Ever since London Super Comic Con announced Stan Lee as their guest of honour, all eyes have been on the UK’s other big cons to see how they would respond. Well, the first retaliatory shot in the (largely imaginary) battle for convention guest supremacy has now been fired as Kapow Comic Con announced today that Marvel Chief Creative Officer, Joe Quesada will head up their own guest list. Now in its second year, the Mark Millar fronted convention is seen by many as the closest match (in terms of style) to the new born LSCC, so a lot of people have been very excited to see what kind of guest list Millar’s team would pull out in the face of LSCC’s behemoth of a line-up.
As well as serving as Editor in Chief for 10 years, during which time he masterminded much of the modern Marvel universe, Joe Quesada is also a hugely celebrated artist in his own right. A feature that we ran back in October, collecting a selection of his “building the cover” tweets, remains our highest ranking post (largely due to Joe himself being kind enough to give us a shout out on twitter and facebook). While he may not be a household name in the way Stan Lee is, Joe Q is a massive guest in comic book terms and a lot of fans are going to be very happy indeed about this announcement.
Other guests announced for the show include Warren Ellis (another good catch as he’s a relatively infrequent convention attendee), Frank Quitely, Frankie Boyle and Jimmy Carr (who apparently wrote some stuff for CLiNT Magazine). It’s not a list devoid of controversy (it is a Mark Millar project after all) and the failure (once again) to feature any female creators is unlikely to do Kapow any favours when it comes to silencing some of their more vocal critics (the con has been accused of deliberate sexism in the past). Likewise packing the top of the bill with stand up comedians while relegating writers and artists to the lower rungs could be seen as something of a cynical move for a convention that claims to be all about the comics. On the whole though, it’s a pretty solid line up and the majority of fans should be pretty happy.
The official site for Kapow Comic Con 2012 went live today and with it came not only this rather groovy trailer but also some details of the first round of guests. Fans who make their way to the Business Design Centre in North London next May will be able to rub shoulders with the likes of Frank Quitely, Dave Gibbons, (Marvel head of talent) C.B. Cebulski and many more. Kapow spokesman Mark (Kick Ass) Millar has promised an even bigger show next year which, given how good this year’s show was, is a big promise.
There’s already some negative buzz starting to circulate regarding the lack (or rather total absence) of female creators on the initial bill but with the full line up not due to be announced until February, there’s plenty of time to rectify that. the real challenge for Kapow this year will be how it’s supposedly gold standard guest list fares against Super Comic Con’s impressive line up.
You should always try to meet your heroes. There is a reason they’re your heroes. Frank Quitely is a genius. Capable of mixing line work with beautific composition like a parisian master in between the erratic highs of victorian period heroin and a sharp dose of Absinthe. Man’s a magician of the highest order and I respect him greatly. He is an Alan Silverstri. One of those artists that you pull out of the drawer when you want to make a million bucks on a comic book. You could write about Ingrid Bergman’s feet – nobody cares because Silvestri or Quitely’d make them look better than Ingrid’s herself!!
It should also be said that there is a fine art in the meeting of your heroes. One of them is not to tell them loudly about your mate’s baby’s unnaturally hard head. But I did and that was the least of it. I didn’t even limit it to my all time hero, I scattered my absurd intros to any legend of comicdom that’d stop and listen. For f@ck’s sake don’t make eye contact with me – I’ll tell you my Nan’s name!
I arrived at the Kapow Comicon on Saturday with a zen-like attitude towards what would take place. As far as I was concerned I’d roll up with the kit, set up the tables, sell some books and make our way. But this plan was shot to buggery. Firstly, its important to understand that artists do enjoy a certain degree of anonymity as they move around these comic cons. People know them for their work but they don’t know them on sight. Some artists defy this by looking exactly like you think they will. John Romita Jr looks like he’ll plug yer as soon as look at yer on some newspaper strewn street, Dave Gibbons looks like the friendly old penciller you’d expect to see sitting quietly and calmly at a drawing board under a arm lamp finalising the finishing touches on his latest piece, Brian Bolland looks like a gentlemen who can’t let a page go ’til he has lovingly and caringly cross created it like a kindly Gepetto fashioning his wooden boy and so on. Simon Bisley looks like a biker etc, etc. But only when you know who they are – by dint of they’re career they are an invisible presence. They’re an unseen hand, leaving a slap mark on the rump of the comic industry without anybody getting a good look at them.
But they are also the bass guitarist to the Writers lead singer. The artist, at his height is what gives the fans what they need and drives the lyric and lead guitar forward. You get an action sequence, that my friends is the artists guitar solo. Pyow, Nyoooow, rooooooow. (Ahem). They have the capacity to enthrall and infuriate. Its on the strength of their work alone – except for extremely gifted autistics who can read a book front to back in a second – that a book is initially picked up. They’re the good guys who never say a wrong word – cos they never write one down. And I was about to run into a few of them.
