Look at the baby on the last page. Or whatshername's face after she stabs Elektra, where suddenly she morphs into a ninety-year-old woman. Or, really, any face, anywhere. Luke Cage and Iron Fist, in particular, never don't look stupid. There's no flow from panel to panel, the positions the characters are in are frequently ridiculous (the group shot a couple of issues ago where Cage is standing with his fists extended out to his sides for some reason comes to mind), it's bad, bad, bad, bad. The art fails on virtually every level.
(EDIT: I didn't mention the perspective. Rob Liefeld could give this guy lessons.)
Look at the baby on the last page. Or whatshername's face after she stabs Elektra, where suddenly she morphs into a ninety-year-old woman. Or, really, any face, anywhere. Luke Cage and Iron Fist, in particular, never don't look stupid. There's no flow from panel to panel, the positions the characters are in are frequently ridiculous (the group shot a couple of issues ago where Cage is standing with his fists extended out to his sides for some reason comes to mind), it's bad, bad, bad, bad. The art fails on virtually every level.
(EDIT: I didn't mention the perspective. Rob Liefeld could give this guy lessons.)
If you're comparing him to Rob Liefield it's pretty obvious your mind is made up.
Edit: The issue itself.
No, really.
Pick a page and point out the redeeming features. You don't get to call me closed-minded when you're doing NOTHING to defend your side. I seriously cannot imagine what anyone might have to say about Yu's artwork that is positive, and I'm genuinely surprised that people are arguing with me about it-- I didn't think it was going to be a controversial viewpoint when I first said it.
If you're comparing him to Rob Liefield it's pretty obvious your mind is made up.
Edit: The issue itself.
No, really.
Pick a page and point out the redeeming features. You don't get to call me closed-minded when you're doing NOTHING to defend your side. I seriously cannot imagine what anyone might have to say about Yu's artwork that is positive, and I'm genuinely surprised that people are arguing with me about it-- I didn't think it was going to be a controversial viewpoint when I first said it.
Somebody tell me why this is good art.
If you think she transformed into an old lady I can already see where this conversation is heading. No thanks.
If you're comparing him to Rob Liefield it's pretty obvious your mind is made up.
Edit: The issue itself.
No, really.
Pick a page and point out the redeeming features. You don't get to call me closed-minded when you're doing NOTHING to defend your side. I seriously cannot imagine what anyone might have to say about Yu's artwork that is positive, and I'm genuinely surprised that people are arguing with me about it-- I didn't think it was going to be a controversial viewpoint when I first said it.
Somebody tell me why this is good art.
Because it's good.
Seriously? There's no reason for us to argue. WE know it's good. You're just crying because it's not Greg Land or whatever hack you like.
If you're comparing him to Rob Liefield it's pretty obvious your mind is made up.
Edit: The issue itself.
No, really.
Pick a page and point out the redeeming features. You don't get to call me closed-minded when you're doing NOTHING to defend your side. I seriously cannot imagine what anyone might have to say about Yu's artwork that is positive, and I'm genuinely surprised that people are arguing with me about it-- I didn't think it was going to be a controversial viewpoint when I first said it.
Somebody tell me why this is good art.
If you think she transformed into an old lady I can already see where this conversation is heading. No thanks.
If you're comparing him to Rob Liefield it's pretty obvious your mind is made up.
Edit: The issue itself.
No, really.
Pick a page and point out the redeeming features. You don't get to call me closed-minded when you're doing NOTHING to defend your side. I seriously cannot imagine what anyone might have to say about Yu's artwork that is positive, and I'm genuinely surprised that people are arguing with me about it-- I didn't think it was going to be a controversial viewpoint when I first said it.
Somebody tell me why this is good art.
If you think she transformed into an old lady I can already see where this conversation is heading. No thanks.
Wow. Uh, okay.
Anybody else?
Is this it, then?
This is your gimmick?
Insult someone a majority of posters in a topic enjoys, and then insist that we've got no right to be closed-minded because between two of your posts with 3 people actually commenting, none of them thought you worth the time to argue with when you've CLEARLY made up your mind?
