X-men

Practitioners 49: Jack Kirby (Part 3)

In November 1961 The Fantastic Four #1 hit the newsstands across America. The story of four uniquely powered individuals related to each other as relatives, in friendship and purpose, revolutionised the industry. Although clearly reminiscent of hundreds of Sci-fi books before this had a comparative naturalism to it that hadn’t been seen before blended with a cosmic purview informed by boundless imagination. It was powered by Marvel Editor-in-chief Stan Lee and seasoned comics artist Jack Kirby.

For almost a decade, Kirby provided Marvel’s house style, co-creating with Stan Lee many of the Marvel characters and designing their visual motifs. At Lee’s request he often provided ‘new-to-marvel artists ‘breakdown’ layouts, over which they would pencil in order to become acquainted with the Marvel look. As artist Gil Kane described:

‘Jack was the single most influential figure in the turnaround in Marvel’s fortunes from the time he rejoined the company … It wasn’t merely that Jack conceived most of the characters that are being done, but … Jack’s point of view and philosophy of drawing became the governing philosophy of the entire publishing company and, beyond the publishing company, of the entire field … [Marvel took] Jack and use[d] him as a primer. They would get artists … and they taught them the ABCs, which amounted to learning Jack Kirby. … Jack was like the Holy Scripture and they simply had to follow him without deviation. That’s what was told to me … It was how they taught everyone to reconcile all those opposing attitudes to one single master point of view.’

Highlights from the House of Ideas other than the Fantastic Four include: Thor, the Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, Uatu the Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city Attilan and the Black Panther – comic’s first black superhero – and his African nation Wakanda. Last year and 2010 Thor, Iron Man and the X-Men grossed worldwide ($1,425,062,845) One Billion, four hundred and twenty five million, sixty two thousand, eight hundred and forty five dollars (A combination of $623,933,331 for Iron Man 2, $448,512,824 for Thor and $352,616,690 for X-Men: First Class). This was begun by two men, one of which was Jack Kirby. They cemented the concepts so clearly that while developed, the core values remain. All of them have the best writers, directors and actors vying to be a small part in the development of these ideas formed 51 years ago. Decades of the most talented artists have looked to Kirby for inspiration. His ideas as only presented more clearly, barely changed from the original concept design – perhaps drawn, in one case, on a table in Brooklyn many years before – with thoughts of war he hadn’t yet been called on to fight in his mind.

In March 1964, Simon and Kirby’s Captain America was also incorporated into Marvel, Kirby approving Lee’s idea of partially remaking the characters as a man out of his time and regretting the death of his partner. The suit returned almost exactly as it had been 23 years before. Last year, Captain America made $368,608,363 at the box office as Kirby’s suit stepped, again almost unchanged close to 70 years after the day it was designed on the back of Chris Evans.

In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.

Kirby continued to push the industries boundaries, devising photo collage covers and interiors reminiscent of ’80s artists in England playing with sellotape and photocopiers. Developing new drawing techniques such as the method of depicting energy fields known as ‘Kirbydots’ and other experiments. Able to handle high detail, explosive composition, emotion, perspective, conceptualisation and design – it was Kirby’s sense of scale that blows many artists away. Alien engines dwarf figures in certain panels, coils, springs and rivets collected together in such ways that they seem to be an optical illusion. Perspective twists in some of his environments such as Mr Fantastic’s lab in a way that somehow bends the eye. Many generations of artists have dismissed Kirby as dated or unsophisticated until presented with his depictions of machinery and the Silver Surfer.

A character of incredible simplicity, divinity and … just … cool. The concept of a humanoid riding the waves of space at incredible speeds highlights the natural beauty and associations with divine advancement incorporating the universe around it and the increased simplicity it brings. But none of that is said. But all of it is inherent. A perfectly formed, universally accessible character made even more interesting by Stan Lee by being a good man acting as herald to a being of unimaginable power. Again, the genius of the character is that it is a perfect template that can be adapted into anyone’s style. Much like any Kirby character you can mention. The simplicity and intuitive details he applies are often so universal that they are only more interesting with each new reinterpretation. While Iron Man had to inevitably change as technology developed, Thor still carries the same Hammer and wears the same white riveted top, Captain America still has his Red, White and Blue, the star on his chest and the skull cap design applied to him in the newest incarnation, the Ultimates, by Bryan Hitch is a throwback to Kirby’s original design, Hulk remains Green (as he was in his second appearance) and even had a Grey countenance as Peter David’s Joe Fixit in the ’90s – a nod to the original design. Black Panther, Magneto, The Inhumans and Attilan have also only ever been refined – never redesigned. This is the testament to the lasting influence of Kirby. Even the X-Men have retained the yellow and blue of their original uniforms for more than 45 years. Somehow Kirby just knew. Wiser than the rest of us what he put down on paper worked and generations of artists have never cracked how to improve on his original designs.

Yet, Kirby grew increasingly unhappy at Marvel. The reasons given for this included resentment over Stan Lee’s increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman and at Marvel specifically for lack of credit for his story plotting, character creations and co-creations. He began to both script and draw some secondary features for Marvel, such as “The Inhumans” in Amazing Adventures, as well as horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.

Spending nearly two years trying to negotiate a three year contract with the option of staying on a further two additional years. In 1970, at the age of 53, Kirby joined DC and immediately started creating a ‘Fourth World’. A trilogy of New Titles – New Gods, Mister Miracle and The Forever People. He took on Superman’s pal Jimmy Olsen because the series was without a stable creative team and he didn’t want to be responsible for losing anyone their job. The central villain of the Fourth World, Darkseid, and some other Fourth World concepts appeared in the pages of Jimmy Olsen before being launched as their own series, giving greater exposure to potential buyers. Jack Kirby remained an incredibly shrewd operator, still demonstrating the guile and forward thinking that is expected of great creative directors. Though here he was without a company, working as he had always wanted to. As a creative.

Kirby had a lasting effect on DC too, leaving characters that have recurred or consistently remained in the DC Universe, though not as centrally as the Marvel Universe. These included OMAC (seen in the Final Crisis crossover of 2009), Kamandi, The Demon, The Losers, Dingbats of Danger Street, Kobra and together with old partner Joe Simon for one last time, a new incarnation of the Sandman.

But it had to be said that rather than Kirby having Marvel blood in his veins, Marvel ran on Kirby Engine Oil and the company would always have taken him back. In 1975, Stan Lee used a Fantastic Four discussion panel to announce that Kirby was returning to Marvel. Ever the showman, Lee wrote in his monthly article ‘Stan Lee’s Soapbox’ that “I mentioned that I had a special announcement to make. As I started telling about Jack’s return, to a totally incredulous audience, everyone’s head started to snap around as Kirby himself came waltzin’ down the aisle to join us on the rostrum! You can imagine how it felt clownin’ around with the co-creator of most of Marvel’s greatest strips once more.”

Back at Marvel, Kirby both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention in primordial humanity would eventually become a core element of Marvel Universe continuity. Kirby’s other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey, as well as an abortive attempt to do the same for the classic television series, The Prisoner. He also wrote and drew Black Panther and did numerous covers across the line.

Still dissatisfied with Marvel’s treatment of him and with the companies refusal to provide health and other employment benefits, Kirby sadly left Marvel to work in animation. In that field, he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disney’s Treasury of Classic Tales syndicated comic strip in 1979-80.

In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish a creator-owned series Captain Victory and the Galactic Rangers, and a six-issue mini-series called Silver Star which was collected in hardcover format in 2007. This, together with similar actions by other independent comics publishers as Eclipse Comics (where Kirby co-created Destroyer Duck in a benefit comic-book series published to help Steve Gerber fight a legal case versus Marvel), helped establish a precedent to end the monopoly of the work for hire system, wherein comics creators, even freelancers, had owned no rights to characters they created.
Though estranged from Marvel, Kirby continued to do periodic work for DC Comics during the 1980s, including a brief revival of his “Fourth World” saga in the 1984 and 1985 Super Powers mini-series and the 1985 graphic novel The Hunger Dogs. And in 1987, under much industry pressure, Marvel finally returned much of Kirby’s original art to him.
Kirby also retained ownership of characters used by Topps Comics beginning in 1993, for a set of series in what the company dubbed “The Kirbyverse”. These titles were derived mainly from designs and concepts that Kirby had kept in his files, some intended initially for the by-then-defunct Pacific Comics, and then licensed to Topps for what would become the “Jack Kirby’s Secret City Saga” mythos. Marvel posthumously published a “lost” Kirby/Lee Fantastic Four story, Fantastic Four: The Lost Adventure (April 2008), with unused pages Kirby had originally drawn for Fantastic Four 108 (March 1971).
On February 6, 1994, Kirby died at age 76 of heart failure in his Thousand Oaks, California home. He was buried at the Pierce Brothers Valley Oaks Memorial Park, Westlake Village, California.

