#Jim owsley

[mjwatson-daily]

Spectacular Spider-Man (Vol. 1) Annual #7 Writer: Jim Owsley, Pencils: Alan Kupperberg

[dirtyriver]

Power Man and Iron Fist #116, April 1985, written by Jim Owsley, original art by Mark Bright (pencils) and Jerry Acerno (inks)

[the-gershomite]

Conan the Barbarian Annual #8 -1983- Marvel comics

"Dark Night of the White Queen" (27-38 of 38)

script by Jim Owsley

art by Val Mayerik

letters by Rick Parker

colors by Steven Mellor

[comicarthistory]

Page from Power Man and Iron Fist #124. 1986. Art by Mark Bright and Jerry Acerno.

[misterdtour]

When Spidey Jumped the Shark, Pt. 8: The Tom DeFalco Era

When Spidey Jumped the Shark, Pt. 8: The #TomDeFalco Era of #SpiderMan

We have now reached the Tom DeFalco Era of Amazing Spider-Man, which means the end of this series of blogposts is within sight. Continue reading When Spidey Jumped the Shark, Pt. 8: The Tom DeFalco Era

[ewzzy]

[briefcasejuice]

calm down boy

[dcbinges]

Green Lantern: Emerald Dawn #1 (1989) by Jim Owsley & M. D. Bright

[cryptocollectibles]

The Falcon #1 (November 1983) by Marvel Comics

Wrtten by Jim Owsley, drawn by Paul Smith and Vince Colletta.

[comicbooksaregood]

Spider-Man Versus Wolverine

Volume: 1

Issue: 1

High Tide

Writers: Jim Owsley

Pencils: Mark Bright

Inks: Al Williamson

Colours: Petra Scotese

Covers: Mark Bright

Marvel

[mjwatson-daily]

Spectacular Spider-Man (Vol. 1) Annual #7 Writer: Jim Owsley, Pencils: Alan Kupperberg

[dirtyriver]

Power Man and Iron Fist #118, July 1985, written by Jim Owsley, original art by Mark Bright (pencils) and Jerry Acerno (inks)

[the-gershomite]

Conan the Barbarian Annual #8 -1983- Marvel comics

"Dark Night of the White Queen" (1-26 of 38)

script by Jim Owsley

art by Val Mayerik

letters by Rick Parker

colors by Steven Mellor

[bookoftheironfist]

Power Man and Iron Fist vol. 1 #116 by Jim Owsley, Mark Bright, Julianna Ferriter, Jerry Acerno, and Janice Chiang

Happy New Year to those who celebrate!

2024 is a big year—the 50th anniversary of the first appearances of Danny Rand, Colleen Wing, and Misty Knight—so get your party hats ready!

[istherewifiinhell]

were back to our (ir)regularly scheduled bullshit!

[ID: Splash page with the issue title and creative credits. Megatron is bound up in cables, some plugged into him, effecting repairs. He speaks: Remind me to thank you when i get down from here, Shockwave. Meanwhile, resumption of my command must begin now. Shockwave: You don't seem to understand. These autobots you see lying dead on the ground are there because I put them there. The Decepticons you see barely clinging to life are in that operating mode because of you. Until I intervened, Autobot victory over us was assured.* The evidence says your leadership was faulty, Megatron. Logic says I must assume command of the Decepticons. Editor's Note: *as seen in issue 8 END]

back to the USmarvel, The New Order, issue no. 5! (22-23 UK reckoning) from feb 1985!

Script: Bob Budiansky Art: Alan Kupperberg Letters: Rick Parker Colour: Nel Yomtov Editor: Jim Owsley EiC: James Shooter Digital Re-master by Digikore Studios Limited. Collection Edits by Justin Eisinger and Alonzo Simon. Editorial notes and assistance by Mark. W. Bellomo

now... welcome back digital re-master. just in time for me to rip you a new on... bare with my folks...

so this issue opens with new king bitch in town, shockwave, conducting research into humans via television. so uh.., they put honeymooners in my transformers comic?