Look, we're not fucking bothering.
There's no point.
You've obviously decided "Nope this is bad." and there is no one here who can change your opinion by pointing out that the rough sketchy style is a welcome change from the ultra-smooth and shiny way every other comic is drawn. Because you'll just go "lol mor liek Leinel Yu couldn't find markers lol"
It's good because it's a visceral and rough style. Sharp lines and a relatively low amount of curves on the characters in addition to the lack of facial expression are a signature Yu seems to have because his characters are best drawn brutally beating the shit out of one another.
Saying Yu's art is shit is like saying Bachalo's art is messy and chaotic after you've looked at his X-Men stuff. Or that everyone Paul Pope draws looks Mexican. YOU ARE MISSING THE FUCKING POINT.
I haven't insulted a single goddamned one of you, Muffin. I said I didn't like the art in a comic book and immediately half a dozen people jumped my ass, while refusing in any way to point out any positive features of the artist. I didn't say a fucking WORD about any of you. The closest thing to an honest response was Hooraydiation's, who said that it didn't fit the book, but was still "quite good," and then he turned around and called me a fifteen-year-old two posts later. I'm apparently an X-men fan, too; what the hell that has to do with anything is beyond me; and Anjin and Muffin had better be fucking related to Yu as personally as they're taking this.
I didn't say it was "shit," Anjin, that's you taking it personally. I LOVE the idea that you can predict my tastes in art. Your second paragraph on the 12:56 post? Is fine. You like visceral and rough. I like it when the artist knows where the floor is once in a while. It's entirely possible that were this not an Avengers book I might like it more; I'll admit that. Frankly, if I had to pick I'd put Yu on a horror book of some sort; I think he might match that sort of tone better than superheroes.
That DOESN'T change the fact that his mistakes, in many ways, ARE very similar to Liefeld's. He doesn't show Liefeld's terrible grasp of proportion, but his characters are ALWAYS posing, he's frequently sloppy on details, he's terrible on perspective (you can never tell where the floor is, and half the characters seem to be flying, all the time) and as several people other than me have pointed out, the veins and facial expressions are problematic, especially when his extra lines on the faces of female characters make them look so much older than they're supposed to be.
Take a step back and breathe, guys. I don't really care if you change your minds or not. I want to know why you like this artist. Anjin-san's second paragraph is a start. Anybody have anything else to say, or are we going to start imagining my hairstyle and job now?
Man, Geebs might be all up ins. Yu's style is very rough, but comparing it to Liefield is... beyond reason. I am not sure how to respond to that.
I have given several specific reasons why I think Yu's art is reminiscent of Liefeld's. You could start by, like, disagreeing with them, maybe with an example or something. I dunno, it's an idea. I think conversations have worked that way once in a while.
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Bloods EndBlade of TyshallePunch dimensionRegistered Userregular
That paragraph alone tells me anything said to you is going to be polarizing. I didn't take it personally. Maybe you're not up on the vernacular around here but if you think what I've said is pointed and barbed you may want to re-read every thread in GV.
The difference between Liefield and Yu is simple. Yu has a set scale on his characters and people don't look like they're screaming in normal conversation. I have said I have quibbles with things like veins popping out when people are stationary.
He fits the tone of the story right now.
Here. Let's do a mental exercise.
Pick any artist you like.
Now, imagine the New Avengers in costume under a tree having a picnic.
Now, imagine Leinil Francis Yu drawing the same thing.
Does he work for shit like that?
No.
Does he work for fighting swarms of ninjas?
Yes.
Edit: In short, kindly fuck off with that straw man shit.
Man, Geebs might be all up ins. Yu's style is very rough, but comparing it to Liefield is... beyond reason. I am not sure how to respond to that.
I have given several specific reasons why I think Yu's art is reminiscent of Liefeld's. You could start by, like, disagreeing with them, maybe with an example or something. I dunno, it's an idea. I think conversations have worked that way once in a while.
I just don't see the characters always posing thing, or the huge problems with perspective. I see Yu "placing the camera" in interesting places and stuff, but I do not see the problems with perspective. I am not an art student or anything, but I just don't see it.
