Saturday, December 24, 2011
Wednesday, December 21, 2011
Celebrating Wonder Woman, Part Three
Continuing our month-long celebration of Wonder Woman, with some of the best black-and-white illustrations of her ever digitized.
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| By Leonard Kirk |
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| By Thomas Yates |
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| By June Brigman |
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| By Carlos Anda |
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| By Al Rio |
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| By Ben Dunn |
Sunday, December 18, 2011
Eduardo Barreto & Sinbad's Unfinished Voyage
When the criminally under-appreciated artist Eduardo Barreto passed away last Thursday (December 15) 1 at the all-too-young an age of 57, one of the unfinished projects he left behind was "Sinbad and the Coils of the Serpent", a graphic novel he was pitching to publishers in colaboration with writer Christopher Mills.
Here are some character designs he created for that project. They show more clearly than any words I could write that another great talent has left us.
And here is a neat portrait of three famous characters from the comic book publisher Barreto was perhaps most closely associated with in the minds of those who loved his art.
Here are some character designs he created for that project. They show more clearly than any words I could write that another great talent has left us.
And here is a neat portrait of three famous characters from the comic book publisher Barreto was perhaps most closely associated with in the minds of those who loved his art.
Saturday, December 17, 2011
Forgotten Comics: Jake Thrash
Jack Thrash (Malibu Graphics 1989)
Writer: Barry Blair
Artist: Dave Cooper
Rating: Seven of Ten Stars
During the 1980s, Barry Blair and Aircel Comics were front and center for the "black-and-white boom"... and Blair rode the wave as the "black and white bust" crashed onto the shores of comics publishing during the 1990s and ended a very exciting and creativity-filled time in the North American comic book industry... a time of such creativity and comics in such a spread of genres that had not been seen since, perhaps, the 1940s. And at the rate things have been doing in the years since, i don't think we'll ever see it again.
Aircel Comics published some of my favorite comics of that period, and Blair created, wrote, and/or drew many of them. I eagerly awaited the arrival of each new isssue of "Samurai", "Elf Lord" and "Dragon Ring"/"Dragon Force" when those titles were at their height, either as black-and-white comics, or, for a time, color. In fact, I first became interested in game design as possible income source when an idea for an RPG (which was my main vocation from 1993 to 2003, and which continues to be a strong sideline) that could be serialized in the back of "Elf Lord" struck me... and Eiwin Mark, editor at Aircel, seemed interested in the proposal.
The idea ultimately came to nothing as Aircel hit a rough patch during 1988 during the first signs of trouble in the booming alternative comic book market, was acquired by Malibu Graphics, and everything changed. Such is life. (Echoes of that approach to publishing an RPG have been present in NUELOW Games' recent "ROLF!" game line that I've been producing, and it may become fully manifested in a possible new product we are looking into developing... time will tell.)
The notion of an "Elf Lord" RPG wasn't the only thing that fell by the wayside during Aircel's transition. There was the extremely interesting three-issue mini-series "Jake Thrash", a cyberpunkish dark future story about a drifter squaring off against a group of man-eating mutants to save the lives of some young thrill-seekers too dumb to stay out of the bad parts of a war- and toxic-waste scarred urban sprawl. The overall tone of the series, and personality of the title character, was as if the main character from "For a Few Dollars More" had been transplanted from the grimy wild west to an even grimier and wilder dark future.
Two full-color issues of "Jake Thrash" were published in 1987, then sky-rocketing printing costs forced Aircel Comics to convert their titles back to the black-and-white they had started as, the operation was acquired by Malibu Graphics... but the third chapter in the tale of "Jake Thrash" never appeared, an apparent victim of changing market conditions and business decisions.
But in 1989, Malibu Graphics published a "Jake Thrash" graphic novel that collected a six-page teaser that had appeared in several of Aircel's titles prior to the debut of the aborted mini-series, the two issues that had seen print, and the lost third issue between two covers. It was a handsomely designed book that mostly did the material proud. Some of the gray-scale art is a bit muddled, but in general what had been intended to be elaborately colored pages--Aircel's color comics were amazing for what was industry standard at the time--comes across nicely. Dave Cooper's unusual line-art almost looks better this way, so, in the end, a black-and-white Jake Thrash might be been best after all.
Like is so often the case when revisiting something we loved when we were young, I found that reading "Jake Thrash" again 20+ years later, it's not quite as perfect as I remembered it, but it's still much, much better than many modern comics I've had the misfortune of flipping through in bookstores of late. Barry Blair's dialogue is clunky in many spots, and there are times when Dave Cooper's presentation of a fight scene or chase scene is a little hard to follow, but these are minor flaws in what is, generally speaking, a pretty intense reading experience. Blair and Cooper are far more effective and clear in their story-telling techniques than many modern artists and writers and it's a shame that I have to list this book under the "Forgotten Comics" heading.
