent character like Pixie and make her into one of the core draws of a decades-old, established franchise.
Jim Phelps, Meet Terry Slon(e) - возмущение превращением Джеймсом Робинсоном старого героя в нового злодея Земли-2. История самого героя тут: Mr. Terrific: The Making of a Villain
Ultimate-вселенная MarvelUltimate-вселенная Marvel:
Bendis Still Sends Me - хвалебная ода Алтимейт Человеку-Пауку Брайана Майкла Бендиса.
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I’m not saying that Bendis’s work on Ultimate Spider-Man is an achievement to be ranked alongside Carroll’s or Baum’s or Sendak’s. That would hardly be comparing like-with-like, after all. I’m simply saying that there are only a tiny handful of quality monthly genre titles that can engage an adult audience while remaining appropriate for younger readers — and Ultimate Spider-Man is one of them.
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To put it another way: I don’t expect a Bendis superhero comic to deliver the kind of introspective reflections on parenting and childhood that I expect from, say, the new Alison Bechdel book (which I recently purchased and am keen to read). I don’t expect his representation of high school to mirror that of an autobiographical cartoonist such as, say, Ariel Schrag. But within the established conventions of the superhero genre, I find his work consistently entertaining, and often brilliant. And I think he deserves the highest praise not only for his current work on Ultimate Spider-Man, but also for his previous decade of scripts for the title.
Ultimate Nick Fury? Why I Loathe And Detest Him Too, The Great Heartless, Egositic Bully - гневная ода о Нике Фьюри.
Review: Ultimate Comics Avengers: Next Generation - рецензия: It's a good thing they put some iron cross tattoos on Ultimate The Red Skull's head, and showed him throwing a baby out the window, because otherwise it's really, really hard to root for Millar's Captain America, upon whose head the "A" stands not for France, but Asshole. As in, Captain America: Total Asshole.
Review: Ultimate Comics Avengers Vs. New Ultimates: Death of Spider-Man - ещё одна сравнительно старая рецензия от того же автора.
ВыдержкиВыдержки:
The series was written by Mark Millar, and it was kind of a depressing read in that it seems to fit so seamlessly with what he was doing in his first two volumes of The Ultimates and his Ultimate X-Men and Ultimate Fantastic Four, back when Marvel's "Ultimate" brand and "Ultimate Universe" setting were so carefully constructed and curated by Millar, Brian Michael Bendis and a handful of artists.
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Rather, the "Ultimate" line ran into Jeph Loeb, his strange take on the concepts, the "Ultimatum" cross-over, his Ultimate X, re-titling, re-booting and a general 180-degree turn away from the premise of The Ultimates and the Ultimate line.
In other words, this sort of suggests what might have been, if Marvel and Millar just kept doing what they started out doing, instead of doing what they did.
Отзывы, рецензии и рекомендацииОтзывы, рецензии и рекомендации:
Black Widow: Required Reading - то, что вам стоит про читать о нашей любимой русской шпионке.
Greatest Comic of All Time | Daredevil #220 - Мэтт Сенека о Daredevil #220.
ВыдержкиВыдержки:
What makes the best of Mazzucchelli’s pre-alt-comics work so special is how convincingly he was able to pull off the meat and potatoes of superhero action without ever resorting to the lexicon of stock poses, angles, and compositions laid down by Jack Kirby and company in the mid-20th century. Instead, Mazzucchelli’s best pre-Born Again work looks something like action comics by an artist who combines the best of Bernard Krigstein, Raymond Pettibon and Edward Hopper. The slashing, immensely bold brushwork gives straightforward shots of hands and faces the visual might of a great punching panel, and when the punches do start flying his emphasis on figure drawing and realist gesture sells the bones they jar and the blood they draw much better than the kind of amplified blocking this comic makes a point of avoiding would. The approach to violence on display in this issue’s panels is almost a matter-of-fact one, far removed indeed from the balletic fury most comics about fighting strive for. Mazzucchelli saves the high drama for ink-splattered panels of ran falling, buildings jutting into clouded skies, fog turning a city into a collection of grainy gray rectangles.
It’s an atmospheric, deeply dramatic approach to comics art, and yet one that never sacrifices its sense of realism for a big moment. In this, Mazzucchelli is perfectly simpatico with O’Neil and Miller’s story, which is one of the most unremittingly downbeat things superhero comics — even now, but especially in 1985 — have played host to. Had an artist other than Mazzuchelli drawn this comic it wouldn’t be the tour de force it is, but the content would still shock.
Spandexless Reads | 06-07-2012 - хорошая колонка о нескольких интересных вещах (от I Kill Giants до Теда МакКивера) сразу.
ВыдержкиВыдержки:
But it’s this quality of interweaving other influences that completes the I Kill Giants picture. The narrative possesses this dramatic core but all around it Kelly and Nimura dress the material with such things as fantasy, manga technique and a somewhat typical outcast of society plot to give the comic its layered appeal. Giants doesn’t really play the one card as it does multiple, yet it still lands the emotional beat near the finale, something that honestly came as a nice surprise.
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When you read a Ted McKeever comic you don’t really read a story per se, more of a sequence of Rorschach tests designed to toss you into his head space. Every manic line on every page drips with the ink of a man frustrated with the world around him, and he just needs to get that feeling out of him and onto the paper before someone gets hurt.