Blood's End-- good point. Thinking about it, I know I have Birthright and Ultimate Hulk vs. Wolverine, and I don't remember hating the artwork in either of those. I'd dig them out and check, but I'm moving in a couple of weeks and everything's boxed up. He's inking himself in NA; do you know if he does his own inks in the other two titles?
Anjin, I *said* that Yu doesn't have Liefeld's proportion problems. There's a panel toward the end of the book where Elektra is either being lifted off of the floor or has grown ten feet tall, but his proportions are usually decent. In the page you scanned, how did Spider-Man get tossed/kicked/thrown/whatever out the window in the first place? He yells "Agh!" for some reason and then apparently he's flying through a window that appeared several feet behind him and to his left on the previous page. Note that having the letterer put "crack crack fump crack crack" all over the panel is not the same as rendering coherent action. What the hell's Ronin doing in that second-to-last panel?
Nothing understandable. It's a cool pose. Liefeld likes those too.
EDIT: Douglas, I think I'd complain about the perspective less if he drew a background once in a while. I realize that the last several issues have been full of ninjas, but everyone seems to be able to fly; the characters don't seem to have any weight to them. Look at the big splash page, for example, and see if you can figure out what angle the floor's supposed to be at. It's rarely possible. Hell, half the time it's hard to tell whether they're inside or outside. I suppose "perspective" isn't strictly the best term for that, but that's my issue.
I mostly agree with the last two posts-- I'm mentally putting Spidey back in the red-and-blue on that page, though, because ASM Spidey is not so much with the quippy right now, and Hawkeye has been a favorite since West Coast Avengers, so I'm going to take this as an opportunity to go to bed.
Feel free to continue insulting me in my absence, if it makes you feel better.
Leinil Yu models his backgrounds in SketchUp, and then draws from those models. It's pretty difficult to mess up the perspective when you're going about it that way. Also, I'm pretty sure that this is just his pencils leveled to a darker gray/black.
He shows a highly advanced (by industry standards) understanding of proportion, musculature, and gesture when drawing figures, and knows his way around a striking composition.
This issue isn't about the Silver Samurai's castle. It's about fighting ninjas. Therefore, ninjas are more important than backgrounds, so he chooses to populate his panels with them. Notice how, when he switches from one location to another, he gives you a full background to get your bearings, then doesn't include them until he switches to another location? He doesn't need to draw a background in every panel, because he's already shown you where you are, and their inclusion, while sometimes nice, is often unnecessary. You'll notice that when he breaks from this form in the middleish (where Maya regains control) he switches from one set of the characters to the next without showing too many background details. Here, it creates a "everything is happening right now" montage that's removed from linear time.
Long story short, yes, those veins can be kind of annoying at times, but he is, by no stretch of the imagination, a bad artist, and this is not bad art. It might not be to your tastes, but that doesn't mean it's not incredibly competent.
Also! I enjoyed the issue, but the Skrull reveal at the end kind of made me feel like the arc was a bit of a waste. I felt very cheated! I can't wait for more, though.
Anjin, I *said* that Yu doesn't have Liefeld's proportion problems. There's a panel toward the end of the book where Elektra is either being lifted off of the floor or has grown ten feet tall, but his proportions are usually decent. In the page you scanned, how did Spider-Man get tossed/kicked/thrown/whatever out the window in the first place? He yells "Agh!" for some reason and then apparently he's flying through a window that appeared several feet behind him and to his left on the previous page. Note that having the letterer put "crack crack fump crack crack" all over the panel is not the same as rendering coherent action. What the hell's Ronin doing in that second-to-last panel?
Comics do this thing when they cut from panel to panel.
It lapses a bit in time. To avoid showing you Spider-man getting close to the window first and other useless things that only nitpicky people would point at.
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Sars_BoyRest, You Are The Lightning.Registered Userregular
I mostly agree with the last two posts-- I'm mentally putting Spidey back in the red-and-blue on that page, though, because ASM Spidey is not so much with the quippy right now, and Hawkeye has been a favorite since West Coast Avengers, so I'm going to take this as an opportunity to go to bed.