The Guinness Book of Records event was being set up at the far end of the event, by the IGN stands and the entrance. An intention to create a comic book using the greatest number of artists in one day. The original script being written by Mark Millar and then possibly expanded upon, I later overheard, by other script writers. It was a great idea. The pages split into three panels, an artist taking on one each and producing a full length comic book to be printed by Marvel comics that afternoon.
Having missed the E-mail I went down to the stand it was all taking place at (by the IGN stand at the front) to sign up which I did. Up on the stage was Leinil Yu and Frank Quitely, quietly finishing their panels. This was a quiet sight with not many people around and the Guinness Book of Records crew oblivious to who was sitting there. They didn’t care. They don’t read comic books. They read the Guinness Book of Records and the Roy Castle Autobiography. Anyway, I found myself in a strange predicament as I was the only one aware of the importance of the two gentlemen sitting in front of me. These were giants of the industry. These were the poster boys for the industry I’m trying to break into. However, they were also practitioners of the art I want to be part of and so should be afforded professional courtesy right. Professional courtesy probably extends to not bothering them while they’re working on a taped off raised table but what the hell – this was Frank Quitely and Leinil Yu.
I said to one of crew ‘, Woah. That’s Frank Quitely and Lienil Yu.’
‘Oh’, he replied politely in a way that I would if someone had said ‘Woah. That’s Tamara Beckwith and Natalie Pong,’ (I made the second name up which gives you some perspective).
‘Who are they?’ The Guinness representative inquire, helpfully, realising he might need to know.
I did well here in keeping calm but I mentioned ‘All Star Superman, X-Men, Hulk, Wolverine’ ‘Geniuses, ‘ and ‘in awe’ at least once.
‘You should meet them.’ the Guinness representative said. What a prick. What f@cking unhelpful, cheerful, friendly prick.
‘No I shouldn’t,’ I said – thinking on some level that I shouldn’t.
In this discourse Leinil Yu stood up. signed off on his panel and started moving off the stage. As he did so Lucy Unwin, the organiser, moved in to shuffle him off. Yu seemed kinda placid and calm. I moved forwards with the intention of talking to him. I stopped short of saying touching him. What would I want to touch him for? Weird. Whatever. It actually wasn’t about touching but by now Lucy was very efficiently whisking Leinil away. However, still sitting unguarded by the surrounding Guinness Book of Records representatives, still oblivious to the pure legend they had sitting amongst them quietly unaware, was Frank Quitely. Now I could be properly mental. As the Guinness representative insisted ahead of me that I should introduce myself as he’s my hero – I felt that pull. The feeling I get when I’m entering uncertain psychological territory and the edges of my behaviour begin to thin. I focussed sharply, trying to occupy my mind on simply introducing myself to my long time hero. So I went the other way. Not wanting to be a fanboy.
So I caught his attention. ‘Vincent,’ I said.
The thing you have to understand is that I had written about Quitely, and Leinil Yu and many other of the other Practitioners present at Kapow (Mark Millar, John Romita Jr, Brendan McCarthy, Dave Gibbons) in a series of articles I’ve written for this site – never once thinking about what it would mean when I met them. I can tell you right now when you’re faced with a hero and hopefully, one day, a colleague you admire and respect the weirdest thing to know – and something I don’t usually – is what school they went to – or their real name. Frank Quitely’s is Vincent, Vincent Deighan. And I’d just used it like I knew him. And I don’t. Never met him in my life. And obviously, neither has he. And now he was looking at me wondering if I knew him.
So things had changed now. I knew Frank Quitely by name and he’d turned and expected a mate or a colleague but it was a man, scruffy like an ancient sheep who came to tell him he loved him. Using your actual name and then telling them you love him didn’t seem apt. So my brain opted for another angle. One that justified the use of his personal name…
BEN MORGAN! Ben Morgan was my partner on the original Beyond the Bunker and lived in Edinburgh. He had claimed a short while ago that he had been drinking with Frank Quitely. ‘If you’re lying Morgan I’ll fly to the South side of the Forth and nut you you bear tree mother f@cker’ I thought at that point. Frank acknowledged the association and said he hadn’t seen him since before he had his son. He then waited quietly while I told him that ‘ things have been rough for Ben recently, he’s only just got a job.’ Who the f@ck cares about Benjamin Morgan my brain was telling me on some level – give him your book, tell him you love him – his WORK – YOU LOVE HIS WORK (F@CK’S SAKE!)
