Original Art Sundays No. 290: Sharp Invitations: Curt, p. 22

Welcome back, loyal readers.

Much to discuss about today's page, so let's get right to it.

First thing to unpack here: the writing. The last page marked a shift away from the narrative heavy pages leading up to the move. There's a bit of exposition here, but I tried to frame it so it held its weight, without dominating the story. Clearly, layout was crucial to doing this.

We begin with the classic "frog in the frying pan", a metaphor often used to explain enduring abuse to those who haven't experienced it. This is a clear case of "show, don't tell."

My trans stuff doesn't figure overtly into this part of the narrative, but as we'll learn on the next page, it's omnipresent in the relationship.

For the balance of the page, I decided to channel my inner David Mack. I was so impressed with his use of layout and silhouette as narrative devices in Kabuki, Daredevil. and the brutal (but clever and beautifully rendered) COVER. It's thoughtful and still engages the reader. Also, it's fun to look at! And by isolating the text from the image, the idea that I was stuck in my own head with little to no attachment to the outside world is reinforced.

Not to say I didn't have a little fun with this page. The frog (drawn freehand after a quick look at photographic reference) was a delight to draw. The third panel, with simultaneous exercising and cooking, is a playful comment on the idea of the woman who can do it all. In the third silhouette panel,  I took the conceit of using The Best of Both Worlds onscreen. We did watch that one together, but it first aired before the big move. But it's such an iconic episode, I had to give it homage. ST: TNG was still in its initial run during our years together.

Another layout consideration: gray values are mostly represented in pencil until the last panel, to increase the emotional impact of that image. I freely stole the pose from the iconic Alan Moore/Curt Swan Superman collaboration Whatever Happened to the Man of Tomorrow? 

Minimal Photoshop corrections this time. 

Tools used:

• Lead holder and 4B leads
• Ames lettering guide
  
• 4B graphite stick
• Faber Castell Erasers
• Dr. Martin's Black Star Ink
• FW Acrylic White 
  
• Crow quill and nib
• Micron nos. .005, .02, .03, .05, .08, 1.0
• Brushes: Richeson #2 Sable, Tight Spot for corrections
• Photoshop

Overall, I'm quite proud of this page. 

Next week, Page 23!

I may up the ante to more than a page a week, if my schedule permits.

Original Art Sundays No. 165: Surrealist Cowgirls, p. 21

Only a few pages left to this story, as we come up on our fight scene, page one. One of the only pages in the story to not feature any of its main characters. Don't worry, Kay Seurat-Seurat and the Cowgirls will reappear very, VERY soon!
But for right now, the story demands that, in the words of J. Wellington Wimpy, "Let's you and him fight."

Again, a lot I like here. The energy, the economy of dialogue, the layout, and the last line is, of course, stolen from Superman's classic line when he was hit by lightning.

I wanted this page to be raw energy, hence the sparse background in the action panel. It also gave me an excuse to play with manga action lines. I seldom use manga conventions in my work (at least consciously), but as I've been reading more in preparation for this year's SGMS conference, it seems to have been on my mind.
The way this is flowing, I seem to be actually keeping my self-imposed schedule.
This matters for two reasons:
1. It's better for my mental health, my morale.
2. It helps build a readership. I hope people like the work, I hope they enjoy it and get something out of it. But none of that will happen if the work's not there. I get it that a reader wants to know what to expect, and delivering on a regular schedule is a crucial part of that. Really, it's just good business and good manners.
That said, I hope I can maintain the pace through the end of this story!
What after that?
Possibly back to A Private Myth, or another Cowgirls story, or....

Original Art Sundays no. 141: Surrealist Cowgirls cover!

Back after three weeks away.
Oh my Lord!
This Encyclopedia project is killing me, but I'm almost done. Only 28 entries to go.
Meanwhile...
I've been poking at this whenever I had a couple minutes. You may recall that I posted the black & white art a while back.
I'm not sure if I consider this final- too tired to render a verdict at the moment- but for now, I'm happy with it.

Got WAY hung up on the details, but I think it came out OK. My other big idea was to do a pastiche of the cover for Superman Annual No. 7, with Whalliam sitting in for the Superman statue.
But it struck me as a bit overdone.
Not that this idea is all that fresh, being derivative of Laugh Kills Lonesome by Charlie Russell.
next week: either an oddment or the overdue new page!