Feel free to continue insulting me in my absence, if it makes you feel better.
What?
You ask people to defend their stance, yet when they do you accuse them of insulting you.
Coming off the heels of NA#31's release, IGN sat down with Brian Bendis for an intervew IGN calls "Marvel's Massive Avengers Conspiracy". Here's the link for it as well as some highlights for those who don't wanna deal with IGN. Be careful as it involves spoilers for NA#31 as well as upcoming stories.
IGN Comics: Wow. Okay. So Elektra's a Skrull… what's up with the baby?
Bendis: Well, the baby… what's going on is last summer the slogan was "Whose Side Are You On?" This year it's "Who Do You Trust?" What we've seen is that Elektra was a Skrull. Wolverine couldn't tell. Spider-Man couldn't tell. Dr. Strange couldn't tell at first glance. So the Skrulls have evolved or done something to themselves to make themselves undetectable to the most potent superhuman powers. A lot of that was hinted at in the Illuminati series when that group went to the Skrull Homeworld around the Kree/Skrull War and said, "Hey, we mean it. You're not coming to Earth any more." But through the Illuminati and Annihilation series, a lot has been done to the Skrulls. They have no world now. They religiously believe the Earth to be theirs. It's been written in their scriptures.
So it's not so much, "Bwahaha, we're going to take your planet," but, "It's been said! It's been written! This is ours!" All of this is coming to a head on a level that Marvel's never done before. There have been Skrull stories, and most of them have the Skrulls with their laser guns and spaceships. It's kind of contradictory to the idea of a shape-shifting race! A shape-shifting race would use their theories and philosophies as weapons. They'd get in here and get us to do as much damage to ourselves as possible.
A lot will be revealed quickly over the next few months in New Avengers, Mighty Avengers and the Illuminati book, which ends with a mighty big chapter on this. It begins with Skrulls and ends on Skrulls.
Starting with issue #32, the team splinters in mistrust. You have people leaving the team and people switching teams. A lot is discussed and a lot is put to the test. There will be people who went alllll the way through the War who then say, "Oh, I think I made a huge mistake," to quote Arrested Development.
IGN Comics: What causes these splinters? Merely seeing Elektra as a Skrulls sets this off?
Bendis: Well, no, the conversation immediately leans towards, "No, it's not just Elektra that's a Skrull. We've been invaded and we don't even know it!" The other half is saying, "No, it's just a Skrull and it was making the most of it! You're always assuming the worst!" Someone like Wolverine, who has been through the ringer, is saying, "No. This is a war. We may have lost already. If that's the case, then we can't even continue this conversation because I don't know who the **** you people are and I don't know who the **** I'm talking to!"
That's how quickly it devolves. You look at your loved ones, you look at your family, you look at any living organic creature and you say, "Okay. What is that?"
IGN Comics: Since the New Avengers are an underground team, do they even bother approaching Tony Stark?
Bendis: Well, that's the question! Who's been acting the most "Skrully" of all?
That said, I can promise you that the Civil War, and other giant events such as World War Hulk, happened - we did that to ourselves. There's not going to be a reveal later on that says, "Ohhhh!! The Skrulls were behind the Civil War!" That's just crappy writing. That's just bull****. That I can promise you. But something like Civil War, if it's an easy nudge, and the Skrulls can sit back and let us beat each other up and kill Captain America, that certainly would help them in their quest.
IGN Comics: Now, you mentioned not messing with Civil War, but then you said that automatically the most suspicious is Tony Stark…
Bendis: The events of House of M, Civil War, Secret War and World War Hulk - whenever we've done a big story - those characters have done that. That's a promise. It would be tantamount to, if on the last page of Civil War #7, the woman whose kid died, she pulled off her head and she was the Red Skull. You'd be like "Ahhhh, go **** yourself!!"
We've gone so far with these things and we'd never pull bull**** like that. I know there have been a lot of stories like that, and they've been fun, but what's going on here is we're taking some pages from some of the great sci-fi epics of the past. You know how Star Trek took the Klingons, and tried to make them into a more serious threat with a definite agenda, not unlike the Cylons in the new Battlestar Galactica? They were changing into a legitimate, scary thing? We're trying to do the same thing with the Skrulls. Yeah, they are beady-eyed green aliens, but there's something more here.
