my-comic-monster-tyshekka

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merry christmas tolkien fandom

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Frank Cho's Wonder Woman Covers

Starting a new chapter in my career - Drawing Wonder Woman covers for DC.

– FRANK CHO

larger scans at http://apesandbabes.com/?p=5319

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i am not immune to Character Who Has Been Called from the Start to do an Act of Good that They Will Not Survive.

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(Amazing Spider-Man #11, Apr. 1964 - Stan Lee, Steve Ditko)

So Otto's grand return is kind of convoluted, and kind of slots him into a role where any returning villain probably would've fit. It's honestly more about the ongoing Peter/Betty Brant romantic storyline, which I haven't commented on at all because it's not very interesting and I know how quickly it becomes irrelevant.

Betty's dark secrets that have previously been hinted at are revealed this issue. Basically, her brother back in Philadelphia owes some major gambling debts to a mob guy named Blackie Gaxton, and to repay his debts he's arranging for Doc Ock to break the mob guy out of jail. Betty is in on this because she dropped out of school and took her job at the Bugle so that she could try and help her brother get out of debt. Otto agrees because he's being paid a lot and that'll help kickstart his new career in crime. It's a lot.

Blackie Gaxton. Terrible name. Great face, though. Please appreciate it now, because he's never appearing in another issue.

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The original six issue INCREDIBLE HULK series (1962-1963) was kind of a thematic mess, with Lee and Kirby never really landing on an approach.

Ditko drew the last issue, and this sequence is pure Ditko plotting, with the Hulk only partially transforming into himself, and forced to use a conveniently available Hulk mask to hide Bruce Banner's face.

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Bruce Timm about Jack Kirby influence

The funny thing about Kirby is that I actually became stylistically influenced by him pretty late—probably in my early 20s. I had seen his stuff and been influenced by other artists, but I was always a little ambivalent about his artwork. I would go through these love/hate periods with it, where I would look at it and think, “It's pretty good, but if only it wasn't so weird and abstract. If only he had a better inker"—I'm talking about the DC stuff. Of course, now I look back on the DC stuff and it's some of my favorite stuff. The Mike Royer stuff is killer. Somewhere in my early 20s, just from looking at it more and more, I just really started grooving on it and started aping it. There was a time when I was definitely trying to mimic Kirby's style. Everybody looks at Kirby and thinks it's so weird and obvious that anybody could swipe it, but it’s a lot harder to do than you realize.

Crystal (Marvel Comics) by Jack Kirby

There're certain things in the staging and the exaggerated action poses, that are definitely in my work— some of his usage of those great slashy straight lines he uses in place of muscles. If you use those weird, straight lines as a crutch to cover up a bad drawing, they don't really have much purpose. But to get certain thrusts or lines of action into your drawings, they're a great tool. Some of the abstract ways he does wrinkles on clothing and things like that are good comic book tricks I use in my own work.

Bruce Timm's Kirby-esque Crystal

Every time we have done Kirby-based designs in our shows, we have found that the more you try to stick to the actual Kirby-ness of it, the more it loses. Everything about animation is exaggeration. The Kirby style is somewhat abstract, it has to be translated. You have to find a middle ground between what Kirby did on the comic book page and what can actually be animated. We're always pushing Kirby onto our younger board artists who've never really been exposed to his work. “This is an example of good staging. This is an example of a good round-house punch. This is an example of a good explosion." Even though it will have to be translated, the dynamism of Kirby is a good starting point for animation.

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Fake vintage cover by Darwyn Cooke

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AMAZING SPIDER-MAN #2

Spider-Man “Duel to the death with The Vulture”

(Stan Lee, Steve Ditko, John Duffy, Art Simek)

1963

FUN FACT #36: Spider-Man doesn’t do well with slippery surfaces.

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THE AMAZING SPIDER-MAN #2

“Duel to the death with The Vulture”

1963

(Stan Lee, Steve Ditko, John Duffy, Art Simek)

FUN FACT #37: Out of all the newspapers and magazines, Peter Parker chose to sell his Spider -Man pictures to J. Jonah Jameson out of spite.