Comic Book Comics Reviewed

I've read more histories of comics than some folks have had hot breakfasts. The books all have their errors and omissions, some better than others. But there's been a gradual sophistication of the study, to the point we are now at, where a sufficient body of research has accumulated that it's beginning to take cohesive form. This results in a sort of canon of accepted notions, things taken as verbatim and rarely questioned outside academia.
Enter The Comic Book History of Comics. 
A history done in comic book format. Nice. This has been appearing sporadically in single issue format over the last few years. I used the first two issues, covering Bronze and early Golden Ages, as a text in my Comic Book History class shortly after they came out. I was frustrated by the books' arriving three months after they were ordered(!), making them fundamentally useless for aiding in that portion of the course.
Now, however, there's a spiffy, gosh-wow no-sarcasm-intended really cool collected edition of this, from our friends at IDW Publishing, who have been doing some wonderful work, both with new comics and with reprints - would that I had the funds for any of their Artist's Edition series - and publishing this as a collection continues that trend.
I will be using this for a textbook in Comic History class, now that it's available in a decent uniform edition, if I get the opportunity.
However, it's not without its flaws. I list these while recognizing that the creators of the book have requested notification of errors and omissions, for correction in future volumes. However, I wrote them about a couple of the things I'm discussing here prior to the work being collected, and the errors I wrote about are still there.
The first line of the first (disclaimer) text page reads, "this comic book is a work of historical scholarship."
Really?
Then where's the index?
Scholarship on history implies use as reference. You'd think an index would be a no-brainer. In fairness, the book does include a decent section of Notes on Sources, with more on the book's web page, which is always a useful tool in research and citation.
There are some other problems here. Right off the bat, Fred van Lente (writer) and Ryan Dunlavey (artist) jump in with the Yellow Kid's 1896 debut in Hogan's Alley, citing it as the first comic strip. This completely ignores Ally Sloper's Half Holiday, a British strip that began in 1874.
I'm not going to pick the book apart page by page. Most of it is quite good, if a little heavy on the sarcasm and snark for my taste.
But there are some omissions and factual errors that are too glaring to ignore.
The coup d'etat involving Major Malcolm Wheeler-Nicholson being underhandedly bought out by Harry Dondenfeld and Jack Liebowicz, covered in depth in Geeks, Guns and Gangsters and in Larry Tye's recent volume Superman, is reduced to one line on page 32.  Since these events lead directly to the formation of DC Comics as we now know it (and are exacerbated by a Wheeler-Nicholson story appearing in Action Comics no.1, the book being discussed herein), it does deserve more than one line, especially a line that dismisses all the nuance of the facts.
Similarly, although The Shield is shown on page 58, there's no mention of his creation predating that of Captain America. Indeed, The Shield isn't even mentioned by name. This pattern recurs in other parts of the book. Cheech Wizard appears on page 206, inexplicably in a section on the early 1990s speculation market (which, given that Cheech is something of  huckster, is somewhat apropos), but neither Cheech nor his creator Vaughn Bode' are mentioned in the section on undergrounds.
In fact, the entire New York underground scene is only mentioned,and the Comix from Wisconsin's Kitchen Sink Press and the Chicago underground scene are ignored.
The discussion of Wertham and the Comics Code is accurate as far as it goes, but it leaves out the Code's two major precursors: The Association of Comic Magazine Publishers Code of 1948 (which also had a seal used on covers!), and the in-house editorial code of Fawcett Comics, shown in Chip Kidd's book SHAZAM! 

The  section on graphic novels  mentions the early work of Lynd Ward and Franz Maesreel  but neglects Milt Gross's 1930 classic He Done Her Wrong,  in print from Fantagraphics. But Sabre, a graphic novel from Eclipse, Sabre, whose publication predates that of A Contract With God (albeit only by a few months) is ignored.
They do manage to cite Gil Kane's Blackmark and His Name is Savage in this context, and rightly so, along with the 1950 It Rhymes With Lust. However, the followup paperback The Case of the Winking Buddha, is overlooked. In fairness, the latter work is of  lesser quality, but we're talking history here, not aesthetics.
Some of these things might seem a tad nit-picky. Maybe so. They're significant to me, but not necessarily to the average reader. Still if this is the average reader's first exposure to comics history, that reader might take these things as Gospel unquestioningly.
But the most glaring error is almost an insult.

There are no female creators mentioned in the entire book. Not one.
I usually don't do the big text thing, but it seems correct to do so here.
No mention of Lily Renee', Marie Severin, Ramona Fradon, Lee Mars, Colleen Doran, Jan Duuresema, Trina Robbins, Shelby Sampson, Alison Bechdel, Mary Wings, Roberta Gregory, Selby Kelly, or the great neglected Shary Fleniken, whose work was in at least one of the Air Pirates books, though she wasn't named in the suit.
And that list was just off the top of my head.  There are so many more that could be recognized, especially in the last 30 years. 
The only mention of women cartoonists in the entire book is in the section on romance comics, page 60: "Though through our allegedly more enlightened "modern" eyes, romance comics may be seen as simply re-inscribing the more patriarchal aspects of American society (as 99.99% of them were written and drawn by men)..."
That's it. A backhanded acknowledgment of the supposed .01% of comic artists and writers of the 1940s who were female. That's the whole of the discussion of female creators of comics in this history.
Again, that doesn't invalidate the book. Neither does it make the book inherently bad. It's mostly really good. What is here is reasonably well-researched and presented in an entertaining (if often drenched in fanboy attitude ) fashion.
I will use this as a text, but I will expect my students to pore over it with a microscope.
No history of anything can be perfect, but this one has a few really big holes. 