This was supposedly enough of a connection for me so I asked if he was going for a drinks tonight and he said ‘yeah, he most probably would,’ and he asked where was good to go. I didn’t know. I’d been drinking round the area in recent weeks and had completely forgotten the name of any pubs. So now I was arranging to go for a pint with the guy on the basis and that he had had a drink with one of my mates in Edinburgh and a three minute conversation.
I chucked him Moon 1, saying we were making it available to legends (thereby swinging back into fanboy territory again). He seemed to like it, politely flicking through it and nodding occasionally saying it was good.
It’s hard to know what the right response you’re looking for is. ‘This is the finest piece of artwork I have seen for some time! I would like to mentor you and introduce you to the commissioning editors of DC,’ would be nice. So I accepted his acknowledgement that he could see a marked improvement in the work as the book progressed which was nice of him.
I maintained the pub talk and suggested I’d let him know where we were all going if I saw him about the place again. As I maintained the conversation I could feel the dread moment, I could feel mysef heating up as the steady realisation that I was maintaining a sensible conversation with one of my heroes began to dawn on me. I had to back out before I said something stupid (something I proved was an accurate concern later on) and I’m pretty sure my eyes went all boggly. I’m not sure its a visible tick but they were definitely wider than they were meant to be. So I legged it, booked in at 3.30pm to come back and do my stint on the Guinness Book of Records stand.
BE BACK HERE TOMORROW TO SEE WHAT HAPPENED AT 3.30PM
Inevitably as an exhibitioner, even one doing the wander around – you miss things inevitably and there was a hell of line up over the course of the weekend. The day was high end and everyone involved (from IGN, Millarworld, Clint and the Business Design Centre) – had pulled out all the stops. Behind us was Markosia, run by Harry Markos. Markosia is effectively the mainstay of the independent comic book scene. I’d been lucky enough to meet up with Harry once before. We didn’t realise he was behind us until half way through the first day. I arrived at the 2000AD stand too late for a portfolio review because I hadn’t had a chance to find out where it was. The way to define a convention is not just by what you see but what you miss. Turns out, after a little scraping away it becomes clear there were some genuine diamonds just out of sight (if heavily sign posted).
Of course, Mark Millar was present but was effectively operating on an entirely different level to the rest of the place. Like a machiavellian god with Postman Pat hair he was only spotted by us once throughout the entire event. News I had back however was that he was friendly, cordial and helpful about the place. Millar is on a pedestal in an industry populated by people who are often happier being ashamed of themselves and both myself and Dan, when presented with an opportunity to meet him – didn’t want to bother him – advice I could’ve given myself earlier in the day (more on that in another blog). It was inevitable that Millar was going to take some flak across the bows for having the gall to elevate comic books above the level it has been stuck at over the last ten years. Regardless of his intentions or reasons, Kapow was a massive success with things popping out of woodwork all over the joint if you were looking.
Jonathan Ross reportedly nailed a show over on one side of the room while Quitely and Leinil Yu quietly began the proceedings on the Guiness World Record attempt to involve the most people in a single comic book in one day on the opposite side, down by the IGN stand (something I managed to be involved in). The sheer scale of what was taking place was enormous. Chris Hemsworth was in the building at some point for the Thor launch and there was talk of a mystery movie – which clearly was so unimpressive that we still don’t know what it was. Highlighted as Movie X, myself and Dan distracted ourselves from the replaying Batman/ Green Lantern game promos playing repeatedly in front of us by taking guesses as to what it’d be about.
X-Men: First Class? Matthew Vaughn and Jane Goldman (Jonathan Ross’ wife) have close connections with Millar following Kick Ass last year. Thor? Chris Hemsworth in place you’d think they wouldn’t bother flying him over for that one if they could preview the film. Kick Ass 2 was suggested at one point though the liklihood that messrs Vaughn and Goldman knocked out a major sequel quietly with no PR or evidence of production seemed a little far fetched. Things turned again when it was revealed (by a bloke somewhere) that it was an 18 and involved a guy in cape. At that point we gave up. If anybody’d taken a look at the Kapowcomiccon site it clearly said there was preview footage of Hobo with a Gun. Starring Rutger Hauer as the aforementioned hobo it looks like a breakneck ‘Braindead’/ ‘Bad Taste’ mash up. Someone even lets ol’ Rutger do a little ‘burning off the orion belt’ ad libbing while staring at a baby. Nobody expected this? This looks like a great movie! Why don’t they just call it Rutger Hauer is a vengeful tramp! You wouldf have had to have chained me to something to stop me from kicking the doors down to see it!