IGN Comics: Touching on Mighty Avengers then - when do they get pulled into this?
Bendis: Pretty quickly, actually - issue #6.
IGN Comics: Wow. Well that is pretty fast… Now, I know Doom is coming up in that book. Is he factoring into this Skrull plot?
Bendis: Well, once the cat is out of the bag, and no one knows who to trust or what to do, a lot of people start making plays.
IGN Comics: A recent solicitation image cover shows the Hood with his team. Can you run down that roster real fast?
Bendis: They are the first people on board. The group is actually much larger than that. We have Madame Masque, who's awesome. We have the Wizard from the Frightful Four. There's also Chemistro. These are all great characters who weren't getting enough air time. There's also Dr. Jonas Harrow. They take out someone big pretty early on as well.
IGN Comics: Symbiotes are also right around the corner… How do they factor in?
Bendis: That is a Dr. Doom plan gone awry. It might be that Doom is hooking up with Morgana La Fey in the past, and while he's away… shenanigans start.
While, I can agree that I personally don't like the look of NA, as far as the art style is concerned, I do think it provides a good contrast to say, reading a book like Nova. And I think a well played story can make up for not digging on a particular art direction. My opinion on NA has really changed since the first Initiative issue, due to the story.
While we're on the subject of artists...am I the only one a little bumbed out that Granov isn't doing WWH? I just back into comics towards the tail end of CW, and one of the first books I picked up was Extremis, and really dug the direction of the art...don't know if anyone else had any comments on the way it's been handled so far.
Considering it takes Granov over a year to draw 6 issues, I dont think we will ever see him doing regular interiors again. And I can never be bummed about JRJR drawing a book.
As for Yu, I have never had a problem following the action or figuring out what was going in any of his NA issues.
You asked if he normally inked his own stuff, and the answer to that is no. But like I said before, this extremly rough and messy sketching quality fits the current tone and style of the book to a T. His characters are all easily distinguishible, he draws distinct faces capable of emoting on various levels, and is able to convey high levels of details and movement during dynamic action sequences.
I am honestly not sure what the fuck "I have no idea where the floor is" means, because thats not a problem I have ever had with his art. I love Yu and I hope he stays for the remainder of this "Secret Avengers" era.
Owenashi, that is fucking brilliant. There's about 4 "Oh Shi-" moments in that interview alone, I can't wait for the story arcs and issues Bendis is talking about.
I'm also gonna go back and re-read everything post-Breakout.
The only thing I don't like about Yu's art is the face on Iron Fist and sometimes Dr. Strange. I love his Ronin, Wolverine, and Spider-man though.
Oh and look at that
Seems the New Avengers are gonna have the same fight over the Skrulls that the internet is having
It makes sense for the NA to jump to that conclusion. They desperatley want to believe that thier friend Tony didnt fuck them over. But given what we know as readers - we already know it isnt true.
The thing about the Skrulls is that it's a great idea in theory - paranoia, anyone could be an impostor, and so forth. It kind of worked with the Dire Wraiths.
The problem is... it's the SKRULLS. They're little green men.
Posts
Look at the baby on the last page. Or whatshername's face after she stabs Elektra, where suddenly she morphs into a ninety-year-old woman. Or, really, any face, anywhere. Luke Cage and Iron Fist, in particular, never don't look stupid. There's no flow from panel to panel, the positions the characters are in are frequently ridiculous (the group shot a couple of issues ago where Cage is standing with his fists extended out to his sides for some reason comes to mind), it's bad, bad, bad, bad. The art fails on virtually every level.
(EDIT: I didn't mention the perspective. Rob Liefeld could give this guy lessons.)
No.
Edit: The issue itself.
Large veins, faces twisted in pained expressions for no reason at all, heavy lines over everything, whats not to love?
No, really.