I find it to be doubly a shame, because, even though I now see the imperfections in Blair and Cooper's work, the scene I remembered the clearest from the book was exactly as I recalled it, and I still consider it one of the greatest comic book moments I've ever read:
Barry Blair passed away in 2010 after spending his last few years drawing comics that can generously be described as "adult comics" or "erotica." His output declined steadily in quality from the mid-1990s on, and Cooper has left the comic book field in favor of children's book illustrations, but during the 1980s, both men produced some excellent material. I will have to revisit more of it in this forum.
Writer: Barry Blair
Artist: Dave Cooper
Rating: Seven of Ten Stars
During the 1980s, Barry Blair and Aircel Comics were front and center for the "black-and-white boom"... and Blair rode the wave as the "black and white bust" crashed onto the shores of comics publishing during the 1990s and ended a very exciting and creativity-filled time in the North American comic book industry... a time of such creativity and comics in such a spread of genres that had not been seen since, perhaps, the 1940s. And at the rate things have been doing in the years since, i don't think we'll ever see it again.
 |
| Writer/Artist Barry Blair |
The idea ultimately came to nothing as Aircel hit a rough patch during 1988 during the first signs of trouble in the booming alternative comic book market, was acquired by Malibu Graphics, and everything changed. Such is life. (Echoes of that approach to publishing an RPG have been present in NUELOW Games' recent "ROLF!" game line that I've been producing, and it may become fully manifested in a possible new product we are looking into developing... time will tell.)
The notion of an "Elf Lord" RPG wasn't the only thing that fell by the wayside during Aircel's transition. There was the extremely interesting three-issue mini-series "Jake Thrash", a cyberpunkish dark future story about a drifter squaring off against a group of man-eating mutants to save the lives of some young thrill-seekers too dumb to stay out of the bad parts of a war- and toxic-waste scarred urban sprawl. The overall tone of the series, and personality of the title character, was as if the main character from "For a Few Dollars More" had been transplanted from the grimy wild west to an even grimier and wilder dark future.
Two full-color issues of "Jake Thrash" were published in 1987, then sky-rocketing printing costs forced Aircel Comics to convert their titles back to the black-and-white they had started as, the operation was acquired by Malibu Graphics... but the third chapter in the tale of "Jake Thrash" never appeared, an apparent victim of changing market conditions and business decisions.
Like is so often the case when revisiting something we loved when we were young, I found that reading "Jake Thrash" again 20+ years later, it's not quite as perfect as I remembered it, but it's still much, much better than many modern comics I've had the misfortune of flipping through in bookstores of late. Barry Blair's dialogue is clunky in many spots, and there are times when Dave Cooper's presentation of a fight scene or chase scene is a little hard to follow, but these are minor flaws in what is, generally speaking, a pretty intense reading experience. Blair and Cooper are far more effective and clear in their story-telling techniques than many modern artists and writers and it's a shame that I have to list this book under the "Forgotten Comics" heading.
I find it to be doubly a shame, because, even though I now see the imperfections in Blair and Cooper's work, the scene I remembered the clearest from the book was exactly as I recalled it, and I still consider it one of the greatest comic book moments I've ever read:
Barry Blair passed away in 2010 after spending his last few years drawing comics that can generously be described as "adult comics" or "erotica." His output declined steadily in quality from the mid-1990s on, and Cooper has left the comic book field in favor of children's book illustrations, but during the 1980s, both men produced some excellent material. I will have to revisit more of it in this forum.
Friday, December 16, 2011
Princesses of Mars, Part Seventeen
We return once again to that far-away and long-ago world where Martian princesses battle creatures while nearly naked.
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| By Sanjulian |
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| By Buzz |
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| By Mike Hoffman |
Wednesday, December 14, 2011
Celebrating Wonder Woman, Part Two
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| By George Perez |
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| By Jose Luis Garcia Lopez |
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| By Georges Jeanty |
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| By Bruce Timm |
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| By Ed Benes |
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| By Adam Warren |
Friday, December 9, 2011
Wednesday, December 7, 2011
The Milla Jovovich Quarterly:
Milla and the Gentleman Who Fell
Milla and the Gentleman Who Fell
Here's the video for "The Gentleman Who Fell" off of Milla Jovovich's 1994 album "Divine Comedy."
(BTW, if you can explain what's going on in the video, you're a smarter person than I.)
Milla models, sings, kicks monster butt, and poses awkwardly above a fireplace with a guitar. Is there anything this woman can't do?
(BTW, if you can explain what's going on in the video, you're a smarter person than I.)
Milla models, sings, kicks monster butt, and poses awkwardly above a fireplace with a guitar. Is there anything this woman can't do?