Kirby’s legacy is enormous. Grant Morrison’s Final Crisis crossover hinged on Kirby’s Fourth World – specifically Darkseid himself – inflicting themselves on Earth, Captain America still leads the Avengers / Ultimates in colours picked out for him by a man he could have fought in the war with. The Hulk continues to smash, the Surfer continues to glide through the Marvel Universe. Artists around the world look to Kirby’s example of steadfast, unfussy iconography, simple, effective design and dizzying compositions. A generation of Marvel artists were trained by him. But more important than that, Jacob Kurtzberg of Suffolk Street, New York City built dreams others could build upon while simply building his own. He has influenced and inspired thousands of creatives (including this one) and built a House of Ideas that millions of people continue to enjoy. Kirby is a true legend to those who know, possibly the greatest comic book artist who ever lived. Responsible for the Incredible Hulk, Iron Man, Captain America, Thor, Mr Fantastic, Invisible Woman, the Thing and The Human Torch. If they existed, all of them would have visited the grave of Jack Kirby. The Hulk would have stood in the rain over Kirby’s resting place, a giant over a small guy’s crypt and simply said ‘Goodbye Dad’. With that, the broad shouldered goliath would turn and launch himself up into the sky, disappearing into the distance. If Kirby, lying where he was could see it he’d have thought ‘Good angle, but perhaps it could be just a little tighter…’

Practitioners 48: Frank Miller (Part 1)

Frank Miller is an American comic book artist, writer and film director best known for his brooding, dark, film noir depictions of famous comic characters and the development of noir dystopias, Batman: The Dark Knight Returns, Sin City and 300, Ronin and Daredevil: Born Again. Batman : Dark Knight Returns is viewed as a seminal work in comics history, mandatory for any that want to understand what (along with Alan Moore’s Watchmen) changed the face of comics so dramatically in the 1980s. He is also, nowadays, a liberal hate figure after outspoken statements regarding protest camps in the US and UK against multinational corporations. This, among other things, has placed a pall over his previous work, calling into question his politics and views on women, crime and society.

Miller was born in Olney, Maryland and raised Montpelier, Vermont, the fifth of seven children of a nurse mother and an electrician/ carpenter father. He was raised as an Irish Catholic.

Setting out to become an artist, Miller recieved his first published work at Western Publishing’s Gold Key Comics imprint on the comic book version of The Twilight Zone, drawing ‘Royal Feast’ in issue #84 (June 1978), and “Endless Cloud” in #85 (July 1978). Jim Shooter, one-time Marvel Editor-in-chief recalled Miller’s attempt to join DC, emboldened by his sign up with Western Publishing. “He went to DC, and after getting savaged by Joe Orlando, got in to see art director Vinnie Colletta, who recognized talent and arranged for him to get a one-page war-comic job”.

Miller’s first listed work is the six-page “Deliver Me From D-Day”, by writer Wyatt Gwyon, in Weird War Tales #64 (June 1978). A two-page story, however, written by Roger McKenzie and titled “Slowly, painfully, you dig your way from the cold, choking debris…”, appears in Weird War Tales #68 (Oct. 1978). Other fledgling work at DC included the six-page “The Greatest Story Never Told”, by writer Paul Kupperberg, in that same issue, and the five-page “The Edge of History”, written by Elliot S. Maggin, in Unknown Soldier #219 (Sept. 1978). and his first work for Marvel Comics, penciling the 17-page story “The Master Assassin of Mars, Part 3” in John Carter, Warlord of Mars #18 (Nov. 1978).

Miller’s style was never super hero orientated but in an industry that was he had little choice but to pursue it, practicing the form and bringing Superheroes to life well enough to secure a position as regular fill-in and cover artist on a number of titles, including Peter Parker, Spectacular Spider-man #27–28 (Feb.–March 1979) which featured a character that grabbed Miller’s attention. As Miller recalled in 2008 “… as soon as a title came along, when [Daredevil signature artist] Gene Colan left Daredevil, I realized it was my secret in to do crime comics with a superhero in them. And so I lobbied for the title and got it”

Although still conforming to traditional comic book styles, Miller introduced his noir style to the pages of Daredevil on his debut, joining on a finale of an ongoing story written by Roger McKenzie. Living in Hell’s Kitchen in the 1980s Miller sketched the roof tops of his surrounding neighbourhoods and imbued the title with a greater accuracy than fans had seen before. New York was now a more dangerous place. His work was cited as reminiscent of German Expressionism’s dramatic edges and shadows as the Red Devil fought mostly now at rooftop level, among the water towers, pipes and chimneys.

Miller’s run was successful enough to bring Daredevil back from being a bi-monthly title to a monthly one but that was far from the limit of the success. With the departure of Roger McKenzie, Miller took over as writer and penciller, with long time collaborator Klaus Janson on inks introducing a skittish, visceral feel. Art became to form. Violence bled (within the limited parameters of the Comics Authority), fear was felt, anger and danger were portrayed. Everything was comics +. This was a slightly more frenetic, powerful version of the superhero canon – the focus on the darkness in the lives of the bright tights. Issue #168 saw the first appearance of the ninja mercenary Elektra, who despite being an assassin-for-hire would become Daredevil’s love-interest. Miller would write and draw a solo Elektra story in Bizarre Adventures #28 (Oct. 1981). This further characterised Miller’s work on Daredevil with darker themes and stories. This peaked when in #181 (April 1982) he had the assassin Bullseye kill Elektra. Miller finished his Daredevil run with issue #191 (Feb. 1983); in his time he had transformed a second-tier character into one of Marvel’s most popular.

Gotham's skyline from Miller's 1986 Dark Knight Returns (with Klaus Janson)

Additionally, Miller drew a short Batman Christmas story, entitled ‘ Wanted: Santa Claus: Dead or Live’ written by Denny O’Neill for DC Special Series #21 (Spring 1980). This professional introduction to the Dark Knight was to prove a point at which the comic industry stopped being something and developed into another entirely. It was the moment that comics began to move into a more graphic, realistic, emotionally dynamic, engaging and challenging era. Elsewhere, Alan Moore was working on The Watchmen and would be asked in future to write The Killing Joke and further darken the world of Gotham and it’s central hero. But nothing that Moore was writing on the Dark Knight compared to one of the most important pieces of comic book literature in history. With Klaus Janson and Lynn Varley, Miller began to put together a fractured tale of a future without a Batman and a Bruce Wayne broken by the loss of Jason Todd. Now older and slower, a mournful Wayne is presented again with taking on the banner of the Bat. Only this time the world in which the caped crusader stepped into was very different…

Working with Chris Claremont at Marvel on Wolverine 1-4, inked by Josef Rubenstein and spinning off from the popular X-Men title, Miller used the series to expand on Wolverine’s character. The series was a critical success and cemented Miller as an industry star. Taking an older, curmudgeonly and effectively lonely character and dropping him into a world of greater brutality and violence proved very popular – the Wolverine series still continuing today, surviving the collapse of comics in the mid 90s and still going strong. While other great artists such as Adam Kubert and Marc Silvestri continued and concreted it’s success, Claremont and Miller set the tone. Brutal, fringe figures were quickly becoming Miller’s niche.

Marvel's Wolverine 2 by Chris Claremont and Frank Miller

In Miller’s first creator-owned title, Ronin, Miller had found himself with his original quarry, DC, and he was given the opportunity to further the concept of the isolated figure of violence on the edge of society. Ronin revealed most clearly the influences of Manga and bande dessinée artforms on Miller’s style, both in the artwork and narrative style. In the early 198os Miller and Steve Gerber proposed a revamp of DC’s central figures entitled ‘Man of Steel’, ‘Dark Knight’ and the frankly less inspiring ‘Amazon’. This proposal was rejected, however the first shoots of a seed of an idea were clearly being shown in those proposals. While the Man of Steel and the Amazon remained as they were, The Dark Knight was set to rise. In 1985, before the release of Miller’s finest work, he was honoured as one of the 50 honourees in the Company’s 50th Anniversary publication Fifty Who Made DC Great. Had they left it one more year, Miller would have rocketed into the top 5 with the release of the Dark Knight Returns.

Having never left, in 1986, the Dark Knight Returned and was welcomed with open arms. A four issue mini-series it featured a Gotham gone downhill, unprotected by a figurehead crime fighter as it had been time immemorial in the wider DC Universe. This was the first Elseworlds, a parallel world inhabited by a familiar but substantially different set of characters who could now live or die without consequence. However, Miller was never going to let them off that easily…

At the age of 55, Bruce Wayne returns to the hilt and takes back his role of Batman, it showcased a more adult form of comic-book storytelling by heralding new waves of darker characters. Miller, much like Moore, absorbed a great deal of the world around it though Miller twisted his into a more immediately engaging shape. Punk Gangs and Neo Nazis rule the streets alongside older, more familiar foes – all now even darker than before. The smell of paranoia over the Cold War and the threat of Nuclear War is musky in The Dark Knight, increasing the pall of murk that has descended on Gotham. Simultaneously though Miller gave voice to both liberal and right wing opinions during the series, through continual talking heads on various invented TV shows. With the themes of media, crime, personal responsibility, federal control, public opinion and the futility of redemption, Dark Knight represents a dark and risible future. It was excellent. A timely chime on a bell of collective paranoia, it tapped perfectly into the state of mind of society at the time. Rather than the patronising resolution by brightly coloured gods – here the solution contains only glimmers of salvation but deep shades of absolutism. It satisfies fully as emotional resolutions are struck so rarely in the real world, rarely in conjunction with the resolution of situations. In Miller’s world there are no easy answers. His worlds roll on beyond the final panel, stories often unfinished, character’s unresolved. 25 years later the collected novel remains a timeless best seller.