But there was bigger news in that the Green Lantern movie looks like its back on track. 8 minutes were played of the film – in excess of the 4 available online and everyone was turned as a result. CG more intact, tone a little heavier and more intelligent and obscure images from the original trailer resolved in the new material. This is good news as we here at the Bunker had dismissed the Green Lantern movie as a disappointer of the masses based on the previous output but right now we’ve got the focus back on. I’ll admit Geoffrey Rush as Tomar Re took me by surprise. The whole thing is
Also out there was Attack the Block’s writer and first time director Joe Cornish of Adam and Joe who was doing signings and photos at the IGN stand while I was drawing. The crowd was being ‘entertained’ by a guy who looked and sounded like he’d be happier at the X-Games than a comic convention and locked onto the idea that Spider-man 3 was shit to exactly one person’s noisy agreement. Meanwhile, pleasant man-child Joe Cornish (responsible for my favourite Radio 6 show by the way) was out of sight making geeks happy. Attack the Block is the story of hoodies battling Aliens in South London and was inspired by Joe getting mugged. The empathy of that man is astonishing. But it looks fukkin’ bo muvver! Bare Good! Check it out.
There were folks from Misfits (Iwan Rheon (Simon) and Lauren Socha (Kelly)), Merlin (Colin Morgan (Merlin)), Bradley James (Arthur), Angel Coulby (Gwen) and Katie McGrath (Morgana) as well as folks (Dakota Blue Richards (Franky), Sean Teale (Nick) and Jessica Sula (Grace)) from Skins, World Exclusive Pilot of Falling Skies and Toby Whithouse, the creator of Being Human. Games previews for Super Street Fighter IV 3D Edition, Nintendo 3DS, Lego Star Wars 3, Operation: Flashpoint and Dirt 3 from Codemasters.
Present were Mark Gatiss, Lienil Yu, John Romita Jr, Bryan Hitch, Simon Bisley (which was so last minute I couldn’t find him) Olivier Coipel (apparently), Kevin O’Neill, Paul Cornell (sporting a comedy beard for charity much to his own embarrassment), Noel Clarke, Mick McMahon, Brett Ewins, Brian Bolland, David Lloyd, Andy Diggle, Liam Sharp, Sean Philips, Adi Granov, Chris Weston and Eric Stephenson. Not one of these people I saw.
Ivanna Matilla enhanced massively the artwork in Moon 1 and is ready for more. Iv doesn’t need to work with us at this stage as she’s beginning to get the commissions she deserves. I was pleased to get good critiques on my pencil and ink work from comics editor for Clint Magazine, really great bloke with genuine interest in the scene – who even bought a copy of Moon to add to his collection. In many ways I’ve been aware since Iv’s reactions to some of my line work (constructive of course) that there was room for improvement and I’m stepping up for Issue 2 – you can see a style change and sharpening of the line work by the end of Moon 1, something that was confirmed by Frank Quitely as he flicked through his own copy.
BE BACK HERE ON THURSDAY FOR MASSIVE FALLEN HEROES NEWS! NEW CREATIVE TEAM AND NEW TITLE ANNOUNCED!!
We arrived at Kapow comicon early ready to set up and were presented with a full scale building front featuring Hal Jordan (photos on their way). I’d been in the hangar that is the Business Design Centre, Islington before for a job interview for a creative recruitment consultant position at a neat little place at the back of the hall. Its an enormous hangar space with windows running across the ceiling and the business centre placed in rectangular office spaces at its centre. While there was IGN gaming stands at the front – and a massive red balloon – the convention proper took place on the top of these office spaces underneath the curved hangar roof. Talking about it now we’re pretty sure – given the success of the weekend – it’ll likely upgrade to Excel at some stage but this was the best venue I’ve stood inside for a long old time. The difference was that this time we had a convention under our belts and more than a hundred sales. Kapow was where we were going to prove that Moon can shift against the best of the best – lined up against Gosh! and Markosia et al this weekend was our testing ground – and its fair to say it went well.
Not faultlessly. While Dan was his usually damn organised self I was still me and while I did the things I do best – I also made sure – in order to keep things even- that I create a little weird. In a weekend in which a famous director would refuse to sign our book because it wasn’t his, in which I got a stick of rock I couldn’t get rid of and created a distinctly awkward air around some of my heroes, its fair to say there was an incredible amount of weird. Finding my name on the front of a book I had nothing to do with was a highlight. Over the week I’ll fill you in on what my weekend was like…. I was planning a straightforward single blog but I’ve listed them down and I’ve got a surprising amount of material. A lot of it involving Frank Quitely. Sadly for him. Poor bastard.