[ID: Both images of a Full page B&W illustration, two men stand behind a table, one asking "Whatsa matter Ralphie-boy?" Ralph, staring wide eyed, dead ahead, grips a chair saying "Homina-Homina-Homina!" A woman looks in through a window, with a scowl. 1. The illustration uses blocked inks, and half-tones for the characters, but the background and objects have mid and dark halftones added in an almost painterly fashion. 2. The art now with most of the tones and shading removed, everything left either black, midtone, or stark white. END]

surely. one of these images is higher definition. but which one looks BETTER? now its possible this is actually about which master copies they were working from. perhaps a rights issues? (the uk printing replaces this page with a different image) but i note here ALSO. they removed the artist, Kupperberg's, signature form the bottom left corner. a hateful affair all told.

though, this doesnt just piss me off to see an artist works edited, and made to SUCK! (tho boy does it...) my friends... comrades, fellow bloggers. lend me your eyes. DO they see this the way mine do? cause ill eat my fucking hat if that's not DUOSHADE paper. the infamous medium of many a B&W indie. not familiar? check out my previous blogging on the friendly neighbourhood martial reptiles. but i digress.

if this. this INSULT to my very being wasnt enough. they also recoloured shockwave from a perhaps accidentally stunning shade of magenta to a cool lavender... which i personally just found quite boring. well. most of the time

[ID: 1. UK printing, Shockwave seated on throne like seat, coloured very warm toned purple. He listen to a sports broadcast and says "These humans are even more primitive than I thought." 2. Digital remaster, Shockwave's profile visible, coloured red, as he watches a news reporter. END]

the very first image of this post has another, red shockwave, btw. I suppose, they could be printing or colouring errors, but they could also be lighting/compositional choices by Yomtov (its not uncommon for his foreground characters to be done in monotone, particularly, purple) either way they corrected for it. and to me, this instance just comes of that whatever work flow being used, doesnt even flag the second figure AS shockwave, so a redwave remains...

i stress. i never blame any individual who does this work. its to them, just a job, and why should it not be? my ire is with IDW, and why they enact these "restorations" anyway, and why the fuck people ought to pay new money for old art that has been given so little respect...

anyway reading the print version meant a lot of tabbing between the us and uk printings. which is why i noticed this

[ID: The crediting for the colourist, Nel Yomtov. In the US printing the say "Colors" and in the UK "Colour", the S removed, and a U added. END]

im just amused by the effort taken... surely the kids dont care that much? and yes apparently they do this every time.

JEEZE CREESY WHO CARES. LETS SEE SOME ROBOTS

[ID: Shockwave watching the news, off panel dialogue Reporter: Ms. Beller, you have been called a computer genius even though you're only a few years out of high school. What is your role in this? Beller: It's true I designed the secondary and tertiary oil recovery systems Reveal of Beller, a very young looking woman in a jacket and a hard hat. She continues: --the semi-automated defense system, the refinery's non-polluting digitized micro-scrubbers. But I consider it all just a part of my job. END]

shockwave learns the alarming news that a new female character is being introduced!

[ID: 2 page spread, the bodies of almost every single introduced Autobot are hanging from the ceiling, damaged and "bloodied". Shockwave scrolls under them, saying "Indeed" END]

also. check this shit out

anyway WHATS going on between shockwave and megs?

[ID: Shockwave pointing to the still bound Megatron: You will explain now how you permitted our position to deteriorate so drastically, Megatron. Megatron, mostly off panel: As… Commander… it is your right to demand anything of me. It is my privilege to oblige. END]

OH. its like that huh?

[ID: Shockwave offpanel "--Should logic so dictate." A close on Megatron, he thinks "Talk, Shockwave..." A close on his repairing hand twitching "...talk while you still can!" END]

well maybe not for long...

anyway... turns out the WAS a reason we saw ratchet helping those EMT's

[ID: Ratchet driving into the hospital parking lot. Buster calls out "Ratchet!!" who responds "Greetings, Buster Witwicky how nice to see your carbon-based face again!" Buster asks "Ratchet, where've you been?" END]

I hope your all ready to become extremely endeared by ratchet, or else just put up with it. cause...

[ID: Buster and Ratchet, still in alt mode, continue to speak, while EMTs are searching for the source of this mysterious voice. Buster: If they attacked the Autobots they should all be broken-down junk-heaps by now! Ratchet: Wonderful! I knew your father was a human we could trust EMT 1: I'll look behind the grill, Mel! EMT 2: I'll check under the seat cushion, Gus! Four people react in shock as Ratchet shouts: Do you organic creatures mind? I don't go poking around your mouths to see how you talk, do I? END

my beloved....