But what was to come next would cement Miller as a legendary artist and writer but it will be his move to LA that will reveal him as a true auteur. Noir bleeding from every pore, Sin City was still almost a decade away…

Part 2 will be here Next Tuesday

BTB Awards: Best Film

Winner – Senna

ts limited release will mean that Asif Kapadia’s documentary about the life and death of Ayrton Senna is unlikely to be topping may film of the year polls and at face value that seems sensible. A feature length documentary about the career of a Formula One driver who died nearly 20 years ago doesn’t exactly scream ‘mass appeal’ but nonetheless Senna is easily one of the most remarkable films of the year.
Utilising only archive footage and Voice-over, Kapadia creates a narrative which manages to be stronger and more engaging than most dramas. The decision not to include any talking heads segments means that the film feels more like a story being told first hand than a reflection on past events and the in-car footage (which looks mind blowing on a cinema screen) enhances this even further.
While the insights into the notoriously secretive world of F1 will be a treat for racing fans, the film’s greatest strength is its ability to appeal to people who don’t have the first idea about the sport. More than anything else Senna is a heart stopping, tear inducing story about an utterly unique individual. Whether you spend weekends pouring over lap times or you’re someone who thinks pole position is a thing that strippers do, there is a tonne of things to love about this film and you will be doing yourself a genuine disservice if you don’t seek out the DVD.

Runner up – Drive

For the runner up we go from a real life man in a car who is unable to stop to a fictional man in a car with no choice but to go on. The stylish, neon lit, meticulously shot Drive follows the story of Ryan Gosling’s driver as he makes ends meet on the streets of Hollywood – beautifully captured in various skyline, helicopter and stylistically careful ground shots creating a fantastical, idealistic and visceral stage for the action to take place on. In many ways the cinematography is the story as the central character – known only as Driver – enters into a tentative and touching relationship with his neighbour Irene (a flawlessly American accented Carey Mulligan) and her young son, who’s husband is incarcerated. Lingering silences and long, unbroken takes give the scenes involving these characters an assured intimacy that lingers with the viewer and plays realistically.

This is punctuated by acts of unspeakable violence, some of which admittedly come close to destabilising the careful balance that Director Nicolas Winding Refn appears to be looking for. The film could have played out as successfully as a 15 certificate on first viewing making the violence seem gratuitous and unecessary, however, I suspect that on repeat viewings the brutality and ludicrous violence will permeate more strongly and be powerful reminders of a thoughtful and energised movie and certainly a step up into the big time for both Winding Refn and Gosling.

The involvement of Simpsons regular Albert Brooks as deceptively chipper gang boss Bernie Rose and Ron Perlman has his apparently more savage and sweary partner Nino doesn’t hurt either.

Effectively Tarantino-lite, this is much less cartoonish, stylised and self consciously scripted. It also seems, accidentally or not, to be lifting directly from the GTA game series – with the theme and the look harking back to both Liberty and Vice City. This only adds to the fun in this subtle shocker.

Best remake / prequel – The Thing (2011)

To the arctic circle now for the prequel to John Carpenter’s 1982 masterpiece, The Thing. More than anything else it’s the choice to set the scene back in 1982 rather than reboot that has placed this film so high in our rankings. Following very much the same line as the original, it centres on the events leading up to the beginning of the first film in which two members of a Norwegian science team our found by an American research group.

The new film manages to mimic perfectly the light touch and claustrophobic lighting and setting, even going so far as to almost directly lifting moments from the original. But this is because the creature is doing what it did in the first place. The joy is in it’s appearance. The plot even deliberately curves at anticipated plot moments to both acknowledge and defy the original.

While it loses some of its appeal as the scale increases towards the end of the film, revealing perhaps a little too much of the origin this film scores highly for introducing a realistic female lead in Mary Elizabeth Winstead and tip toeing the line perfectly between homage and producing an original piece of cinema.

Best foreign language – Troll Hunter (2011)

Made off putting by the idiotic UK Trailer (below) this film by André Øvredal and Håvard S. Johansen (supporting writer) follows a group of hapless students in search of a hunter deemed illegal by fellow bear hunters. Determined to uncover who he is for the sake of an interesting film, they uncover a wide government cover up beyond anything they could anticipate.

Essentially, a Blair Witch Project that pays off the film manages to lull you into simply watching the ‘found footage’ of the students, constantly having to remind yourself that things are going to increase in scale exponentially at some point. And increase they do. However, the film maintains its roots until it’s finale on snowy Nordic tundra, maintaining a calm and careful pace that US blockbusters will never master.

The Norwegian mountains and countryside are really the great treat of the film at times (when there’s no monsters to hunt) as, for instance in one short sequence, sheer mountainsides and a glacial lake are filmed out of a car window as one of the students calls to another taking a whizz as nonchalantly as Sam Mendes filmed a brick wall with a plastic bag floating around in front of it. It becomes clear that what the world finds magnificent, Norwegians can take for granted and that the filmmakers are acutely aware that half their work is done merely filming on location in their beautiful country.

But it’s the monsters themselves that take centre stage. The decisions in the way that each is introduced is masterful, each uniquely different in pacing, reveal and environment. One is viewed finally from a great distance through a window of a shack which serves only to increase its impressiveness. With an enigmatic, monosyllabic central Troll Hunter, grimly wandering into harms way on behalf of the Norwegian government with the hapless batch of determined and stunned students along for the ride, it’s spectacular, engrossing and fun.

A stark change in tone in the middle of the film does threaten to scupper it slightly but the even pacing and anticipation of the unknown final Troll at the heart of the problem keeps things moving to impressive effect. They will try to remake it. I’m sure they’ll fail. Take the Norwegian out of Norway and it’s knackered.

http://www.youtube.com/watch?v=ewvWwhL1UQU

Best Comic Book Movie: X-Men: First Class

In a year in which at least three highly entertaining and thoroughly exciting comic book adaptations were released it was the one not made by Marvel that edged it for us – however marginally. It was the X-Men that clinched the title.

Easily the strongest of the X-Men films, Matthew Vaughn and Jane Goldman along with woefully under acknowledged screenwriters Ashley Miller and Zack Stentz brought the X-Men back to the 20th Century. Like Captain America, Vaughn and Goldman (the creative team behind Stardust and Kick-ass) the decision was taken to go to the roots of the title, seeing the original X-Men line-up changed to deal with those already revealed. Only, instead of merely laying comic book events over historical ones, Vaughn and Goldman interlace them directly with historical events.

We find an arrogant and slightly unlikable Professor Francis Xavier (played by James McAvoy) in the swinging sixties looking to extend his theory of evolution on to any girl with a discoloured eye or wonky toe. It’s clear that the X-Men are born from Xavier’s arrogance and it fills beautifully an absent detail in the inception of the X-Men. Brought into it is Erik Lenseherr (Michael Fassbender) who is hunting Jew killers and Nazi conspiritors around the world. Thinking that control of his power is fuelled only by anger and fury it makes Lenseherr – soon to become Magneto – a more well rounded character, as a cyclical psychology has formed in which Lensherr has to generate these feelings to tap into his power, only further perpetuating his anger and violent behaviour. All of the characters carry inherent (and human flaws) that make them accessible and offer a tone of inevitable doom to the proceedings.

Well realised set piece after well realised set piece is laced through the plot as the X-Men are pulled into conflict between both the Russian and US Navy during the Cuban Missile Crisis in a bid to avert Nuclear War. Something that could easily have been a cynical plot device is so neatly realised that it makes sense (and, winningly, illustrates the absurd nature of the Cold War in a language understandable to younger audiences).

So close in fact were the runners up for Best Comic Adaptation that featured below are the trailers for both Thor and Captain America. We thoroughly recommend both and can’t wait for the Avengers movie next year….

Runner-up – Thor

While pipped at the post by First Class, Thor was overwhelmingly the surprise of the year, guided effortlessly to be an entertaining romp by Royal Shakespeare Company founder, Kenneth Branagh, offering up laughs, pathos, energy and a star turn by Chris Hemsworth as the titular character. Tom Hiddleston as his half-brother Loki stood out only slightly among a frankly incredible cast featuring Natalie Portman, Anthony Hopkins, Idris Elba and Stellan Skarsgard (most likely drawn in particular to Branagh’s banner).

Thor tips the balance beautifully between fish-out-of-water comedy, fantasy epic and Superhero movie. Marvel’s incredible run of success to the Avenger’s movie next year seems to be unstoppable and Thor, as a potential tripping point has proven a nice surprise as a watchable, stand alone movie.

Runner-up – Captain America: The First Avenger

After being deemed unfit for Miltary service, Steve Rogers volunteers fora top secret research project that turns him into Captain America. We all know the story, however old school Director Joe Johnston achieved the implausible and made Captain America cool again. Borrowing heavily from Mark Millar’s Ultimates (effectively, in hindsight, a love letter to Hollywood and a considered development of the Avengers brand to become more audience friendly outside of comics) Cap still retains most of his gosh, shucks charm.