But taking to table 72 we were facing the DC stand – I wasn’t aware of a Marvel one. While I sidestepped out pretty much for all of Saturday thanks to my low threshold on caffeine and my attention deficit issues, Dan sat manfully slowly losing his mind to the gods of unreleased gaming. On the opposite view screen, between a table selling fairly lacklustre and pretty unmemorable DC images and a fairly grim looking plastic Superman statue which we began to think was staring us out, was playing three trailers – totalling no more than 5 minutes material in total – on repeat. For the sake of completeness and in order, partially, to drive Dan even more mental I’ve posted the three up below. Trailer for Arkham City (already posted here by Dan), an in game footage preview of Arkham City and the CG trailer for the Green Lantern game.
While all three (the Arkham trailer) in particular are a work of CG art, advancing the cinematic further than its ever been before – if me or Dan see one of these again we are going to take whatever its playing on and send it stone age. We like you IGN but more hour and a half trailers please in future – with musical interludes. Maybe episodes of the Muppet show. Just a suggestion.
The view from above at the Business Design Centre, Islington. Photo by Mitch Layden from Glasgow.
Day 1 of Kapow came and went very well frankly. I have decided to leave Frank Quitely alone tomorrow and I will allay my suspicions that Dave Gibbons stole my pens. My suggestion that Brendan McCarthy doesn’t look much like his picture was a master stroke in introductory conversation. I will now appear in a Marvel comic book (by tomorrow) on a page with Dave Gibbons (artist on Watchmen) as well as The Guinness Book of Records (whenever that’s out). I was given a stick of rock by a child care assistant in a low cut top who got it from a burlesque dancer from the Isle of Wight. I gave it to a Scotsman. Oh, and we sold some books.
That is all.
GIVE ME BACK OUR PENS, GIBBONS!!
(None of this will make any sense until Monday when all will be revealed – possibly with pictures but needless to say its all going very well.)
We here at Beyond the Bunker hope to list the greatest and best creatives in the history of comic books. In a continuing series (available every week on Tuesday) the most innovative, inspirational and important comic book visionaries will be appearing here. Check on the link below to see if one of your favourites has been included yet.
Mark Millar (born December 24, 1969) and is a Scottish Comic book writer. Millar was the highest selling comic-book writer working in America in the 2000s.
Millar was born in Coatbridge on Christmas Eve, 1969 in Scotland and now lives in Glasgow. In case you figured that this goliath of writing formed at the writing desk the beginning of his career was as a teenage fan. Millar was inspired to become a comic book writer following a meeting with Alan Moore (creator of V for Vendetta, Tom Strong, Watchmen and the League of Extraordinary Gentlemen) at a signing session at AKA Books and Comics when he was a teenager in the 1980s. It was not until experiencing financial problems after his parents died that he chose to leave University and become a professional writer. This tragic turn of his life and the introduction to writing as a result presents evidence of what made Millar different from many creatives. Upon suffering financial difficulty he understood that for someone determined and capable enough, writing of comic books could potentially represent a career.
His first job as a comic book writer was while he was still attending school, with Trident’s Saviour with Daniel Valley on art duties. Saviour was one of the most popular titles produced by Trident, mixing, even at that age a postmodernist blend of religion, satire and superhero action in the mix that Millar would become known for on later titles.
During the 1990s, Millar joined the creative team on 2000AD, Sonic the Comic and Crisis. In 1993, Grant Millar, Grant Morrison and John Smith presented a controversial 8-week run called the Summer Offensive in the pages of 2000AD. Morrison and Millar created a street pugilist in the chaviest sense in the pug faced Big Dave, xenophobic, ignorant, thug like man mountain who pummelled and battered his way through absurd and uniquely British threats to civilisation not the least of which a replacement boot-leg robot royal family which he battered blithely into submission to save the British isles. The first part (prog 842) saw Big Dave go up against Saddam Hussein trying to take over the world and turn everyone into ‘poofs’ with the aid od some scary aliens. Terry Waite helps him.
This mental blend of faith in your readership to get the joke, populist WAM BAM and whip crack satire and lack of fear of diving unceremoniously into the draker side of the human psyche (frankly where we are more interesting) is what set Millar apart from all the rest. Even Morrison can often loop back away from pure cynicism but Millar sees the scars in society and picks at them making him a gritty, brave and challenging writer. Which may be why he finally converted Captain America into a soldier who doesn’t kill to a one man weapon of mass destruction with a moral code firmly fixed on the defence of the weak.
Millar’s British work inevitably caught the attention of DC Comics and 1994 Millar was offered the traditional proving ground of new talent and Moore’s most sentimental character tenure some years before, Swamp Thing. Morrison aided with first four-issue run of the title to settle Millar into the title. Predictably however, while Millar’s work on Swamp Thing gained critical credit it continued to perform poorly and the series was cancelled by DC not long after Millar’s introduction. Millar continued to work on DC titles (aided occassionally by Grant Morrison – an unusual arrangement for an established writer – on titles such as JLA, The Flash and Aztek: The Ultimate Man) and working on unsuccessful pitches for the publisher. In the same period, Millar was speaking publicly and candidly about abandoning comics and had begun to mention a horror series named Sikeside for Channel 4. Sikeside was cancelled in pre-production and has recently been optioned by Crab-apple productions for a planned theatrical release.
