Essential Tomb of Dracula is my favorite Essential book from Marvel. I've got almost the complete run of ToD in floppies, but I keep Essential around as a reference book. It's great.
I never thought much of the one-off Marvel monster books, but I picked up a bargain bin trade of all of Blade's solo stories up until the beginning of his first ongoing in the 90s, and they blew me away. I had never seen anything like Gene Colan's art, and Wolfman was in his prime.
So, yeah, those are definitely something that will go onto my list, probably in the near future because it'd be really nice to have a couple Essential or Showcase volumes to flip through up here.
Edit: Apparently the Essential Tomb books are going out of print because the series is getting a pricey omnibus release. That kind of upsets me.
That sucks that the Essentials are going away, but a new Omnibus for this series would be great.
Essential Tomb of Dracula is my favorite Essential book from Marvel. I've got almost the complete run of ToD in floppies, but I keep Essential around as a reference book. It's great.
I never thought much of the one-off Marvel monster books, but I picked up a bargain bin trade of all of Blade's solo stories up until the beginning of his first ongoing in the 90s, and they blew me away. I had never seen anything like Gene Colan's art, and Wolfman was in his prime.
So, yeah, those are definitely something that will go onto my list, probably in the near future because it'd be really nice to have a couple Essential or Showcase volumes to flip through up here.
Edit: Apparently the Essential Tomb books are going out of print because the series is getting a pricey omnibus release. That kind of upsets me.
That sucks that the Essentials are going away, but a new Omnibus for this series would be great.
While an Omnibus is pretty nice, I think the black and white of the Essentials really fits the tone of stuff like Tomb of Dracula.
Upon a Google search, I present to you this panel:
I do not know what this is from (or why it's totally wrong gosh Magneto you can create shields and stuff what are you doing are you even trying) but it somewhat confirms your question.
Upon a Google search, I present to you this panel:
I do not know what this is from (or why it's totally wrong gosh Magneto you can create shields and stuff what are you doing are you even trying) but it somewhat confirms your question.
nnff
grrrmm
And I can't see it at work. Ah, boo. But, thanks, I will as soon as I get home.
Yeah, the child-buddha Green Lantern is sort of neat.
It is just an older Superman. I got mixed up because I had seen Justice League Unlimited when they went to the future and Old Bruce met Present Bruce, and they mentioned Superman being dead so I thought the Superman in the episode of Batman Beyond was a replacement or something but noooope and this sure is a run on sentence bye
Yeah, the child-buddha Green Lantern is sort of neat.
It is just an older Superman. I got mixed up because I had seen Justice League Unlimited when they went to the future and Old Bruce met Present Bruce, and they mentioned Superman being dead so I thought the Superman in the episode of Batman Beyond was a replacement or something but noooope and this sure is a run on sentence bye
Whoa. I just finished a Batman Beyond marathon. Are we on similar wave lengths Faynor? Anyways, my question is: How does a comic book get made? That's the general basis of the question. Like can an artist for a comic book series simply refuse to do a story because it's inherently bad? Does an artist have any say on what the writer wants in the story or does the writer have more jurisdiction over the artist?
Anyways, my question is: How does a comic book get made? That's the general basis of the question. Like can an artist for a comic book series simply refuse to do a story because it's inherently bad? Does an artist have any say on what the writer wants in the story or does the writer have more jurisdiction over the artist?
The majority of comic creators are freelance, and therefore free to refuse work. But nobody wants to work with the guy who did three issues of something, then threw a hissy fit and walked off the book. This probably doesn't apply to creators who have signed deals with Marvel or DC, as I imagine they're contractually obligated to do a certain amount of work.
From listening to guys like Brubaker and Bendis talk about the creative process, it would seem that most writers are willing to work with artists in shaping stories, but ultimately it falls to the writer and editor to decide what makes it into the story.
Anyways, my question is: How does a comic book get made? That's the general basis of the question. Like can an artist for a comic book series simply refuse to do a story because it's inherently bad? Does an artist have any say on what the writer wants in the story or does the writer have more jurisdiction over the artist?
Depends on the creators/company. Marvel typically holds retreats where a group of creators, usually the ones from the line (all X-creators or all Spidey editors, etc) depending on what's being discussed, and often times one or two others (Bendis seems to be involved in most everything, as are several other high profile creators, even when not actively writing the books in question). They hammer out plot points for the next so many months, discuss longterm goals and upcoming events. Everyone contributes ideas and discuss plotholes/problems/etc.
However, it all comes back to the actual creators working on the book when it comes time to write and they get the credit.
From there, some use the Marvel or Stan Lee method, which entails hammering out some plots with little or no dialogue, sending it off to the artist to draw and then filling in dialogue based on how he drew what you wrote. Others give detailed scripts with dialogue, scene compositiona nd even little stick figure drawings of panels. Others still are more organic and allow the artist to dictate some scenes or alter their barebones scripts based on what he draws/suggests.