The decision to set the entire film in World War 2 is a bold and clever move, giving the audience credit where there may have been none with a more cynical film company. Featuring Hugo Weaving as arch Nemesis, the Red Skull, Stanley Tucci as Cap’s creator Dr. Abraham Erskine, Toby Jones as Dr Arnim Zola and Tommy Lee Jones as Colonel Chester Philips it has a touch of class as well as being a crowd pleasing actioner. It also has the best villain diversionary tactic gag in comic book history as a Nazi assassin (Richard Armitage) escapes across the docks from the newly created Cap, he grabs a young boy and throws him in the dock. Cap, stopping to help the boy in time honoured fashion is greeted with the sight of the boy paddling away, shouting ‘Go! It’s okay. I can Swim.’ A wry sensibility that runs through the whole film.

Practitioners 46: Jim Lee

Jim Lee was born in Seoul, South Korea on August 11, 1964 and emigrated to the United States with his family at the age of four, growing up in St Louis Missouri. In Lee’s St. Louis Country Day School his classmates predicted he would found hi sown comic book company. Despite this, Lee seemed resigned to following in his father’s profession of medicine, studying psychology at Princeton University, with the intention of becoming a medical doctor. However, medicine’s loss was certainly going to be popular culture’s gain as Lee became one of the most influential and well known artists on the biggest selling comic book of all time. One that founded movie franchises and supported an ailing Marvel in the late ’90s and found some of the most famous comic companies in the world to rival it.

Lee’s rise to fame with Marvel Comics was inevitable as it was undeniable. In 1986, as Lee was preparing to graduate from his psychology degree, Lee took an art class that reignited his fascination with art at a time when seminal work such as Frank Miller’s Dark Knight Returns and Alan Moore’s Watchmen was reinvigorating the American comic book industry. With the psychology degree complete, Lee did something, with the reluctant blessing of his parents, that shows incredible courage and clarity of mind and self belief. He postponed his medical degree. The rest is without a doubt comic book history. He vowed he would return if he failed to break the comic book industry. Not something that should’ve worried him.

Submitting examples to various publishers, Lee did not see success until a New York comic book convention where he met Archie Goodwin, comic book editor (regularly cited as the ‘best loved comic book editor… ever), artist and writer who introduced him to Marvel Comics. Now it seems hard to believe that Lee was not snapped up immediately by the first commissioning editor to spot him but Lee exposes the nature of the industry. Retrospectively, artists are professional, passionate and confident in the style they work in and seem undeniable masters of their art but even the most capable artist can be subject to the pressures, misunderstandings, bad luck and bad timing of the industry. Lee began on Alpha Flight and moved over to Punisher: War Journal, his work there inspired by Frank Miller, David Ross, Kevin Nowlan and Whilce Portacio, as well as Japanese Manga.

Then came the crossing of two similar talents, one more senior than the other as Lee filled in for regular illustrator, Marc Silvestri on Uncanny X-Men 248, which was, due to positive response and Marvel’s own enthusiasm for Lee’s style followed up on issues 256 through to 258 as part of the ‘Acts of Vengeance’. The timing of this was key as X-Men, under Claremont was not only ground breaking and beautifully written at the time, it was on a meteoric rise in terms of popularity, beginning to challenge the more mainstream titles of Spider-man, Fantastic Four and Avengers. Eventually, Lee became Uncanny’s full time penciller, working for the first time with inker, Scott Williams, who would become his long time collaborator. To cement his position as an X-men innovator, Lee co-created the smooth talking mutant thief Gambit, with Chris Claremont. Lee’s popularity crystallised in these months, becoming more and more representative of what fan’s wanted. He gained increasingly greater control of the franchise and in 1991, Lee helped launch the second X-Men series, X-Men (Volume 2). He did so, not just as artist but as co-writer alongside Chris Claremont, giving the book a more broad and cutting edge feel to it’s perhaps more thoughtful predecessor. X-Men 1 was raw edged, fun comic book pinned with the wisdom and knowledge of an older and more restrained writer. Lee pushed Claremont’s boundaries while Claremont restrained the more inexperienced artist to just the right degree. The result was comic book history and rightfully so. However, Lee redesigned costumes, entirely successfully for Cyclops, Jean Grey, Rogue, Psylocke and Storm as well as creating villain Russian Super Soldier Omega Red.

X-Men 1 (Vol 2) remains the best selling comic book of all time with sales of 8.1 million (and nearly £7 million). This was confirmed in a public declaration by the Guinness Book of Records at the 2010 San Diego Comic con. While one aspect of it’s success was that it was released with five different variant covers as well as a limited edition gatefold edition that revealed it all in its glory, the success was thanks to Lee’s distinctive, modern take on a fan favourite and the development of the X-Men in an exciting new direction. The variant cover trick became a weight around collector’s necks in years following with Gold and Silver foil, holograms and gatefolds every few months for some titles, but this first incarnation was about piecing together a piece of art, mass produced and available to anyone who wanted it. Only Jim Lee and perhaps one or two other legends of the industry could’ve commanded such a response.

The success of X-men saw Lee hungering even more for greater creative control over his own work, and as soon as in 1992, Lee accepted an invitation to join six other artists (Todd McFarlane, Erik Larsen, Marc Silvestri, Whilce Portacio, Rob Liefeld) who broke away from Marvel Comics to start Image Comics, which would release their own creator-owned titles. Lee’s batch of titles included Wild C.A.T.s, which Lee pencilled and co-wrote, and other series created in the same universe, including Stormwatch, Deathblow and arguably the more successful Gen13.

Lee and his close friend, Valiant Comics publisher Steve Massarsky, arranged a Valiant / Image crossover, Lee’s characters being used, alongside those of Rob Liefeild. Four central titles would exist – two from each company – in single edition format, each edition known as a colour rather than a number, plus a prologue and epilogue book. Wildstorm produced Deathmate Black, with Lee himself contributing to the writing, illustrating the covers of that book, as well as contributing to the prologue’s interior links. The assignment was given to Valiant creators against their better judgment, in particular Editor-in-chief Bob Layton, who complained about Image’s inability to meet their deadlines. Deathmate Black came out a few months after Valiant’s Blue and Yellow installments, which had come out on time, and Liefeld’s Deathmate Red was so late that Layton flew to California to procure that chapter personally, and ink it himself in an Anaheim hotel room. Layton see’s Deathmate’s lateness as one of Valiant’s ‘unmitigated disasters’ and views that project as the beginning of the spectacular collapse of the 1990s for the comic book industry. A collpase that would pull in Marvel and a collapse that comics has not, if ever, recovered from.

Wildstorm continued on, expanding it’s line to include other ongoing titles. As publisher, Lee later expanded this by creating two separate imprints for Wildstorm, Cliffhanger and Homage (to be replaced again years later to reform as a single Wildstorm Imprint, now owned by DC).

Moving back, with Rob Liefeld, to Marvel for the Heroes Reborn alternate universe storyline of the mid-late nineties, Lee was given the opportunity to plot the new Iron Man and wrote and illustrated The Fantastic Four. Both used existing storyarcs and developed them, bringing them more up to date. The innovations on these titles, however, were arguably greater than the more successful Ultimate Universe that has existed since as an Imprint of Marvel, though that is more subject to greater popularity of the industry as well as greater sophistication in art and writing in modern comic books.

Lee returned to Wildstorm, where he would publish series such as The Authority and Planetary, as well as Alan Moore’s imprint, America’s Best Comics. Lee himself wrote and illustrated a 12-issue series called Divine Right: The Adventures of Max Faraday, in which an internet slacker inadvertently manages to download the secrets of the universe, and is thrown into a wild fantasy world.

Sourced from HERE Check out the gallery there for more awesome images. Thanks to Alexandre Bihn for the awesome scan.

In a typically astute and decisive choice, Lee sold Wildstorm to DC in 1998 because he felt that his role as publisher was interfering with his role as an artist. In an echo of the choice made many years previously, he put his calling first. In 2003, Lee collborated with Jeph Loeb for a 12 issue Batman run. Introducing a new nemesis from Batman’s past, ‘Hush’ was a tightly packed and neatly executed trip through the Bat universe. Lee’s images were sumptuous, his design work intricate, emotive and innovative. Lee, the artist, through all the pitfalls and difficulties of publishing had lost none of the values and passion he had when working on X-Men 1 more than 12 years before. He followed this up with ‘For Tomorrow’ a 12-issue story in Superman by 100 Bullets writer (and Bunker firm favourite) Brian Azzarelo, although this didn’t achieve the same level of success, Lee’s work showed a maturity and stillness that perhaps wasn’t visible in his earlier career. In 2005, Lee collaborated with Frank Miller on All Star Batman and Robin, the Boy Wonder, a series plagued by delays. Lee’s work was spotless throughout, in particular a redesign of the batmobile and a gatefold image that folded out from the book itself that revealed the full scale of this Elseworld Batcave. While Lee’s contribution was near infallible, Miller’s writing was unsophisticated and cynical in most ways and alienated a great many readers. During this period, Lee returned to WildC.A.T.S with Grant Morrison. The gap between All-Star Batman and Robin 4 and 5 was one year and to date, only 1 issue of WildC.A.T.S (Vol 4 has been published. During thsi time, Lee also drew covers for the Infinite Crisis series.

