Join us once more in the hallowed halls of the Hellfire Book Club as we discuss the ins and outs of the X-Men. This time around Kang and Biff are joined once more by Rex Mason and Dutch Essex as well as newcomer Nick Nack Tabasco. The topic at hand? A fine question indeed! Tonight we discuss Grant Morrison’s early work on the New X-Men series. Enjoy!
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It’s no secret that Robert Kirkman is a fan of 1980s-90s Marvel comics. Any reader of Invincible (and if you aren’t one, I recommend you rectify that tout de suite) can tell you that the fantastic series from Image is more or less a love song to books from that period and it would fit right in with those titles were it on the rack in 1989, save for its R rating.
However, while the comparisons between Invincible and Spider-Man are right at the surface, it’s a bit more difficult (and certain conjectural) to point out the similarities between the X-Men comics of yesteryear and the multi-media juggernaut that is The Walking Dead. Naturally the subject matter of the two series never overlap, the Walking Dead is a survival horror story set in a world only slightly different from our own and the classic X-Men stories are adventure tales in a wildly fantastic universe. But the characters, and the relationships between those characters are often so similar that I just can’t goddamn ignore it any longer.
I’ve recently become fascinated by Phil Noto’s art. Not only is it strangely beautiful, but it also has a particular design atheistic that is very appealing to me. A lot of his work feels like it would be equally at home in a high end fashion magazine as well as a comic book. While his current day job sees him doing interior’s for Marvel’s Black Widow series with writer Nathan Edmonson here is a sampling of what else he’s done.
As we once more stroll through the hallowed halls of the Evil Geeks Art Gallery, I would like to remind you of the importance of the classics. Sure, many of the subjects we’ve studied in the past have been from the Post-Post-Modern era of pop culture art, or POPOMOPOP, as we call it in the industry, but our artists’ styles have been undoubtedly shaped by the classics. Perhaps my personal favorite comic book cover of all time, today’s featured painting is undeniably a classic.
During New York Comic Con I stumbled upon artist Paolo Rivera’s booth, I didn’t know he was attending the event. Having loved what he did on both Daredevil and Spider-Man I knew I had to peruse the art he was selling. While I did come away with a print or two, I saw him working on a headshot of Nightcrawler. I was dazzled by how realistic it looked and how beautiful it was. After doing some research I found out that he takes a few comissions per convention for these headshots. He’s done a lot and they are all pretty fantastic.
I think you’ll agree.
You know what’s missing from Marvel comics these days? It’s not just the feeling of permanence in the storytelling or the overall quality in the product they put out on a monthly basis. The notion that the creators are putting their best feet forward and not just taking monthly work to pay the bills while they publish their best stories as creator-owned works? Sure, that’s gone with the wind but there’s something else that used to be a staple of the industry, but seems to be gone for good.
The corner box illustration.