AwardWatch: The Shel Dorf Awards are taking their last nominations. Turns out Bleeding Cool has been nominated. Someone should have said….
UnderwearWatch: Rest In Briefs.
SaleWatch: Borders 60% closing discounts have now hit the graphic novel section…
TourWatch: The comic book walking tour of Manhattan
Early on the tour, we stop for a look from afar at the Flatiron Building. Where, Lepelletier asks, have we seen this? My son pipes up immediately: “It’s the Daily Bugle in ‘Spider-Man’!” “Yup,” the guide says approvingly.
Soon, though, he loses the smaller kids with a long reference to William Randolph Hearst and his decision to put comics in the papers as a way of getting parents to buy them. The older ones, though, pay rapt attention.
He takes us next to a Park Avenue building where Will Eisner, the comic entrepreneur and artist who created “The Spirit,” once had his studios. “I had the honor of being Eisner’s assistant,” says Lepelletier, now in his 50s.
They say I am a work in progress. The fools.
In the 60′s Jack Kirby began to draw clusters of round black dots to depict enormous but not necessarily directed energy, often of a cosmic nature. This simple graphic technique was so effective that it has been picked up by other comic book artists and can still be found in comics of today. The device has been given the name Kirby Krackle. It is an annoying cute* name but one that has become so entrenched that I feel that it must be accepted.
But when he was there, my work was declared girly, inkers were ordered to make my art look more masculine, and any stray signs of estrogen were rejected outright. Including an entire issue of The Legion of Superheroes I was to write and draw (story approved, art killed in progress,) and this rejected cover art for the Wonder Woman: The Once and Future Story graphic novel, circa 1998.