Celebrating Wonder Woman, Part One
In December 1941, Wonder Woman made her first appearance in "Sensation Comics". Seven decades later, she remains the most iconic superheroine of them all.
Every Wednesday this month, I'm celebrating the debut of Wonder Woman with a selection of artwork by illustrators famous and not so famous.
Happy 70th birthday, Wonder Woman! You don't look a day over 25!
If anyone out there who can draw wants to get in on the Wonder Woman celebration, feel free to send me a picture as a jpg or gif attachment at stevemillermail [at] gmail.com. :)
For more Wonder Woman pictures, visit Steven Lee's online gallery of comics art.
Every Wednesday this month, I'm celebrating the debut of Wonder Woman with a selection of artwork by illustrators famous and not so famous.
Happy 70th birthday, Wonder Woman! You don't look a day over 25!
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| By Jose Luis Garcia Lopez |
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| By Mike Wieringo |
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| By Adam Hughes |
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| By Chris Samnee |
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| By John Byrne |
If anyone out there who can draw wants to get in on the Wonder Woman celebration, feel free to send me a picture as a jpg or gif attachment at stevemillermail [at] gmail.com. :)
For more Wonder Woman pictures, visit Steven Lee's online gallery of comics art.
Monday, December 5, 2011
Will the black-gloved killer face the music?
The Black Glove (aka "Face the Music") (1954)
Starring: Alex Nicol, Eleanor Summerfield, John Salew, Ann Hanslip, and Paul Carpenter
Director: Terence Fisher
Rating: Seven of Ten Stars
An American band leader on a European tour (Nicol) becomes a murder suspect after he is the last known person to see a murder victim (Hanslip) alive. Using a mysterious bootleg recording as his only clue, he sets out to find the murderer.
While spooky black-gloved hands in movies have become associated mostly with Italian murder mysteries, they were presaging villainy and mayhem in films from all nations as early as the 1920s. The association with Italians come to a large degree from their persistent overuse by Dario Argento, but they are on display here both in the American market title and during the murder sequences in a British film.
Although, from a story perspective, the film isn't unlike something that might have been created by Argento, as its full of characters behaving oddly and downright stupidly because the plot dictates it. And the plot is loose to say the least, held together mostly by coincidences.
However, unlike the Argento films that post-date this one by more than a decade, this film is blessed by the superior direction of Terence Fisher. Once again, Fisher takes a modest creation and deploys all its parts in a manner so efficient that he so smooths over all the weaknesses so as to make them almost irrelevant.
Between eliciting a strong performance from lead Alex Nicol and the way he makes sure that the film keeps moving at a lightning-fast clip, you hardly have time to notice the film's shortcomings. Heck, Fisher keeps it moving so fast that even the musical numbers, which in many similar films bring things to a stand-still instead of driving them forward.
"The Black Glove" is another one of the nearly forgotten couple dozen black-and-white crime dramas that Hammer Films produced during the 1950s and 1960s in collaboration with American production companies, first with independent producer Robert Lippert and later Columbia Pictures. Like almost every film Fisher helmed, it is well worth a look.
Starring: Alex Nicol, Eleanor Summerfield, John Salew, Ann Hanslip, and Paul Carpenter
Director: Terence Fisher
Rating: Seven of Ten Stars
An American band leader on a European tour (Nicol) becomes a murder suspect after he is the last known person to see a murder victim (Hanslip) alive. Using a mysterious bootleg recording as his only clue, he sets out to find the murderer.
While spooky black-gloved hands in movies have become associated mostly with Italian murder mysteries, they were presaging villainy and mayhem in films from all nations as early as the 1920s. The association with Italians come to a large degree from their persistent overuse by Dario Argento, but they are on display here both in the American market title and during the murder sequences in a British film.
Although, from a story perspective, the film isn't unlike something that might have been created by Argento, as its full of characters behaving oddly and downright stupidly because the plot dictates it. And the plot is loose to say the least, held together mostly by coincidences.
However, unlike the Argento films that post-date this one by more than a decade, this film is blessed by the superior direction of Terence Fisher. Once again, Fisher takes a modest creation and deploys all its parts in a manner so efficient that he so smooths over all the weaknesses so as to make them almost irrelevant.
Between eliciting a strong performance from lead Alex Nicol and the way he makes sure that the film keeps moving at a lightning-fast clip, you hardly have time to notice the film's shortcomings. Heck, Fisher keeps it moving so fast that even the musical numbers, which in many similar films bring things to a stand-still instead of driving them forward.
"The Black Glove" is another one of the nearly forgotten couple dozen black-and-white crime dramas that Hammer Films produced during the 1950s and 1960s in collaboration with American production companies, first with independent producer Robert Lippert and later Columbia Pictures. Like almost every film Fisher helmed, it is well worth a look.
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