Lee was named Executive Creative Director for DC Universe Online MMORPG. This was released in 2009, with Lee responsible for concept art for the project.

Lee’s meteoric rise did not falter there, as he has now taken a position alongside Dan Didio as Co-publisher of DC Comics. Despite obvious concerns, Lee maintains that this will in no way effect his capacity as a creative. He cited two projects, Dark Knight: Boy Wonder – a follow up of the Frank Miller series he had worked on and also a painted cover for Giuseppe Camuncoli’s layouts in Batman: Europa 1. Neither projects have surfaced yet. The Wildstorm imprint was officially declared ended by DC in September 2010.

With DC’s enormous revamp of it’s entire line, A-List artists were brought to the forefront to work on the most prominent titles. With a Justice League movie in discussion /pre-production at present DC was always going to put JL first in their choices of creative teams. The illustrious team of Jim Lee as penciller and Geoff Johns as writer is certainly, still, a cocktail that no true fan of the artform can ignore. If anything that is Lee’s great talent. Enduring popularity. His art work remains so fresh and clear, and so respresentative of what people want from their books – in spite of changes in the industry itself – that Lee has proven himself a Practitioner who has wandered away from the thing he is most beloved for, but like a much younger, more south east asian Peter Cook, retains a place in every fan who ever saw his work. This is testament to Lee’s enormous talent. His offers to put out projects reveals a conflict of interests that has taken him away perhaps too much in the last two decades, however he is a brave artist who pursued greater goals. Without finding ourself in the same situation who are we to say we wouldn’t pursue those same goals…. however Lee’s example is certainly a cautionary one. Swathes of exceptional artwork, pages and pages of classic comic work haven’t seen the light of day. From the top down the industry runs on one thing – putting out the best books possible. While we can never undermine someone’s right to do whatever they want – what would we have given to see more Lee?

Practitioners 43: Dan Abnett

Born in England (12th October 1965), Dan Abnett is  a comic book writer, novelist and full time fantasist absorbed in the world of fantasy, space and superheroes. He has directed enormous future armies into cataclysmic battles, led mighty metal robots to clang together to save the universe, assassinated space empresses and sent heroes into space in wheelchairs. He is a frequent collaborator with fellow writer Andy Lanning, and is known for his work on books for both Marvel Comics, and their UK imprint, Marvel Uk, since the 1990s, including 2000AD. He has also contributed to DC Comics titles, and his Warhammer Fantasy and Warhammer 40,000 novels and graphic novels for Game Workshop’s Black Library now run to several dozen titles and have sold over 1,150,000 copies as of May 2008. In 2009 he released his first original fiction novels through Angry Robot books.

While Abnett cannot claim to have kick started a character on the same scale as Judge Dredd, the ABC Warriors or Slaine in his tenure at 2000AD, he did create one of the book’s better known and longest running strips of the last decade, Sinister Dexter, following the exploits of gun sharks (hitmen) Finnigan ‘Finny’ Sinister and Ramone ‘Ray’ Dexter in the state city of Downlode, sprawled across central Europe ‘ like a hit and run victim’. Sinister Dexter is a universe apart from that of Strontium Dog and Dredd, and style supplants horror, with neat and precise detailing throughout to give it an alternative edge that readers found addictive. With more than 135 stories alone to his name, most stretching to more than one issue, Abnett is one of the most prolific of all 2000AD writers, making his lack of success at generating a  genuine globe trotting legend like Slaine or Dredd more down to bad luck than anything else.

Most likely in fact it’s lack of intent intent. Abnett’s style is pretty light, humorous and wry. His stories bound along and drag you with them. First and foremost is character, planted firmly at the heart of whatever dying star/ hive of alien warriors / dangerous street he can find. In Abnett’s universe character is secondary to event at times but only momentarily. Then, the characters bounce resolutely back into the frey and mash it up (for want of a better word). Abnett is addicted to failures. The almost-guy. Slaine and Dredd, much like Superman, Batman et al are a stall of successes. You put a criminal in his way, Dredd crushes dissent and puts them away. Slaine warp spasms, charms, wangles or shags his way out of every scenario. One of Abnett’s character steps into the frey he might as well be ready to lose an arm. Abnett’s characters are desperately, hilariously and touchingly out of their depth. This makes readers even more attached to the characters as they survive all that Abnett (and Lanning – to be featured in the following article) throw at them. Major characters are put to the sword, or in the case of perrenial space empress and Mutant headteacher beau du jour circa 1995, Empress Nerimani of the Shi’ar, who has wandered in and out of Marvel’s most prominent titles for decades, unceremoniously blown away by a sniper as part of a Darkhawk conspiracy. This, to anyone unfamiliar with the situation – is lunacy. Brilliant lunacy. You can almost see the grins on their faces as they decided it.

This was to move a nobody character, effectively unheard of since the ’90s into the foreground of an empire churning, galaxy battering epic in the guise of Marvel’s War of King’s series two years ago, in which stable, mainstay characters were supplanted, abused, annihalated, twisted and entire empires changed status. The scale of the effect on accepted rules of the wider Marvel Universe was mad, but Abnett and Lanning play with the planets and principle characters involved like so many ping pong balls. This, you suspect, was learned in the furnaces of the creative pool of 2000AD and the more blood thirsty Marvel UK. But more likely, they are just crazy bastards.

As well as a neat absurdist streak and a whithering habit of throwing humour at serious plot points (hard not to when your head tactician is a talking Raccoon but more on that later). He didn’t stop there. As well as generating Black Light, Badlands, Atavar (with Richard Elson, about the last Human alive trapped between warring alien races), Downlode Tales (an extension of the Sinister Dexter universe), Sancho Panzer (with Henry Flint, featuring the eponymous character piloting a giant tank, excellently monickered Mojo, with his brilliantly named technician, Tool), Roadkill and Wardog, Abnett scribed Judge Dredd, Durham Red and Rogue Trooper.

With Marvel UK, Abnett had runs on Death’s Head 2, The crossover Battletide, Knight’s of Pendragon (all of which he co-created) as well as The Punisher, War Machine, Nova and various X-Men titles. Over at DC he reinvented Legion of Superheroes as the Mini-series Legion Lost which was later launched as the ongoing series The Legion. As was typical of his most recent work, most of Abnett’s work was written with Andy Lanning. From this they derived their moniker DnA. For Dark Horse comic Abnett was responsible for Planet of the Apes: Blood Lines as well as knocking out Lords of Misrule and Hypersonic. Many UK readers will know his work however primarily on the 40,000 Warhammer series, including the Gaunt’s Ghost, Eisenhorn and Ravenor trilogies, and more recently as part of the Horus Heresy, the SF best-selling Horus Rising, Legion and Prospero Burns. Frankly, these titles are unfamiliar to us here at the Bunker however clearly Abnett has brought his strong character and situation writing to bear on the battlefields of 40K, no doubt, injecting personalities that prove engaging in ferocious battle. He’s dabbled in comic books for 4ok’s black library imprint; producing Damnation Crusade, Lone Wolf, Inquisitor Ascendent and Titan. Again no doubt with the same results, given the number of titles.

Put this together with writing two Doctor Who audio dramas – the Harvest and Nocturne – as well as Torchwood: Everyone says hello for BBC Audio as well as two novels based on the respective series: The Story of Martha and Torchwood: Border Princes, and it’s clear that Abnett is a significant bedrock in British Science Fiction. With this grounding in space and time hopping adventurers it’s perhaps unsurprising that Abnett (and Lanning) have found such a secure home in Marvel’s cosmic titles.

But prior to that they developed the sharp edge of DC’s Wildstorm Imprint, The Authority, spawning storylines in which Earth is attacked by God himself back to feed on what was a primordial soup and understandably narked at discovering a Human populated, verdant planet where he left his pantry. It’s not til you see an interdimensional, sentient supership entering God’s pores and detonating its brain with the power of the previous century that you understand the lunacy of Abnett and Lanning. Magnificent space operas be damned, God assassinations by chain smoking blondes is the remit here. In many ways that is Abnett and Lanning’s genius. Lighter than Millar’s follow up too as perhaps would be expected.

At the heart of incredibly massive events, the collapse of star spanning empires or the decimation of a city block there is the average, the easily recognisable. The character’s written by them carry the easily recognisable traits of normal people. No matter what you throw at these characters, they remain people first and superheroes second. After joining Guardians of the Galaxy, as part of Marvel’s Cosmic Imprint Jack Flag can’t stand ‘space stuff’ even as he fights tentacled beasts from the far side of an interdimensional fracture or trying to survive a Negative Zone prison breakout in a wheelchair. Jack Flag is another fringe character unrecognisable outside of Captain America comics until he was crippled by the Thunderbolts under Osborne. He came out of nowhere, went downhill and sent to a prison in a backlot of the Marvel Universe and instantly became irresistable to Abnett and Lanning (I’m not calling them DnA – I’m just not).