Pick a page and point out the redeeming features. You don't get to call me closed-minded when you're doing NOTHING to defend your side. I seriously cannot imagine what anyone might have to say about Yu's artwork that is positive, and I'm genuinely surprised that people are arguing with me about it-- I didn't think it was going to be a controversial viewpoint when I first said it.
Somebody tell me why this is good art.
If you think she transformed into an old lady I can already see where this conversation is heading. No thanks.
Because it's good.
Seriously? There's no reason for us to argue. WE know it's good. You're just crying because it's not Greg Land or whatever hack you like.
Wow. Uh, okay.
Anybody else?
Is this it, then?
This is your gimmick?
Insult someone a majority of posters in a topic enjoys, and then insist that we've got no right to be closed-minded because between two of your posts with 3 people actually commenting, none of them thought you worth the time to argue with when you've CLEARLY made up your mind?
Look, we're not fucking bothering.
There's no point.
You've obviously decided "Nope this is bad." and there is no one here who can change your opinion by pointing out that the rough sketchy style is a welcome change from the ultra-smooth and shiny way every other comic is drawn. Because you'll just go "lol mor liek Leinel Yu couldn't find markers lol"
It's good because it's a visceral and rough style. Sharp lines and a relatively low amount of curves on the characters in addition to the lack of facial expression are a signature Yu seems to have because his characters are best drawn brutally beating the shit out of one another.
Saying Yu's art is shit is like saying Bachalo's art is messy and chaotic after you've looked at his X-Men stuff. Or that everyone Paul Pope draws looks Mexican. YOU ARE MISSING THE FUCKING POINT.
I'll sum up the response.
:roll: Uh. Ok. Wow.
I haven't insulted a single goddamned one of you, Muffin. I said I didn't like the art in a comic book and immediately half a dozen people jumped my ass, while refusing in any way to point out any positive features of the artist. I didn't say a fucking WORD about any of you. The closest thing to an honest response was Hooraydiation's, who said that it didn't fit the book, but was still "quite good," and then he turned around and called me a fifteen-year-old two posts later. I'm apparently an X-men fan, too; what the hell that has to do with anything is beyond me; and Anjin and Muffin had better be fucking related to Yu as personally as they're taking this.
I didn't say it was "shit," Anjin, that's you taking it personally. I LOVE the idea that you can predict my tastes in art. Your second paragraph on the 12:56 post? Is fine. You like visceral and rough. I like it when the artist knows where the floor is once in a while. It's entirely possible that were this not an Avengers book I might like it more; I'll admit that. Frankly, if I had to pick I'd put Yu on a horror book of some sort; I think he might match that sort of tone better than superheroes.
That DOESN'T change the fact that his mistakes, in many ways, ARE very similar to Liefeld's. He doesn't show Liefeld's terrible grasp of proportion, but his characters are ALWAYS posing, he's frequently sloppy on details, he's terrible on perspective (you can never tell where the floor is, and half the characters seem to be flying, all the time) and as several people other than me have pointed out, the veins and facial expressions are problematic, especially when his extra lines on the faces of female characters make them look so much older than they're supposed to be.
Take a step back and breathe, guys. I don't really care if you change your minds or not. I want to know why you like this artist. Anjin-san's second paragraph is a start. Anybody have anything else to say, or are we going to start imagining my hairstyle and job now?
I have given several specific reasons why I think Yu's art is reminiscent of Liefeld's. You could start by, like, disagreeing with them, maybe with an example or something. I dunno, it's an idea. I think conversations have worked that way once in a while.
I think the inkist is why his NA seems all wack.
The difference between Liefield and Yu is simple. Yu has a set scale on his characters and people don't look like they're screaming in normal conversation. I have said I have quibbles with things like veins popping out when people are stationary.
He fits the tone of the story right now.
Here. Let's do a mental exercise.
Pick any artist you like.
Now, imagine the New Avengers in costume under a tree having a picnic.
Now, imagine Leinil Francis Yu drawing the same thing.
Does he work for shit like that?
No.
Does he work for fighting swarms of ninjas?
Yes.
Edit: In short, kindly fuck off with that straw man shit.