However, with the ’90s closing down behind him, unceremoniously and with little advancement the decade in which Millar will find his niche and launch Millar into the limelight began. In 2000, Millar recived his big break replacing Warren Ellis on The Authority for DC’s Wildstorm imprint. Assigned with Morrison cohort Frank Quitely to the title, The Authority launched into a more polemic style while continuing Ellis’ original big screen, broad and boundless ideals for the title. This was a team now that wouldn’t tolerate the small minded or the morally dubious powers on earth traditionally ignored by other Superheroes. Now – under Millar the Authority truly represent exactly that – unforgiving, resilient and willing to absolutely do all that is necessary to stop that which they see as wrong. The more severe and militant characters were now brought forwards as the main focus, the Midnighter even more savage and militantly cold, contentedly torturing through electrocution the former Doctor while mysteriously managing to present an entirely different image to the passing guards in a super villain prison at the end of time.
In one short scene, the newly empowered Doctor, having been handed elemental powers over creation in return for restoring the Earth to its former self overwhelms one of the female characters, the Engineer in one of the darkly subtle and emotionally affecting ways ever written in comics. The Engineer is capable of morphing technological acroutements to deal with almost any situation and presents a difficult physical threat to overwhelm for the Doctor. Until the Doctor reminds her of a medical professional at her school as a young girl who kissed her on the back of the neck while they were alone in the school nurse’s office. It is the Doctor, having travelled back, killed the nurse and planted his lips on a vulnerable and undressed little girl – leaving her with ‘a funny feeling you’d carry around for the rest of your natural life.’ This is achieved in three panels. The effect on the reader lasts significantly longer than it does on the Engineer, as a character already referred to as a genocidal maniac tips over into a more insidious and familiar evil. A hero is only as impressive as the enemy he/she overwhelms and Millar is uniquely ambiguous enough in his writing to allow his enemies to represent the worst kind of evil.
He takes this to one hell of a conclusion; because if the threat is overwhelmingly total and unremmiting what need is there for soldiers, warriors and heroes to maintain outdated and realistically outmoded perceptions of moralism in the face of global or personal threats. For thousands of years – as civilisation has prospered and gained increasingly ethical and moral positions, it has always been defended by those willing to push through the boundaries of acceptable conflict. The Second World War heroes were not made from pacifism or saving cats from trees – they were born sadly by meeting carnage and horror with strength, bravery and a willingness to push back just as hard as they were being pushed. From this idea, what would a Captain America realistically forged in the battlefields of Northern Europe and the Pacific be? A pacifist believer in all Human rights or an efficient and exacting defender of the American way. With the creation of the Ultimates – a modern and frankly more realistic interpretation of Marvel’s most iconic American hero would step to the front of the fray, at the forefront of one of the most popular series in the history of comic books. The Avengers everyone has been waiting for.
It would have been the simplest thing to allow the artwork above to illustrate all I would like to say about Frank Quitely. A late starter, like my good self (born Vincent Deighan, 1968, Glasgow, Scotland) he didn’t appear on the comic illustration scene until 1990 and almost immediately set the comics world on fire. Through numerous (but not numerous enough) projects he has revolutionised the look of the greatest and the mightiest of the two biggest comics companies in the world. A fan favourite – his work alongside Mark Millar and most prominently Grant Morrison has proved that the comic industry should rely less on unbreakable rules and the reliability of its staple characters and to rely more heavily on considered, respectful revolution – Quitely speeding the gradual revolution of characters and always making clear missed opportunities by less inspired or less talented artists.
Frank Quitely is a one man visual revolution. Simultaneously exciting, original and edgy he is also traditional, technically near perfect and highly detailed. There is no one in comics complaining about Quitely except that there isn’t enough of his work. Look above. Jesus. He takes the most highly recognisable characters and the sum of all of their character and previous incarnations and compounds and beautifies them – bringing forwards inherent elements that were always there and remained unearthed visually and enhancing the elements that had already been visible.
Take Superman; a man drawn by multiple masters previously in various guises; either adapting the existing image of the Man of Steel or developing their own – however I’d claim that none have taken all of the incarnations and public awareness of Superman and collected them more or as self assuredly as Frank Quitely. At once superhuman and godlike in his actions and stance. Powerful and Human in his build and appearance; the proportions offered plausible and close to perfectly realistic for a powerful human man and simultaneously carrying an expression you could see on anyone you might meet with Superman’s personality; pride, strength, clarity of vision and purpose. In one simple line work Quitely has encapsulated almost every word and panel drawn of one of the most prominent and world-reknowned of the comic book Super heroes.