It's different for everyone, but the basics is a writer writes the script with basic plots and dialogue, it gets edited/approved by an editor and the artist draws it, which is then edited/checked for problems and cleared. From there, it goes to an inker, gets checked by an editor, then sent to a colourist, checked by an editor and finally, the entire package is given the once over again by an editor. Obviously, pages come in at different times and sent off for inking/colouring/etc simultaneously, but that's a very simple overview of the process.
After it's cleared, solicits info and covers get sent to Diamond, the book is solicited in Previews and Diamond prints it off (well, technically, it's sent off to Quebecor in Canada or other Canadian printing companies [70% or more comics are printed in Canada] and Diamond merely distributes them, but I digress) and it shows up on the desired Wednesday.
Artists typically draw things. Some writers pander to the artist to keep them happy (Loeb is notorious for writing cookie cutter plots and filling in whatever hero/villain the artist wants to draw in order, such as Ed McGuinness's desire to draw Sentry, Moon Knight, Watcher, etc. Loeb filled them in his plots, gave McGuinness what he wanted and Marvel approved the stories). Others have organic relationships with the writer. Typically, writers write, artists draw. Ther'es some input and most writers wotn simply ignore the artist, but it's their job to write. Most artists wont just quit over a bad story or something they dont like. They're professionals and doing a job. If it's something horrible, like racist or blatant hate mongering, ya, they'd probably leave teh book, but it's rare they don't finish their contract/work and then move on to another company. Few ever just drop books and leave without warning.
TexiKenDammit!That fish really got me!Registered Userregular
edited September 2009
This was something that always stood out for me in the comics process, especially during the 90's:
John Byrne was the scripter for like 2 issues of Jim Lee's X-Men run (X-Men #4-5 I think). Lee was the artist and plotter. But editorial were such blundering idiots they would forget to send Byrne the general plot to script from (or do so right before the deadline in one paragraph faxes), so Byrne had to go by what was on the pages to write dialogue. This was like 3 steps below the Marvel Method because at least the writer was usually the one who was the scripter as well, and would be able to make his story work with the art provided.
I'm preparing for a road trip and I was thinking that I need to get some reading material to take with me because I'm gonna be spending a good deal of time in a car. Looking for suggestions for a trade (or two) that would be worthy of being read while on vacation.
I'm not really a manga dude at all, but someone recommended I read Gunsmith Cats a while back, and I did so over the weekend, and really enjoyed it. There's a few pages of cheesecake-y porn-y stuff that I found a little annoying in how out of place it was, but if you can get past that it's a really entertaining action-adventure comic.
Plus, you get 464 pages for eleven bucks, which is quite a deal.
I've also been re-reading the Essential Fantastic Four lately, and it's amazing how well those old Kirby/Lee stories hold up. You can get the first volume for a little under twelve bucks.
Asterios Polyp is a comic that should keep you busy for a while at an affordable price; 344 pages for twenty bucks. It's also one of the best comics I've read this year.
Fuck that you get some goddamn One Piece and you like it
Was the Dark Reign: Fantastic four miniseries any good? It comes out in trade format next week and I liked Hickman's first FF issue.
In fact, now that they're all or mostly finished, which DR miniseries are worth picking up in trade format? I'll include the Ronin/Mockingbird mini although it wasn't a DR book.
It had its moments and sets the table for Hickman's current run, but was I didnt enjoy it as much as what he's doing on the book right now.
As for DR series, I loved the Elektra one. just reestablished her in the Marvel universe, explains what the Skrulls wanted her for and has a lot of great fights and action. Like a stylish action movie with enough plot to keep it moving. The Bullseye vs Elektra fight was great, too. Shame Loeb had to latch onto her for his Shit-Hulk series because she just happens to wear red clothing.
The only DR minis I'm really interested in are the FF, Hood, and Elektra ones. Probably won't bother with the Skrull Kill Krew and Underside ones, although if I hear Sinister Spider-man is good I might pick it up.
Crap I forgot about the Bullseye mini, I'll probably get that too. And after seeing some scans of Sinister Spider-man, especially from issue 4, I'd be a fool not to get it.
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That sucks that the Essentials are going away, but a new Omnibus for this series would be great.
While an Omnibus is pretty nice, I think the black and white of the Essentials really fits the tone of stuff like Tomb of Dracula.
I do not know what this is from (or why it's totally wrong gosh Magneto you can create shields and stuff what are you doing are you even trying) but it somewhat confirms your question.
nnff
grrrmm
And I can't see it at work. Ah, boo. But, thanks, I will as soon as I get home.
Never mind, found it on Youtube!
Wasn't it just an older Superman? Was there also a an alien buddha looking green lantern?