Best comics of 2010: No. 1( tie) : Comic Book Guy, the Comic Book

Best. Miniseries. Ever.
This isn't just another Simpsons comic. Those can be fun, even if there's a sameness to them after a while and the art sometimes drifts off-model a bit (I should talk, right?), especially in some of the otherwise delightful Treehouse of Horror annuals. This Jamie Hernandez page is a case in point.

Comic Book Guy, the Comic Book is a miniseries that reflects the love of comics and comic geekdom shown in other Bongo titles, including Simpsons Superhero Spectacular and the brilliant Radioactive Man series. I wish there were a proper affordable TPB of the RM books- it would be a perfect comics history text!
But comic book guy is us. Everyone who's been to more than three comic book stores has met someone, usually a store owner, who shares traits with Comic Book Guy (proper name: Jeffrey "Jeff" Albertson, Master's Degree in Comparative Mythology).

This mini touches all the right buttons. It's like listening to PDQ Bach- it's fun enough in its own right, but the more you know about music, the funnier it is.


So it is with this mini and comic fans.Beginning with Issue one's four alternate covers, all presented on the same issue (thank you! No need to buy multiple copies!), there are in-jokes aplenty.
The covers for issue 1 parody, in order:

Fantastic Four No. 1

Death of Superman (Superman No. 75)

Avengers No. 56

Crisis on Infinite Earths No. 7
Three of the four are death covers, and the Crisis is a Pieta cover. More on Pieta covers another day.
This silly story integrates elements of fandom geekery with self-parody. We laugh at Comic Book Guy's overblown language and his fanatic love of mass market adventure because we see it in ourselves.
And there's a comfort in that.  It's not simply all right that we revere these things, but as The Android's Dungeon decays into shallow, simpering cuteness under Marge's post-mortem management, it becomes clear that the passion for solid story and adventure is what sustains the store, and by extension, the stories and their readers.
While Comic Book Guy is a joke, he's our joke.
It's like Robert McKee explained in his book STORY.
A sympathetic character = likeable.
An empathetic character = like me.
We resonate better with empathetic characters.
There are so many other aspects to this. Subtle and not so subtle jabs at industry trends and societal mores.
When Comic Book Guy passed on, all sarcasm vanished from the Internet, TV and daily conversation. This resulted in the Internet becoming a haven for the free exchange of ideas, causing in turn the government shutdown of the Internet.
A bit of a reach in the real world, but hey, we don't have bright yellow skin, round eyeballs and four fingers either.
The point is that this delightful story reminds us of who we are, and who we can be. Behind all his cynicism, posturing and self-pity, there's something noble about Comic Book Guy- excuse me, Jeff Albertson, M.A.
Fan on, Comic Book Guy!

Tomorrow, we return to Original Art Sundays, after a (embarrassed glance down) three week hiatus!

Best comics of 2010: the runners-up

These are the books I thought about including in my list, but demurred. These are all fine books equally deserving of your attention. If I would have turned left instead of right, or eaten a different breakfast or whatever, some of these would be on my Best list.
First, second and third, books from last year's list. These books maintained their quality, but I wanted to give some newcomers more of a chance.
First, The Unwritten.

This book has maintained its intelligence, pace and imaginative art. In issue 17, with our old friend Ryan Kelly getting primary art credits (see link in daytripper post), the story is designed as a "choose your own adventure" comic, making it a meta-narrative, a sort of "nod and a wink" to remind readers that this is a book about books.
Next, Sweet Tooth.

The story continues to evolve and hold its quality. As is often the case in post-apocalyptic narratives, factions have formed and the backstory is revealed incrementally.
Lemire is now also writing Superboy. I've had little use for the smug Superboy of the last few years, but with Jeff at the helm, I'll give the book another chance.
Third up: The Lone Ranger.

The last issue of this eloquent series came out last month, though I've yet to pick it up. I've enjoyed everything about the way this material has been handled: faithful, but not slavish, to its source material.
As my Machiavellian mind began to wrap itself around the idea of creating a custom bind of this book sometime in 2011, Dynamite announced that The Masked Man would be a guest in a new Zorro book. And again with the multiple covers.
Ya can't win.
Other surprises in 2010:
Sweets

This tense, moody noir set in the Big Easy hits all the right notes, and is an enjoyable read to say the least. But it's nothing revolutionary. Not that it has to be. Nothing wrong with a solid gritty murder mystery.
Again, thanks to Image Comics for another great surprise in 2010.