It’s Guardians that represents the hybrid brain of Abnett and Lanning. Led by the permanently down trodden Star-lord and a Raccoon, Guardians of the Galaxy represents exceptional gung-ho space adventure and dead pan tongue in cheek humour at it’s own expense. Most of the characters are as unhappy to be there as you’d expect to be if you were faced by an interstellar absolutist faith that feeds on the beliefs of others and kills anyone who steps in their way. The members of the team are an eclectic batch (when alive); including a psychic titan lesbian, a master assassin, a talking tree king and a man from 1000 years in the future witha  Captain America shield. These characters should struggle to blend but at the hands of Abnett and Lanning the many parts become a much more satisfying hole. Not a mispelling.

Abnett is a veteran chef of plot line and character, always incorporating the right blend to create satisfying and engaging storylines. A man of specific interests, he is most at home (with Andy Lanning) dealing with situations of bewildering scale and yet manages to draw you in to the minutae of characters caught in these events. A master of scale and plotting, Abnett can handle a charge on an alien world or two characters grabbing a drink (provided it descends into a bar room brawl inspired by an quadreped alien with telescopic glasses on. As 9 Billion lives are threatened and an imprisoned Moondragon (character), pregnant with a spore from a cancerous universe where life won allowing disease to thrive is about to give birth amongst a militant fundamentalist cosmic church, Star Lord jumps out and shouts ‘ Hi, I’m Starlord! I’d wave but my hands are full of guns.’ Don’t know if that was Lanning, don’t know if that was Abnett but Abnett was in the room and that is good enough for me.

Regarding the talking Raccoon – you’ll have to wait ’til we do Lanning. I got worried I wasn’t going to leave anything for his article next week….

Practitioners 37: Peter David (Part 2)

Peter David is an American writer of comic books, novels, TV, Movies and Video Games. In part One we looked at how Peter David came to arrive in comic books, in Part Two we arrive at how he changed the fcae of comic histories most prominent characters.

Peter David made his name on - and a legend of The Incredible Hulk with 12 Years as writer


Having been given an unpopular and derided title like the Hulk David discovered that he had greater creative control so far away from the central, more popular titles. This enabled him to investigate and test out his storytelling with impressive results. Within his first 12 month run on Hulk, David had reintroduced his estranged wife, destroyed the Hulkbuster base, sending several characters turn-coat and on the road with Bruce Banner (trying to contain his other persona), introduced X-Men – for a rematch with Wolverine, and X-Factor (who he would write for in the mid-nineties), effectively kill Hulk and have him return as the more cerebral Joe-Fixit, a figure in contention with the less intelligent Green persona. David concentrated on the recurring theme of the Hulk/ Bruce Banner’s multiple personality disorder, his periodic changes between the more rageful and less intelligent Green Hulk and the more streetwise, cereral Grey Hulk, and of being a journeyman hero, whicxh were inspired by Incredible Hulk 312 (October 1985) in which writer Bill Mantlo (and according to David himself Barry Windsor-Smith)had first established that Bruce Banner had suffered childhood abuse at the hands of his father. These aspects of the character would later be used in the slightly misaligned but well-intentioned 2003 film adaptation written by Michael France and directed by Ang Lee. In his 12-year run as writer of Incredible Hulk, in which he worked with luminaries and upcoming talents as Todd McFarlane (there when he got there) Gary Frank, Liam Sharp and Adam Kubert he developed the character further, revealing a third, and potentially less engaging Hulk. Banner and the Hulk merge in a more balanced character, retaining the intelligent characteristics of Bruce Banner and the strength and power of the Hulk. The effect was impressive. The now intelligent Hulk found a new relationship with his former wife Betty Ross and along with friends Rick and Margot found himself in control of a secret cabal of immortal heroes known as the Pantheon. David gave Hulk everything he wanted, access to his intelligent mind, strength and access to a private jet and technology bordering on magic. This is where David excels. He puts no limitations on the potential for change in his characters in order to explore possibilities in the story and is fearless in progressing the story at a break neck pace. He also listens to his artists, asking the newly signed Liam Sharp, fresh from success in the UK and US with Marvel Uk’s Death’s Head 2, what character he would like to draw. Gary Frank’s first comic book project with Marvel Uk was drawn upon as well, as the Marvel UK characters Motormouth and Killpower arrived in the pages of Hulk. Using the newly empowered Hulk as a platform to deal with difficult issues such as AIDs, false political imprisonment and homophobia. Not forgetting who was reading the book however, he soon brought the furious, sub-intelligent Hulk back to the pages of Hulk, leaving him lost and alone in the Everglades, effectively restarting the story of the only journeyman struggling with his own demons. Not to say he didn’t throw in Swamp-Thing and Speedfreak for good measure.

And was after he had been freelancing for a year, and into his run on Hulk, that David felt his career as a writer had been cemented and he began to make approaches to DC, being offered a four issue mini-series of The Phantom by Mike Gold. Finally – and astonishingly given that he had been employed on a Marvel title for a year, David only then left his sales position to become a full time writer.

Dreadstar (DC Comics)


David took on Dreadstar during its First Comics run, with issue 41 after Jim Starlin left the title, and remained on it until issue 64 (March 1991), the final issue. David’s other Marvel Comics work in the late 1980s and early 1990s includes runs on Wolverine, the New Universe series Merc and Justice, an excellent run on the original X-Factor, including issue 92 (with Joe Quesada), as part of the Fathers and Sons crossover which incorporated X-Men 25.
Peter David launched the future universe of Marvel with Spider-man 2099, a beautifully realised, dystopian tale of Miguel O’Hara, a futurist scientist who develops powers comparable to a spider in the corporate-run streets of a monolithic New York. Intelligent, witty and deliberately referential of the original without touching directly on its predecessor thematically or literally, Spider-man 2099 helped launch the entire 2099 Universe which lasted for the better part of a decade and took in almost every character in the Marvel Universe and redeveloped them. David set the tone for it all.

At DC Comics in 1990, David wrote an Aquaman miniseries, The Atlantis Chronicles, detailing the history of Aquaman’s home city Atlantis. This has since been cited by David as one of the works he is most proud. His following Aquaman mini-series Aquaman: Time and Tide and the subsequent run of 46 issues on the ongoing series gained notoriety as Aquaman lost a hand early in the series, which was later replaced with a harpoon, a feature of the character that lasted David’s full tenure on the book. He also wrote DC’s Star Trek comic books (though openly opined that Star Trek is better served in novel form as they’re not particularly visual), as well as Supergirl and Young Justice, the latter cancelld in order to transfer the assembled characters to the newly reformed Teen Titans monthly.

David’s work for Dark Horse comics has included the Spy Teen Adventure, SpyBoy, which appeared between 1999 and 2004 and a 2007 mini-series. Other independent work includes Soulsearchers and Company, which is published by Claypool Comics and the Epic Comic’s Sachs and Violens, which he produced personally with co-creator George Perez.

David returned to Marvel with Heroes Reborn: The Return for Marvel, in which the Marvel Universe’s lost characters that had disappeared in an event a year before returned to the Marvel Universe as well as a run on a new series of Captain Marvel, which was critically acclaimed.

David and his Second wife, Kathleen. wrote the final English-language text for the first four volumes of the manga series Negima for Del Ray Manga. In 2003, David began writing a new creator owned title , Fallen Angels, for DC Comics, using material left from development of the now-defunct Supergirl title as well as writinga Teenage Mutant Nija Turtles Mini-series for Dreamwave that tied into the animated television series broadcast that year. After Dc cancelled Fallen Angels, David relaunched at IDW the same year. He went on to produce Spike: Old Times one-shot and Spike Vs Dracula mini-series, based on the character from Buffy the Vampire Slayer and Angel Tv series.

X-Factor 92 (Peter David, Joe Quesada, Marvel Comics)

In 2005, David briefly returned to the Incredible Hulk but only lasted for 11 Issues due to work pressures. He also developed a new title Friendly Neighbourhood Spider-man, beginning witha 12-part ‘The Other’ storyline in which Spider-man discovers he is dying, lost a fight during a traumatic fight with Morlun, underwent a metamorphosis and developed new powers and greater understanding of his abilities. Yet again whenever experimental alterations are made to popular characters, this proved controversial with readers, who were bemused perhaps by the extended stingers coming out of Spider-man’s arms and the association of a Spider totem from which his powers were derived. David’s run ended with issue 23.

Following on from David’s original and successful run on X-factor in the early 90s, he wrote a successful MadroX (Multiple Man) title for Marvel the same year which led to the reintroduction of the X-Factor title, using characters from David’s original tenure Multiple Man, Strong Guy, Wolfsbane) working as private investigators in a detective agency of the titular name. David’s work on the title proved popular with Ain’t It Cool News and David found that the new Opt in/ opt out policy on Crossovers and greater forward planning on titles made his second tenure much easier. However, his decision to create a homosexual storyline between established characters, Shatterstar and Rictor (a confirmation of clues that had been established in X-Force years earlier) drew criticism from Shatterstar’s Co-creator Rob Liefield, though Editor-in-Chief and former creative partner on David’s original run on X-Factor supported the story. The title eventually won a 2011 GLAAD Media Award for outstanding comic book for his work on the title.

Peter David announced in 2005 that he had signed an exclusive contract with Marvel, his independent works Spike, Fallen Angel and Soulsearchers and Company ‘grandfathered’ into the agreement. David wrote the dialogue for The Dark Tower: A Gunslinger Born, a comic book spin-off from Stephen King’s Dark Tower novels, bringing his career full circle. He then wrote Marvel’s Dark Tower comic book adaptations as well.

