Some pretty artses I did for a recent comic convention! You may have seen this (in form of prints) from a couple of my Tumblr posts, so here are ALLLL of them.
I had initially wanted to draw several of the X-Men in different seasons (I have Kitty Pryde slotted for Spring, and Jean Grey for Summer), and got stumped for a season that would best represent Ororo. When in doubt - ask the Internet - I posed the question to my Facebook fanpage followers. The answers were? Draw her in ALL the seasons XD
So here she is, Storm for all Seasons. I wanted to draw her for ages in an appropriately awesome setting because she is one awesome character - and I ended up splurging on four illustrations of her at once lol
I tried to insert some references of the weather in each seasons (rain for Spring, a summer thunderstorm in the Summer piece, wind for autumn etc).. nothing very out there but hopefully it’ll add something to the overall piece!
Thanks for viewing :) And should anyone want to own a piece (or four) - the prints are available at the following links:
http://etsy.me/1hAqq3i (A6 prints, full set)
http://etsy.me/1jCHavb (A4 prints, full set)
http://etsy.me/1cjDJUI (A4 prints, singles)
Morrison, Truog & Hazlewood! #dc #dccomics #comic #comiccover #truog #morrison #hazlewood (en Gotham Comics)
An ending to Gerber and Skrenes’s Omega the Unknown saga, repeatedly promised in letters columns and repeatedly rescheduled, was finally written without its creators’ input. “It just got to the point where we couldn’t work with Shooter anymore,” Skrenes said. “He was screwing with us and punishing us and trying to have somebody else write it, like they always did with Howard.” Omega was killed off in an issue of The Defenders. Gerber and Skrenes swore to each other that they’d take their original plans for the character’s ending to their graves.
In February 1978, Steve Gerber, the last to sign a writer-editor contract, and falling behind on deadlines once again, was relieved of his duties as the writer of the Howard the Duck newspaper strip. Gerber’s lawyer informed Marvel that this was a violation of his contract, and that he was considering legal action regarding the ownership of the Howard the Duck character; shortly thereafter Marvel terminated Gerber’s contract altogether. Asked by the Comics Journal if chronic lateness was the reason for the company’s decision, Shooter replied, “I would just say that we found it advantageous to get out of the contract we were in.” Gerber maintained that he and Gene Colan were not getting advance payments on time.
Stewardship of Howard was split up: Marv Wolfman took over the newspaper strip, and Bill Mantlo took over the comic book. When the strip was canceled later in the year, Gerber complained publicly about the “downright horrible” quality of Wolfman’s work. “Once I was gone,” he told the Village Voice, “Howard was lobotomized, devoid of substance, and turned into a simple-minded parody. So, they’re putting him out of his misery.”
Jack Kirby’s contract was up for renewal in April 1978. At a convention in West Virginia, Stan Lee announced that Kirby had signed a long-term contract as an artist only; he said Kirby’s scripting was “imaginative but undisciplined,” but Lee was confident that the artwork would return to form once Kirby was paired with other writers. (Lee also characterized Kirby’s work on their just-completed Silver Surfer graphic novel, two years in the making, as “better than recent stuff, but not his best.”)
But there was no new contract. Kirby’s tour of duty was, in fact, coming to an end. His latest return had been a major disappointment, to him and to Marvel. None of his books had sold as well as hoped, the reaction from readers was less than enthusiastic, and even his supposed autonomy had been undermined. “The editorial staff up at Marvel had no respect for what he was doing,” said Jim Starlin. “All these editors had things on their walls making fun of Jack’s books. They’d cut out things saying ‘Stupidest Comic of the Year’… . [T]his entire editorial office was just littered with stuff disparaging the guy who founded the company these guys were working for. He created all the characters these guys were editing.”
Tensions were now worse than they’d ever been in the sixties. Kirby reportedly received hate mail on Marvel letterhead, and crank phone calls from the office. When Roy Thomas persuaded him to draw an issue of the imaginary-tale series What If? (it was a self-reflective story called “What if … The Fantastic Four were the Marvel Bullpen?” starring Lee, Kirby, Thomas, and Flo Steinberg), Kirby refused to allow Thomas to script it, and replaced the Thomas character with a Sol Brodsky one. Once the pages arrived at Marvel, an editor went through and changed all of Kirby’s references to “Stanley” to “Stan” and corrected all the grammar in the dialogue—except for that of the Jack Kirby character.
“I didn’t really get a shot,” Kirby later said of his 1970s work at Marvel, pointing to professional jealousy. “A guy will create a book, another will fill his book up with knock letters—he’s off in five months, or three months, and the other guy’s got his shot… . I see it as a serpent’s nest. And in a serpent’s nest, nothing can survive. Eventually all the snakes kill each other. Eventually they’ll also kill whatever generated them.”
In the end, Kirby’s exit plan from the frustrations and limitations of the comic-book industry was the same that Stan Lee’s had been: Hollywood. Kirby was invited by Hanna-Barbera to produce storyboards for NBC’s new Fantastic Four cartoon—for which both Lee and Thomas were writing. Kirby still wasn’t calling the shots—because the Human Torch had already been optioned by Universal, Kirby had to create a cute robot named H.E.R.B.I.E. to be the Fantastic Four’s fourth member—but the pay was better, and the treatment was more respectful.
Jack Kirby would never work for Marvel Comics again.
The above text is excerpted from Marvel Comics: The Untold Story.
[Note: Jackie Estrada is raising funds to publish a book featuring hundreds of the photographs of comics giants she’s taken over the years. Check it out!]
Saturday’s haul, all of these books plus a ton more I didn’t think were worth photographing (The Blasters Special, all three prestige-format issues of Superman/Doomsday, Onslaught Unleashed, Liefeld’s Captain America) for thirty clams, including (pictured) six issues of sci-fi anthology Star*Reach, the complete Vision And Scarlet Witch original run (Mantlo and Leonardi), the first eight issues of X-Force and three issues of the Claremont/Lee X-Men (which I’ve never read before), the issue of Captain America which introduced Team America, the Doomsday Squad collection, a Marvel’s Collector’s Item Classics reprint volume featuring “It Started On Yancy Street” and a Watcher solo adventure, the complete Charlton E-Man run, plus that issue of Battlestar Galactica with the gear Walt Simonson cover.
Expect Intrapanel-style tomfoolery to follow.
Early Black Widow promo art
West Coast Avengers