Doom Patrol

Doom Patrol has always been my favorite uber-weird superhero book. This issue, in which the always borderline team leader,The Chief, assumes the powers of Superman despite no longer having even crippled legs, was great superhero energy and big fun. But I lost patience with some aspects of Kieth Giffen's writing. If everything is snarky, cynical and argumentative, it loses its impact.

Tom Strong and the Robots of Doom

Top drawer adventure,  even if not from the mind of Alan Moore. Tight plotting, consistent characterization, and a nicely handled time travel story. Not the revelation that Moore's original Tom Strong books (which tie nicely in with Promethea) was, but still the kind of book that you read and just say "cool" when the plot twists and fight scenes come.


Superman: Last Family of Krypton 

Writer Cary Bates and artist Renalo Arlem bring a 3-part Elseworlds story based on a simple premise. Instead of shooting baby Kal to Earth, Jor is able to bring the whole Family of El!
This has some fascinating aspects to it, but at times resonates of Astro City. It's still well worth one's time, but it suffers from the problem that plagues most Elseworlds stories. Ultimately, the universe ends up more or less the same as it is in regular contintuity.
Even with that, this felt like reading a really good Imaginary Story from the 60s or 70s. A very welcome feeling, that.
Final runner-up:
Superman No. 701

JMS' work on Wonder Woman was engaging, but not spectacular.
I posted on the whole costume thing with WW back when the transitional issue hit. While ensuing issues were better than good, it wasn't as effective as his handling of Superman.
This issue in particular, the beginning of Superman's walk across the US, is big fun. It captures some long-neglected facets of the character, like his populist bent. His handling of this smug blowhard amuses me no end.

JMS also wrote a very well-received Superman graphic novel in 2010. Not having read it yet, I can't in good conscience review it.
That's everything but the two books tied for the No. 1 spot for 2010. I'm not letting the cat out of the bag, aside from saying that the first posts tomorrow!

If it please the court, will the witness stop flying about the courtroom?

There's a new exhibit at Yale devoted to comics and the law.
 Of course, comics and the law have a long history.
In addition to the legal battles fought over comics themselves, ranging from the early Superman lawsuits to Marvel's attempts to hold up production of the Rocketeer film over characters with similar names, there have been many characters who practiced law.
The earliest of these in superhero narrative may be Two-Face, the Batman villain who is a scarred district attorney, discussed in this snippet from Frank Miller's Dark Knight Returns.

Two-Face first appears in Detective Comics #66, about 4 years into Batman's run.
Matt Murdock is possibly the most significant attorney in comics in the last 50 years, better known as Daredevil.
Here's a scene from the classic Frank MIller run that shows integration of Murdock's profession and his, ahem, avocation.

Of course, the deal here is that by detecting pulse rate using his heightened senses, this blind lawyer can tell when someone's lying- except in this case, where the culprit has a pacemaker that regulates his pulse! So this in turn effects the way Murdock practices law and the way his deferred identity functions.
Here's the denouement in a later plotline. The adversary realizes the truth.

And my personal favorite, Daredevil #7, with that great Wally Wood art.
Prince Namor journeys to the surface to file a lawsuit against the surface dwellers (that would be us).

Frustrated with the slow pace of the court system, Namor breaks out of jail and runs rampant in the city. Of course, Daredevil must stop him.

The above DD images are all from the delightful Matt Murdock Chronicles blog!
Here's a recent case from Marvel Ultimates. Once most heroes' identities are known, Banner is put on trial for the crimes of The Hulk. Guess who defends?

Of course, comic narratives have been playing fast and loose with the workings of the law throughout their existence, just as have television shows and films.
However, this has evolved. Superheroes often used the courts as personal vehicles, as in this Lois Lane story. Who knew both Superman and Batman were licensed to practice law?

In an early 60s story, Superman was on the witness stand and questioned regarding his secret identity. His response was to write the name of his alter-ego on a chalkboard. However, it was written so fast that it melted the slate board. The court accepted this evasion as a valid answer, seemingly without question.
Flash forward to the same question being asked during a murder trial a few years ago.

There's a fascinating analysis of this and related issues over at the Strange Horizons blog. I don't completely agree with it, but it's very insightful.
For decades, Attorney Robert Ingersoll had a column in Comic Buyer's Guide titled The Law Is A Ass, which dealt with legal issues as related to comics content.  An archive of these fascinating columns can be found here.
I doubt this intriguing topic will ever be exhausted.  But we have advanced the portrayal of the superhero in court a great deal since this was all we had.