David took over She-Hulk after Dan Slott left, from Issue 22 to 38, a run which won praise. He also wrote Halo: Helljumper, 2009 Ben 10: Alien Force Manga book published by Del Rey, Ben Fold’s Four, a ‘Little Mermaid’ story in Jim Valentino’s Fractured Fables anthology that won more praise from Ain’t it Cool News, an adaptation of the 1982 film Tron to tie in with the 2010 sequel of the same name and a John Carter from Mars prequel to the film due out next year.

Peter David is a genius. His methodology is to block out different days for different projects, allowing him to be prolific in his work. Assured, well liked and professional, Peter David is a quiet voice in a creative industry but one with an enormous fan base exclusively based on the enjoyment of his work. His writing conveys his enthusiasm, wit and humour as well as never losing grip on issues close to him. Unafraid of controversy and generous in his plotting and pacing, David is a joy to read. A clear reason as to why his works are reprinted through Marvel, available as Masterworks collections and including full runs of his writing.

Practitioners 36: Adam Kubert

Adam Kubert is probably best-known for his work at Marvel Comics, in particular for a sporadic run on the solo Wolverine title with writer Larry Hama, a short run with writer Peter David on the Incredible Hulk and numerous stints on various X-Men titles. Adam Kubert is noted for his raw, dynamic art style, combined with fluid storytelling and noteworthy pacing. He’s also known for his experimentation in art style and storytelling, being one of the first mainstream (i.e. Marvel or DC employed) comic book artist to experiment with the pencils-straight-to-colour approach with Steve Bucellato on The Incredible Hulk.

On his X-Men run, Kubert was teamed up with European colorist Richard Isanove, who subsequently followed Adam to the Ultimate X-Men project, perfecting the pencils-to-color approach seen on most of Ultimate X-Men covers. Kubert has been criticized not meeting monthly deadlines on certain issues, which often required hiring fill-in artists, a penchant that Kubert himself has admitted to having. In a 1998 Wizard interview with Jim McClaughlin, Kubert apologized to fans for the slow output, explaining that readers and fans now expect more of illustrators, and that the onus rests on the artist to spend time creating more detailed and well-drafted illustrations. This he has always achieved but the maintenance of his beautifully crafted, characteristic and dynamic work justifies almost any timescale.

If anyone had any doubt: Pencils (right) to inks (left) on Hulk: 2099 (Marvel)

Although Kubert remains a talented penciller, the choice of inker for his work greatly influences the quality of the final printed page. While searching for artwork to use as examples I had to dismiss several (one in particular from DC) that didn’t showcase his work well enough. It has been argued by fans and critics alike through various mediums such as the internet and comic publications, that some of Kubert’s finest work has been embellished by the British inker Mark Farmer, especially his runs on Wolverine and The Incredible Hulk for Marvel Comics. While talented inkers, notably Danny Miki and John Dell, lent their talents to Kubert’s pencils during his runs on Ultimate X-Men and Ultimate Fantastic Four respectively, reaction to the final artwork was mixed due to the stylistic nature of the inkers which did not lend itself well to Kubert’s normally lush drawings, leading to increasing calls that Adam Kubert should once again be paired up with Mark Farmer, even more so now that Kubert has moved to DC Comics as of 2006.

When Marvel Comics launched the industry-changing Ultimate Universe series in 2001, Kubert was chosen as the penciller for the second launch book Ultimate X-Men. His storytelling and distinct style coupled with writer Mark Millar’s well crafted tales, made the book an instant success. Kubert was also chosen as the penciller to launch the ultimate universe version of Marvel’s first family, the Ultimate Fantastic Four, once again with writers Mark Millar and Brian Michael Bendis. Both series launched to commercial and critical acclaim, firmly establishing Kubert as an industry heavyweight and one of Marvel’s “go-to guys” for their major projects.

An accomplished inker, he received an Eisner Award for his inking duties on the Dark Horse-DC Comics Batman vs. Predator crossover in the early 1990s. In addition to this, Kubert is well renowned for his lettering ability, being the youngest professional comic book letterer at the age of only 11 years old. His very own handwriting was used as the template for the font used in the Ultimate X-Men comics, additionally Kubert’s early lettering work in Heavy Metal magazine was used by DC Comics as the basis for most of the fonts used in their comics and magazines.

Both Adam and his brother Andy signed exclusive contracts to work for DC Comics in 2005. Kubert illustrated Superman: Last Son, co-written by Geoff Johns and Richard Donner (director of the 1978 film Superman) – his first project for DC Comics. He was to begin contributing to the story arc with Action Comics #841 (July 2006). However, he was not involved until issue #844, published in October 2006.

Issue #845 was released on December 3, 2006 to similar acclaim and again DC had to go back to press for a second printing on the February 23, 2007. Issue #846, part 3 of the “Superman: Last Son” storyline, was originally scheduled to be released December 30, 2006 was released on February 28, 2007. The next part of the story was scheduled to be a 3D issue released in April 2007. Further delay forced DC Comics to bring in substitute creative teams and delay the fourth part of the “Last Son” storyline and 3D issue to #851, which was released in early July 2007.
According to a April 2007 post on the Internet forum Newsarama, Johns stated that the delay was made to accommodate Kubert’s schedule and that the final part of the “Last Son” storyline would be in Action Comics Annual #11.The annual went on sale on May 7, 2008.

Following his work on Superman he penciled the Final Crisis tie in, DC Universe: Last Will and Testament, written by Brad Meltzer.

Last Will and Testament by Brad Meltzer and Adam Kubert (DC)

His last work for his latest tenure at DC was the Batman and The Outsiders Special, released in February 2009. This issue, written by Peter Tomasi, highlighted Alfred Pennyworth’s efforts to recruit a new team of Outsiders in the wake of Batman’s apparent death. After the release of the book, Kubert said he was pleased with his work at DC and had done, “what set out to do,” which was to draw Superman.

May 2009 marked Adam Kubert’s return to Marvel, his first interior work being published as one of two stories in Wolverine #73 and 74. Following this he contributed several covers to New Mutants and Wolverine: Weapon X, and penciled the “Dark Reign” tie in, The List: Amazing Spider-Man.

While he has returned to penciling for Marvel, he will continue to work for DC, contributing the stories for the upcoming Wednesday Comics Sgt. Rock feature, drawn by his father. He has since stated that he is Marvel-exclusive, but they are allowing him to work on the Sgt. Rock feature as he had signed on to do it before his contract at DC was up.
Following these Kubert will be doing pencils on the upcoming Astonishing Spider-Man & Wolverine.

London Film and Comic Con in pictures (Pt 3)

Just to round it all off a coupla highlights for me at LFCC. Ran into a guy dressed as the original Bishop from the 90’s (turned out he actually was inspired by the animated series), Kenny Baker going old school, a rare Alien / Marine chat and I can’t remember what the other one was. But there it is. LFCC in pictures….. Let us know what you thunk.

Practitioners 35: Andy Kubert

Andy Kubert was born on February 27, 1962, the third member (after father Joe and elder brother Adam) of one of the most famous comics artist families.

While Kubert started at DC Comics, drawing Adam Strange and the Batman Vs Predator crossover, he is probably best known for his work at Marvel Comics, specifically the company’s X-Men titles. With the move of Jim Lee to Image in the early nineties, Kubert (who had already been providing cover art – including Gambit’s introduction on Uncanny X-Men and a brief stint as that titles penciller) became penciller for what was the No.1 title in the world. Starting at Issue 19, Kubert caught the potential disaster of Lee’s departure and maintained the quality. Not dissimilar to Lee’s style, Kubert maintained the lightly lined, crosshatched, clear and concise style readers had enjoyed and actually clarified the panels more so than Lee himself.

Andy Kubert’s run on X-Men was a game changer as it maintained the quality of the X-Men line through the all important X-over event that captured the work of Peter David, Joe Quesada, Adam Kubert and Greg Capullo – all legends in the field. Andy Kubert was penciller on the flagship title of not just the X-line but Marvel itself and continued to push out exceptionally engaging compositions throughout the run. While his work was perhaps less accurate and realistic than his brothers (working on Wolverine at the time), Andy’s work had a subtlety and finesse that his brother didn’t. Relying on light line work and fine detail to augment the story, Kubert’s style was more illustrative and naturally drew the onlooker into the page. Kubert’s grasp of emotive splash pages and unique angles and physicality gave new life to characters such as Gambit and Beast, their natural gymnastics perhaps less impactful under another, less confident artist. His work continued to develop and found itself increasingly enhanced by new colouring techniques as the pencil and ink linework could be more easily brought out of the page; the background and foreground becoming more distinct; a minor detail that his early X-Men work suffered from at times. Far from being a Jim Lee imitator, Kubert was his own artist, developing the characters away from Lee’s original designs however slightly.

Offering it a lighter touch, the emotional impact of the events in the story found greater scope. The romance between Gambit and Rogue that encapsulated the intelligent writing that was taking place in X-Men developed naturally under Kubert’s artistry.