The ‘next’ at the base of the image an addition by the website I tore the image from but could as easily simply say ‘Nuff said. Move on.’ I was even tempted to simply leave this image as a testament to the natural ability of one of the foremost artists working in the field today.
Following a 14 year career alongside Morrison, Quitely has clocked up star turns with Authority (with Mark Millar) JLA, New X-Men, All Star Superman, WE3 and Batman and Robin. But Quitely didn’t start in comics at all until 1990 – coining the Frank Quitely moniker as a spoonerism of quite frankly in order to cover his real name, Vincent Deighan due to concerns his family would be upset by the content of his first book – the Greens, a rip on the Boons – a comic strip created by DC Thompson. He needn’t have worried.
His awards include;
2005 Best Penciller/Inker Eisner Award for We3 (tied with John Cassaday)
2006 Best New Series Eisner Award for All-Star Superman with Grant Morrison
2007 Best Continuing Series Eisner Award for All-Star Superman with Grant Morrison
2007 Best Artist Harvey Award for All-Star Superman
2009 Best Continuing Series Eisner Award for All Star-Superman with Grant Morrison
I’m going to stop talking and let the artwork above speak for itself. Nice and Quitely.
With the upcoming Kablam! Comicon in London I discovered whilst rolling through the list of legends that no less than 15 people intended to appear in ‘The Practitioners’ are due to appear there. So over the next… um …. 15 weeks – one will be posted each Tuesday until the big weekend. Excelsior!!
All Star Superman 6 (DC, 2006)
Grant Morrison is a scottish comic book writer and playwright born 31 January 1960 who harnesses and embraces the full power of pseudo-science, age old magic and high end zen heavy weaponry in the pursuit of perfect storytelling in comic books, drawing on a bewildering array of sources to bring forth the borderline lunatic and the emotionally real through storytelling as broadly wild as Frankenstein tearing apart a future-human/insectoid master race three billion years in our future at the end days of Planet Earth or permitting James ‘Wolverine’ Logan a respite as he muses at a pin-up girl above the urinals in the Hellfire Club has ‘got the same eyes as that girl in Arnhem Land, 1943.’
All Star Superman
Never scared of the poignant or the difficult Morrison has the canny knack of shifting seamlessly from the scientific explanation of a Voyager Titan mentally preparing to be launched into deep space for centuries in All Star Superman to the very real failure of Scott Summers to retain his marriage in the wake of post traumatic stress he is unable to express in New X-Men. It his acknowledgment of the need to ground – at least to the degree required for a readers’ mind if not in real terms – absurd statements and events with less abstract and more concise human situations and scenarios, underpinning everything with realistic and recognisable reactions.
He recognises, as all great writers perhaps do – no matter how many stars and space cannons are exploding around the main characters – that it is the individual humanity carefully identified by the writer that each character demonstrates that pins the story to the ground and allows it to resonate with the reader. He understands, in the same way that every great writer in any medium did, that if a magical Tempest circles about a Human soul its abstract nature can only be effectively communicated through the soul through means it retains – not simply through the abstract idea of the wind itself. As such Morrison reminds himself to allow his characters to slap their heads in disbelief at his own words if it is in their nature but to allow them to take it in their stride if it is not. It is in these reactions as Lex Luthor remains steadfastly oblivious to the possibility that Clark Kent has saved him as a prison riot rages around them in All Star Superman – assuming, naturally, that he has the situation well under control when in fact Kent continues to use an array of powers beyond his notice to ease his passage and even save him from a blundering Parasite. Kent remaining true to the honest and unassuming character of Superman to great comic effect.
Arcadia Byron of the Invisibles (Vertigo)
Morrison’s first published works were Gideon Stargrave for the brilliantly titled Near Myths in 1978 at the age of 17. Soon followed Captain Clyde, an out of work superhero for the Govan Press, a local newspaper in Glasgow, plus various issues of DC Thomson’s Starblazer, the sister title to the companies Commando title and the New Adventures of Hitler. He spent much of the early 80s touring with his band The Mixers, putting out the odd Starblazer and Zoids strip for DC Thomson.
In 1982 he submitted a proposal for a storyline involving the Justice League of America and Jack Kirby’s New Gods entitled Second Coming to DC. It was dismissed but his fascination of the New Gods no doubt formed the skeleton of the enormous Final Crisis saga in which Darkseid launches armageddon on an unsuspecting world in a second age of the New Gods using Earth and its inhabitants as hosts and demonic incubators. His desire to write DC’s primary superhero group was no doubt sated with his long run on JLA in 1996 to revamp the team and bring it up to date which he pulled off with Rock of Ages, Earth 2 and World War 3 (in no particular order).