It is just an older Superman. I got mixed up because I had seen Justice League Unlimited when they went to the future and Old Bruce met Present Bruce, and they mentioned Superman being dead so I thought the Superman in the episode of Batman Beyond was a replacement or something but noooope and this sure is a run on sentence bye
3DS: 1607-3034-6970
Its interesting to see my scans make their way across the internet.
Its from Dark Seduction back in 2000 by the way.
This might narrow it down.
Whoa. I just finished a Batman Beyond marathon. Are we on similar wave lengths Faynor? Anyways, my question is: How does a comic book get made? That's the general basis of the question. Like can an artist for a comic book series simply refuse to do a story because it's inherently bad? Does an artist have any say on what the writer wants in the story or does the writer have more jurisdiction over the artist?
When a mommy comic book and a daddy comic book love each other very much, they have a special hug...
The majority of comic creators are freelance, and therefore free to refuse work. But nobody wants to work with the guy who did three issues of something, then threw a hissy fit and walked off the book. This probably doesn't apply to creators who have signed deals with Marvel or DC, as I imagine they're contractually obligated to do a certain amount of work.
From listening to guys like Brubaker and Bendis talk about the creative process, it would seem that most writers are willing to work with artists in shaping stories, but ultimately it falls to the writer and editor to decide what makes it into the story.
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Depends on the creators/company. Marvel typically holds retreats where a group of creators, usually the ones from the line (all X-creators or all Spidey editors, etc) depending on what's being discussed, and often times one or two others (Bendis seems to be involved in most everything, as are several other high profile creators, even when not actively writing the books in question). They hammer out plot points for the next so many months, discuss longterm goals and upcoming events. Everyone contributes ideas and discuss plotholes/problems/etc.
However, it all comes back to the actual creators working on the book when it comes time to write and they get the credit.
From there, some use the Marvel or Stan Lee method, which entails hammering out some plots with little or no dialogue, sending it off to the artist to draw and then filling in dialogue based on how he drew what you wrote. Others give detailed scripts with dialogue, scene compositiona nd even little stick figure drawings of panels. Others still are more organic and allow the artist to dictate some scenes or alter their barebones scripts based on what he draws/suggests.
It's different for everyone, but the basics is a writer writes the script with basic plots and dialogue, it gets edited/approved by an editor and the artist draws it, which is then edited/checked for problems and cleared. From there, it goes to an inker, gets checked by an editor, then sent to a colourist, checked by an editor and finally, the entire package is given the once over again by an editor. Obviously, pages come in at different times and sent off for inking/colouring/etc simultaneously, but that's a very simple overview of the process.
After it's cleared, solicits info and covers get sent to Diamond, the book is solicited in Previews and Diamond prints it off (well, technically, it's sent off to Quebecor in Canada or other Canadian printing companies [70% or more comics are printed in Canada] and Diamond merely distributes them, but I digress) and it shows up on the desired Wednesday.
Artists typically draw things. Some writers pander to the artist to keep them happy (Loeb is notorious for writing cookie cutter plots and filling in whatever hero/villain the artist wants to draw in order, such as Ed McGuinness's desire to draw Sentry, Moon Knight, Watcher, etc. Loeb filled them in his plots, gave McGuinness what he wanted and Marvel approved the stories). Others have organic relationships with the writer. Typically, writers write, artists draw. Ther'es some input and most writers wotn simply ignore the artist, but it's their job to write. Most artists wont just quit over a bad story or something they dont like. They're professionals and doing a job. If it's something horrible, like racist or blatant hate mongering, ya, they'd probably leave teh book, but it's rare they don't finish their contract/work and then move on to another company. Few ever just drop books and leave without warning.
John Byrne was the scripter for like 2 issues of Jim Lee's X-Men run (X-Men #4-5 I think). Lee was the artist and plotter. But editorial were such blundering idiots they would forget to send Byrne the general plot to script from (or do so right before the deadline in one paragraph faxes), so Byrne had to go by what was on the pages to write dialogue. This was like 3 steps below the Marvel Method because at least the writer was usually the one who was the scripter as well, and would be able to make his story work with the art provided.
Fuck that you get some goddamn One Piece and you like it
I do.
Cant figure out where I had my scan of it, but a Google search found it on Scans Daily, you idiot.
I'm fine with that
In fact, now that they're all or mostly finished, which DR miniseries are worth picking up in trade format? I'll include the Ronin/Mockingbird mini although it wasn't a DR book.
As for DR series, I loved the Elektra one. just reestablished her in the Marvel universe, explains what the Skrulls wanted her for and has a lot of great fights and action. Like a stylish action movie with enough plot to keep it moving. The Bullseye vs Elektra fight was great, too. Shame Loeb had to latch onto her for his Shit-Hulk series because she just happens to wear red clothing.