[ID: Ratchet on the road, stopped at a red light, as Buster rides inside. Ratchet: Listen, friend traffic signal, we're in a hurry, so if you could please turn green… Buster: It doesn't hear you, Ratchet, it's only a machine. Ratchet: I'm a machine, and I hear you, Buster! Buster: Yes, but you're different, you're-- Inside view as the light turns green. Ratchet: Ahh, he changed! Thank you, friend traffic signal. May the rest of the day find you in proper working order. You see, Buster, you have to learn how to talk to people. Buster: I… I'll try to keep that in mind, Ratchet. END]

this is so charming can we get corey burton and uh. well rest in peace don messick.., so just corey burton twice will do, to record his.

oh and anyone interest in timeline of when tf lore gets introduced (me... thats... mainly just me)

[ID: Shockwave points to Megatron: As always, you underestimate Optimus Prime, Megatron. No, he will not be cut up into wires and microchips. His value is far greater to us if we keep him functional, for it is logical to assume that an Autobot of his stature contains within him--The Creation Matrix! Megatron thinking: By the divine weld! The Creation Matrix is the computer program that allows its possessor to construct new transformer life! Its power is the stuff of legends! Shockwave continues: It is said once every ten millenia a new Autobot leader is chosen and encoded with The Matrix. END]

MATRIX MENTION? everyone have their lore bibles out? someone WRITE THAT DOWN.

[ID: Buster stumbling through the Ark in shock, "N-no… it can't be true! There must be some explanation! There must be! Wait a second… I didn't see Optimus in there…there's still optimus… there has to be--" He walks into a room with Optimus Prime's severed head, plugged into grand machinery. Buster yells "--Optimus!" Prime, weakly: Buster Witwicky… You must help me… you are… the Autobots… last hope…" End card-- Next: Oil Rig Assault! END]

OH MY GOD!

[isfjmel-phleg]

I love the letter pages in the back of many 1990s comics, not only because of the glimpse it gives us of fan reactions, but also because it often gave editors and writers an outlet for their passion for the stories they were telling, and you can really tell when a lot of thought and love went into a book.

For instance, here's Brian Augustyn, editor of The Ray 1994, on the themes of that series:

I'll let you in on a little secret: THE RAY is not a book about superhero battles, or stopping world-beating villains, or even about time travel. It has that stuff and more, but it isn't about that stuff. THE RAY is about a boy trying to get his father's approval. That's it.

And he's right. Ray's relationship with his father (as well as his family in general) is at the heart of the narrative. Even if the two of them are never quite reconciled. Ray also has to face how he has the potential to become like his father, how easy it is for him to become something that he hates, something that compromises his morals and priorities. And in the end, he'll need to make right what his father did wrong.

Augustyn also provides a less serious discussion of the themes through a conversation he had with the series' writer Christopher Priest.

So, Jim Owsley [i.e. Priest] says to me, "Ray Terrill wants to buy a refrigerator, but doesn't know how to interact with the real world. So what does he do, where does he go? This is what THE RAY is all about." I say, "Wait, I thought THE RAY was a comic about nothing..." After a pause fraught with scorn and pity Jim say, "Heh. That's Seinfeld." Jim's the only guy I know who says, "Heh," exactly like that Hawk guy on TV's Spenser for Hire and for that reason alone, I tend to listen a bit harder. Jim continued, "Seinfeld is a television show about nothing, THE RAY is a comic book about something--about a guy who needs to buy a refrigerator." Because I figured I owed him one, I say, "Oh, there's a great idea...but aren't we going to wind up competing for an audience with all those Image comics about guys buying refrigerators--you know, Deathfridge: Harvest Gold and Deathfridge: Avocado, like that?" Again that dramatic, drippingly disdainful pause, then Jim says, "Ah...funny. No, you're not following me. That's what the book is about, but that's not what it's about." Summoning a heaping dollop of disdain of my own I say, "Oh, that's much clearer, thanks." Perhaps feeling a tiny bit defensive now, Jim says, "I mean, that's what it's about in concept; the adolescent coming of age in a troubled modern world, having to deal with all the baggage of dysfunctional family life, you know. The readers will really identify." I say, "So will everyone here at the office, great. So, okay, if that's what THE RAY is about, what's it...about?" Again with the pity, Jim says, "It's about everything else that happens when he goes to get his fridge." I say, "You mean...?" Jim says, "Right...lots of fight scenes!" I say, "Cool!"

There actually is never a scene in the series in which Ray actively tries to purchase a refrigerator, something his squalid studio apartment conspicuously lacks, but his need for a refrigerator is a running theme throughout the series. It typifies the adulting struggles that ground the series; Ray is a nineteen-year-old with zero real-world experience having to live on his own for the first time, and it's quite a struggle. As liberating as his powers are in many ways, being The Ray doesn't pay the bills and provide for food and household needs. He may be a superhero, but the sum total of his furniture is currently a bed, a card table, and a folding chair.

So far will he go to get that refrigerator, metaphorically? At what cost? He does eventually get one--but it comes with an apartment that comes with a job in a company run by Vandal Savage. Ray in a desperate situation is willing to sell out for the help of someone extremely morally questionable, but is it worth it?

Spoilers: by the end of the series...he still has no refrigerator.