At every stage he proved time and time again that he expanded the material handed to him – writing for 2000AD with Big Dave, Future Shocks and the unusually superhuman for 2000AD – Zenith under his wing before his tenure at DC.
The Filth with Grant Morrison and Gary Erskine (2003)
Upon crossing the Atlantic he demonstrated immediately his capacity for reinventing fringe characters and enhancing them beyond the original idea – taking the near unknown fringe character Animal Man and not only imbuing his character with the real reactions of a man who could channel the powers and thoughts of animals nearby to him but forced him to look through the fourth wall at the reader – breaking the indefinable rules of the medium in the process to brilliant effect.
Morrison is known for treating mainstream established titles in the same way as fringe titles and this has earned him a status as the great re-inventor in Modern comics. He was the man to make Scott Summer’s cool again as he took hold of the X-men universe and rang the life out of it – a process he tried to make un-reconnable – Killing 16 Million Mutants and giving Professor Xavier an unborn, evil sister who returns as a mind slug and unleashes the Shi’ar navy all over the mansion. Introducing a cavalcade of new Mutants some as hilariously and poignantly useless as ‘Beaky’ the featherless, beaked bird boy who batters in the head of the newly uber-feline and faux gay Beast. Jean Grey dies but for once is given no reason to return – as psychic hyper-bitch and new headmistress of Xavier’s Emma Frost sways Scott Summer’s exhausted heart, filling the emotional vacancy usually left by Phoenix every time she summarily carks it. Magneto is beheaded after destroying half of Manhattan and Xavier’s approaches an actual curriculum and focusses on its students for the first time in its history.
Jean and the Beast (New X-Men, 2002)
Morrison often – whether intentionally or not – represents the discussion boards and blogs of the fans – testing theories that are discussed hypothetically on public pages that no one expected to see them on. Batman is killed and returned and given a son in Morrison’s watch. Jason Todd effectively returns breaking the almighty unwritten rule of comic books – partly you suspect out of sheer bloody mindedness. Morrison finally being characteristically brave to investigate the reality of Dick Grayson under the cowl.
Dick Grayson as Batman (Batman, 2009)
The content of his independent titles have become mainstream – for good or ill – leaving many readers of Final Crisis utterly confused as to what was taking place – an abstract Superman tale in which he passes through multiverses in order to combat an abstract thought form made real in storytelling in an ephemeral world populated by reality vampires via a limbo championed by an indifferent Woody Allen-alike in a jesters outfit in order to save Lois Lane in between her penultimate and final heartbeat borders on the lunatic – but is incredibly detailed and worth the three reads it takes to fully grasp the deliberately overlapping realities thrown at it.
Morrison clearly found a like mind in penciller Frank Quitely, bringing to life the inner workings of Professor X’s mind in New X-Men, the gnarled and diseased but lithely libidoed geriatric in Lust for Life from Jamie Delano’s 2020 Visions (Speakeasy comics, 2005), scraping by each other by two volumes of the Authority – Morrison on Volume 4 with Gene Ha and Quitely on Volume 2 with Mark Millar, empowered the new JLA with a little much-needed modern sheen in the book of the same name in the early naughties and reinvented the greatest super hero of them all in All-Star Superman.
But it was WE-3, the story of three prototype ‘animal weapons’ as they flee the project that ‘enhanced’ them encapsulates the creative partnership. Morrison was meticulous as ever with his descriptions and insisted on consistent and protracted revisions of minute details from Quitely in order to produce a work of rare and fine quality. This certainly was achieved as it was released via Vertigo imprint in 2004 to public and critical acclaim. Morrison’s subtlety and nuance of character supplied each of the fleeing and desperate central characters; a rabbit; a cat and a dog a bewilderingly believable character each recognisable as an individual and the drives and psychology of the animal in question. Morrison’s capacity for invention supplied the narrative with a relatively basic speech pattern simulator for each of the animals allowing them to emote through limited cognitive language in a way not human but beyond its species. The effect is a dizzying, gripping and poignant story of extreme science inflicting havoc and chaos on three innocents’ lives – each reacting in their own very specific way. In many ways WE3 is exceptional and as near perfect as a comic book can get because it uses – perhaps most transparently and as such to best effect – Morrison’s greatest creative methodology – to recognise inherent and recognisable characteristics in vulnerable and capable beings and then inflict seven hells of pseudo lunacy on them – in whatever form seems most fun!
We3 (2004, Vertigo) by Grant Morrison and Frank Quitely