In 2003, Kubert worked on Neil Gaiman’s Marvel 1602, a beautifully rendered story dropping the most central Marvel characters into the centre of the Elizabethan England at the end of Monarch’s reign. Kubert’s linework matched perfectly the lighter ink work of the period. His representations of the characters timeless and at the same time recognisably the characters of modern day. In it enhanced pencil was used, with the image painted from Kubert’s pencil line work. The effect was staggering and made clear Kubert’s natural illustrative style. Although always precise and meticulous, Kubert’s focus is not always on the central character and he enjoys playing with compositions, not necessarily filling any panel with the characters but allowing the surroundings to impose on the action. This is undoubtedly the work of an assured artist. To be able to jump from X-Men to a project like 1602 successfully shows the range of work Kubert is capable of handling.

Both Andy and his brother signed exclusive contracts to work for DC comics in 2005. While his brother Adam has returned to Marvel comics following his 3 year deal with DC; Dan Didio has confirmed that Andy still has projects with DC. Fundamentally Bat related. Kubert provided covers for Blackest Night issues of Green Lantern and Blackest Night: Batman miniseries. Andy worked with his father Joe on the first two issues of DC Universe Legacies, a 10 issue miniseries chronicling the history of the DC Universe. On top of this Andy contributed to Batman 700, teaming up with Grant Morrison to tell more tales of Damian Wayne as Batman in the future of the over-sized anniversary issue. ‘Flashpoint’ – a Flash centric event is due to start this year (2011).

Kubert is an artist who alters the projects he touches. He has handled two of the most well known franchises for the two largest comic book companies in the world and left all concerned wanting more. The youngest Kubert, Andy had something to prove and it can certainly be argued that his work is considerably more popular and well received than his brother or father. Having also handled Millar’s Ultimate X-Men – a challenge as he effectively anchored the original designs in the mid to late 90s – it’s clear that Andy Kubert is a quietly famous and exceptional talent among equally talented artists. This cannot be ascribed to genes alone, as Kubert has handled the most well known projects in the world and made them more memorable.

Practitioners 32: Marc Silvestri

Marc Silvestri (born March 29, 1959) is an American Comic Book artist and more recently, creator and publisher and one of the lead names in the formation of Image comics in the 1990s. He currently acts as CEO of Top Cow Productions.

A small number of creators in the comics industry can honestly be described as masters of their art and Silvestri is certainly one of them. Simultaneously a draftsman, visual storyteller, artist and stylist he is responsible for rendering some of the most indelible images into some of the greatest titles ever told in comic books. His anatomy is perfect, stylised only in as much as offering graphically engaging characteristics, his panels loaded with Hollywood visuals. He takes the finer details of characters and simplifies them to make almost all of his characters simultaneously interesting, intelligent and emotionally charged. All of this combines into extensively sexy visualisations of even the most familiar and well worn characters in comics.

Silvestri began his career with DC comics and First Comics (an American comic-book publisher, around from 1983-1991), but made clear to the world just how damn cool his work was at Marvel Comics as penciller on their second coolest title, Uncanny X-Men between 1987-1990. Having made his name there he began a two year run taking the ol’ Canuckle head, Wolverine on a spin around the world in his own book. This secured him as a world class talent and frankly the ambassador of the cool pencil art in modern comic books. A mix of naturalism, sketch and scratch art techniques reliant on light cross hatching, tempered with technical skill leaves Silvestri compositions illustrative and incredibly affecting. Want to sell a million books? Get Marc Silvestri.

From X-Men : Here Comes Tomorrow (with Grant Morrison, 2004)


In 1992, Silvestri became one of the original artist – along with Jim Lee (with whom Silvestri shares a stylistic similarity), Whilce Portacio, Rob Liefeld, Erik Larsen, Todd McFarlane and Jim Valentino – to form an independent ‘Daniel’ to DC and Marvel’s ‘Goliath’ that had the potential to topple both. At the time the artist was king and disillusioned artists saw a gap in the market they could fill. Effectively the superstars of the time – Silvestri can now claim to be a true Practitioner among them as only he and Jim Lee truly survived the nineties as popular artists. Silvestri’s table of titles was published under the imprint Top Cow with the first title released being Cyberforce (in a neat nod to the creative freedom of an indy comic it was written by his brother Eric Silvestri. while plotted and pencilled by Marc). Cyberforce was a darker nineties remodelling of X-Men effectively, following a team of Mutants who had all at one point been captured by Cyberdata, an enormous corporation with ambitions for World takeover. The series was limited to begin with but enjoyed a monthly run of 35 issues which introduced a young David Finch to the industry. The criticisms of the series came thick and fast and were the same that were being levelled at all Image titles, that the characters were all modelled on existing Marvel characters, Cyblade is very similar to Psylocke, Ripclaw; Wolverine; Impact; Colossus and Stryker; Cable etc etc – effectively making Cyberforce little more than a reimagining of the coolest characters from X-Men. Other complaints were the level of violence and highly sexualised female characters, making the project appear (much like all Image titles of the time) as little more than the wish fulfillment of artists at the top of their game. Under this heavy criticism, Cyberforce faded away, Ripclaw occassionally reappearing elsewhere in other Silvestri projects such as the Darkness. In a clear indication of how these creative choices were more lightly viewed by the industry itself than the fans, Ripclaw and Cyblade appeared in a crossover with Wolverine and Psylocke recently.

Disputes among the Image partners led to Silvestri breifly leaving the publisher in 1996, but he soon returned after Leifeld severed his own ties with Image.

Top Cow’s successes include the titles Witchblade, The Darkness, Inferno Hellbound (publication of which was interrupted for unknown reasons) and Fathom.

In a dream team up in 2004, Silvestri returned to Marvel briefly to pencil several issues of X-Men, collaborating with Grant Morrison to bring his run on the title to an incredible close. Surplanting the action of modern day to 200 years into the future on a desolate earth, plagued by an outbreak of new and monstrous species, it was an incredible return to form for a master of the art. Working with arguably the foremost mainstream writer of the time, the feline countenance of Beast (now named ‘Sublime’) and the ensuing battle on a battered warship in the middle of weather strewn Atlantic was brought to solemn, beautiful and rude life by this illustrative pass master. Every emotional blow, every battered viewpoint, every severed cityscape, every battle sequence and exploding birth of mutant life was brought screaming out of the page in one of the finest team ups in comics history. A shame it arrived at the end of a commercially middling run (the kids didn’t like it so much) – the Morrison / Silvestri run on X-Men should be collected as an example of how beautifully the form can be used to tell grand fairy tales. Only that team could have plausibly created a cowardly Humpback with a strong Scottish accent and maintained such undeniable cool.

Later that year, he launched a new Top Cow title, Hunter Killer with writer Mark Waid. He provided covers for Marvel Comics mini series; Deadly Genesis by Ed Brubaker and Trevor Hairsine, which were woefully misleading as Hairsine’s interiors just couldn’t keep up and the plotline was critically and publicly panned.

Cyberforce 0 was released in 2006. The pulling power of Silvestri being enough to reinstate, however briefly, an only averagely well received title.

In late 2007 he launched X-Men: Messiah Complex with an incredible turn on pencils on the new X-Men, so far removed from his original team back in the 90s. He returned once more, pencilling the one-shot Uncannny X-Men/ Dark Avengers ccrossover Utopia in 2009.

He also contributed to Image United, pencilling all the characters he created during his run at Image that feature in the story.

Whether working for Image, Top Cow, Marvel, First Comics or DC, Silvestri has demonstrated a talent that only enhances with age. The intelligence and foresight he applies to his compositions add to the innate freshness and clarity of the light line work. A deft touch on any comics page, with a natural grasp of pathos, myth, legend, technology and cool, his charged panels batter and cajole the reader, offering up a sexier, more glorious and interesting world without ever losing the touch of reality and gravity that carries any tale from beginning to end. Every rendering of an existing character gives it a fresh spark of life; reinstating it instantly to Alpha status among its surrounding company; something Silvestri has brought to the companies he’s worked for. A successful creator that remains a core artist in mainstream books; he offers fantasy we can all get involved with and books anyone can be in awe of. An illustrator of monumental proportions his abilities crystallised for me in a simple double page spread during Morrison’s run on X-Men. The first double page spread of his run, Morrison clearly understood what he was dealing with and allowed Silvestri to speak through the story. The double page spread is nothing but 5 characters, Wolverine, Cassandra Nova, No-Girl (complete with floating brain bowl), Tom Skylark, Birdy’s eagle headed nephew (baseball bat over the shoulder, bandana around his cranium) and the enormous feet of a reassigned Sentinel in the background walking towards the reader in the rain. These are the most difficult compositions to get right. These are only about feeling. In such a simple composition every muscle, detail, foot placement and expression has to be perfect. Every ripple and placement of character carefully applied in order to maximise the emotional punch intended. Morrison was right to give over this space to Silvestri, offering proper respect to a senior Practitioner. Silvestri made clear why Morrison’s faith was well placed. All you can think when looking at the image is ‘I hope they come back’ and ‘I know they won’t’ mixed with ‘they know that’ and ‘they just don’t mind’. The collection of sensations from such a simple image falls at the feet of Morrison for building to a subtle crescendo but mostly it makes clear that if you give Silvestri the space, anything can happen, even when nothing really is….

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