I just don't see the characters always posing thing, or the huge problems with perspective. I see Yu "placing the camera" in interesting places and stuff, but I do not see the problems with perspective. I am not an art student or anything, but I just don't see it.
Anjin, I *said* that Yu doesn't have Liefeld's proportion problems. There's a panel toward the end of the book where Elektra is either being lifted off of the floor or has grown ten feet tall, but his proportions are usually decent. In the page you scanned, how did Spider-Man get tossed/kicked/thrown/whatever out the window in the first place? He yells "Agh!" for some reason and then apparently he's flying through a window that appeared several feet behind him and to his left on the previous page. Note that having the letterer put "crack crack fump crack crack" all over the panel is not the same as rendering coherent action. What the hell's Ronin doing in that second-to-last panel?
Nothing understandable. It's a cool pose. Liefeld likes those too.
EDIT: Douglas, I think I'd complain about the perspective less if he drew a background once in a while. I realize that the last several issues have been full of ninjas, but everyone seems to be able to fly; the characters don't seem to have any weight to them. Look at the big splash page, for example, and see if you can figure out what angle the floor's supposed to be at. It's rarely possible. Hell, half the time it's hard to tell whether they're inside or outside. I suppose "perspective" isn't strictly the best term for that, but that's my issue.
Call him Hawkeye, and maybe he'll be back in the costume soon enough.
Feel free to continue insulting me in my absence, if it makes you feel better.
He shows a highly advanced (by industry standards) understanding of proportion, musculature, and gesture when drawing figures, and knows his way around a striking composition.
This issue isn't about the Silver Samurai's castle. It's about fighting ninjas. Therefore, ninjas are more important than backgrounds, so he chooses to populate his panels with them. Notice how, when he switches from one location to another, he gives you a full background to get your bearings, then doesn't include them until he switches to another location? He doesn't need to draw a background in every panel, because he's already shown you where you are, and their inclusion, while sometimes nice, is often unnecessary. You'll notice that when he breaks from this form in the middleish (where Maya regains control) he switches from one set of the characters to the next without showing too many background details. Here, it creates a "everything is happening right now" montage that's removed from linear time.
Long story short, yes, those veins can be kind of annoying at times, but he is, by no stretch of the imagination, a bad artist, and this is not bad art. It might not be to your tastes, but that doesn't mean it's not incredibly competent.
Also! I enjoyed the issue, but the Skrull reveal at the end kind of made me feel like the arc was a bit of a waste. I felt very cheated! I can't wait for more, though.
Comics do this thing when they cut from panel to panel.
It lapses a bit in time. To avoid showing you Spider-man getting close to the window first and other useless things that only nitpicky people would point at.
You ask people to defend their stance, yet when they do you accuse them of insulting you.
:roll:
http://comics.ign.com/articles/796/796467p1.html
Let's Play Final Fantasy 'II' (Ch10 - 5/17/10)
While we're on the subject of artists...am I the only one a little bumbed out that Granov isn't doing WWH? I just back into comics towards the tail end of CW, and one of the first books I picked up was Extremis, and really dug the direction of the art...don't know if anyone else had any comments on the way it's been handled so far.
As for Yu, I have never had a problem following the action or figuring out what was going in any of his NA issues.
You asked if he normally inked his own stuff, and the answer to that is no. But like I said before, this extremly rough and messy sketching quality fits the current tone and style of the book to a T. His characters are all easily distinguishible, he draws distinct faces capable of emoting on various levels, and is able to convey high levels of details and movement during dynamic action sequences.
I am honestly not sure what the fuck "I have no idea where the floor is" means, because thats not a problem I have ever had with his art. I love Yu and I hope he stays for the remainder of this "Secret Avengers" era.
Oh and look at that
FFBE: 838,975,107
Dokkan: 1668363315
I'm also gonna go back and re-read everything post-Breakout.
It makes sense for the NA to jump to that conclusion. They desperatley want to believe that thier friend Tony didnt fuck them over. But given what we know as readers - we already know it isnt true.
Holy crap I am TOTALLY on board with ALL of this.
Super-secret undetectable Skrulls? Come on...