Best of Enemies: A History of US and Middle East Relations – Part One: 1783-1953 - ммм, метафоризированная документалистика!
On Godzilla #1 by Swierczynski & Gane: Reader's Roulette 2:4 /a> - что интересного можно сказать о комиксе про Годзиллу? Вот что: The manly angst of it all powers one cheap melodramatic excess after another, and it would only take a slight twist of the sсript to render Godzilla #1 a highly effective satire of macho adventure fiction.
Comics as Literature, Part 1: The Usual Suspects, Part 2: Memorable Memoirs, Part 3: Spotlight on Will Eisner - серия рекомендаций. Скорее для новичков, но пока список собирается неплохой.
Director’s Commentary – Hannah Berry talks Adamtine - не то чтобы отзыв: автор рассказывает о своём -хоррор-комиксе, разбирая его местами постранично. Комикс кажется любопытным.
RETRO REVIEW: Adventure Comics #384 (September 1969) - снова не отзыв: перессказ комикса про Супердевочку и гендерные роли.
Картинка
Женщина-КошкаЖенщина-Кошка:
DC выпустило... обложку:
Что вы на ней видите? Да, я тоже не сразу заметила, что голова у неё тоже есть.
Интернет, разумеется, отреагировал и очень быстро:
The Internet Attempts to Comprehend Catwoman’s Newest Look
Webcartoonists Respond to the Cover of Catwoman #0
Artists Respond to DC's Back-Breaking 'Catwoman' #0 Cover
Quote of the day | ‘As a person with eyes, I am a little offended’
Разное интересноеРазное интересное
Sugiura Shigeru’s Sense of Humor - заметко об альтернативной юмористической манге с большим количеством картинок.
Вы помните тур по офисам DC? А вот как рабочие места авторов ваших любимых (старых: комиксов выглядели в 70-х годах прошлого века: DC Comics’ Production Dept., 1979 Part 1, Part 2
THE BIG ZERO - приуроченный к грядущему в DC "Нулевому месяцу" рассказ о "Нулевом часе" 1994-го.
On The Ms. Anniversary - О журнале Глории Стайнем Ms. и истории Чудо-Женщины: William Moulton Marston, by generating a very specific, very deliberate contract with DC, singled-handedly kept Wonder Woman in publication and in the public consciousness in some form for at least 45 years.
В честь Бриллиантового Юбилея Елизаветы II история её появлений в комиксах DC и Marvel (и не только) : Now you think an appearance where she's undressed and tied up by Deadpool would be Queen Elizabeth's weirdest Marvel Comics appearance. And you'd be wrong.
Здесь можно целиком прочитать "Bad Medicine" #1 от Oni Press - там же превью второго номера, и всё это без пиратства!
Вещи, которые вы (почему-то) можете купитьВещи, которые вы (почему-то) можете купить:
Статуэтка Джосса Уидона!
Пинбол машины с Людьми Икс!
Ластики в виде героев (и злодеев) Marvel!
Кроссовки Reebok с символикой Marvel!
Флэшки в виде персонажей DC!
Девятикиллограмовый бэтаранг из вашей любимой видеоигры! Я хочу увидеть, как кто-нибудь
Разное забавноеРазное забавное:
The 10 Worst BATMAN Villains of ALL TIME!
Ten of a Kind: I'm in a phone booth, baby / With the cold wind right outside - телефонные будки на обложках ваших комиксов!
The 16 Worst 90s Superhero Redesigns
The Choose Your Own Adventure Book Where Tiny Batman Fights a Kitty Cat - "Выбери себе приключение" с Бэтменом. Самая лучшая книга в мире! Нет, правда: Of course, what makes this book really awesome is that no matter which of those two deaths you choose for Batman, he ends up getting out of it, beating the living crap out of the bad guys, and throwing them in jail. That might take a little bit of the actual choosing out of the equation, but I tend to choose choose "Batman punching people in the face" over any other option, so I guess it's a wash.
Alternate Reality Character Designs - а что если бы наших любимых персонажей придумали другие люди?
Картинки"Мстители" от Майка Миньолы:
Иксмены от Пикассо:
Женщина-Кошка от Гигера:
Ну, вот теперь можно и отдохнуть
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В продаже – модели котлов объемом от 50 до 1000 литров разного габаритного размера для предприятий общепита, пищевой, косметологической, химической и перерабатывающей промышленности:
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22.02.2024 в 01:10котлы варочные
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В продаже – модели котлов объемом от 50 до 1000 литров разного габаритного размера для предприятий общепита, пищевой, косметологической, химической и перерабатывающей промышленности:
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модели для шугаринга, кальянных смесей, косметики и других блюд, масс и изделий.
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Компания «ЭкоКотёл» предлагает купить варочный котел с доставкой по всей России от производителя.
В продаже – модели котлов объемом от 50 до 1000 литров разного габаритного размера для предприятий общепита, пищевой, косметологической, химической и перерабатывающей промышленности:
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Этот свет имеет множество потенциальных сфер применения, от спектроскопии, в которой свет помогает физикам получить знания о внутренней структуре разных материй, до связи при помощи света.
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