Fan Expo 2010 - The Man with the Getaway Face

Writer/Artist: Darwyn Cooke
Publisher: IDW
Published: July 2010
Adapted from Richard Stark's Parker: The Man with the Getaway Face

This past weekend was the second time I met Darwyn Cooke. He was at Toronto's Fan Expo where he had a booth setup along fellow comic book artists; he also hosted a one hour discussion on comic book layout and construction. As ever I was beside myself when I talked to the guy. It's hard not to let my fan boy-ness out, but overall I think I did well, even considering the fact I was sporting a Frank Miller Dark Knight t-shirt.

During my meeting with him he was as nice as ever. He spoke a little about his long term plans with his Parker series of graphic novels. He would like to finish them up just in time for his 50th birthday, and then after he was done with them he would take a break - *boo-urns* - but then again, it is a much deserved break.

As I mentioned I also went to his page composition layout discussion. I love these type of events. Not only do you get some tips and ideas on how he works, but you get a chance to actually hear his opinion on a wide range of subjects. One thing that stood out in my mind was his comment that he was limited in 'really conversing' with us fans due to the times...ie. everything is recorded, videotaped, and posted...which he's completely right about considering here I am writing about his discussion. The only difference is I have enough tact to not go into everything...I'm just not interested in stirring the pot as it were. He also mentioned he was a big fan of Dan Clowes, and especially of his book Ice Haven. This surprised me at first, but upon reflection, makes perfect sense. They're both awesome comic creators.

Overall Cooke strikes me as a humble guy, but also a guy who has definite opinions and interesting thoughts. My only wish is that we lived in a society where he could really share his more "controversial" thoughts without it coming back on him due to some fan boy posting it to youtube. I just know he has a unique perspective on the comic industry and it would be great to hear some of those thoughts in more detail.

One detail he mentioned that was quite exciting is that in his next book, The Outfit, Cooke has homaged/parodied the old Hanna Barbara cartoons to visually represent one of the many heists. This alone has me excited for The Outfit.


The Man with the Getaway Face was originally intended to Cooke's second adapted work by Richard Stark's series of Parker novels. Cooke opted to reduce it to a prelude for the Outfit (dropping Oct.5.2010), because it was his least favorite of books and he didn't want to spend a year of his life working on a book he doesn't really care for. I see his point. It's essentially an armored truck robbery, and as Darwyn put it - it gets a bit boring see a bunch of crooks talking about how they're going to pull off the heist - they're are only so many angles you can depict of guys sitting at a table.

However, that being said, don't let this comic pass you by. Although story-wise, it may be Cooke's least favorite of the series, what makes it stand out is it's printed about 95% the size of the original artwork. Most artists work looks better reduced to standard comic size, but in my opinion, Cooke's work looks better at original size. Even though he says you can see the rough passes and 'mistakes' when it's kept close to original size, I think it actually makes his work look better. Each brush stroke or color pass is magnified, and it's just charming as hell...

Here's the final page from the comic, and a Jonah Hex print I bought from Darwyn while at the Expo.




****Note: Over the next week or so, I'll be posting comics of the different artists I visited with, as well as sharing info on our conversations****


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Liberty Comics # 2

Writers: Various

Artists: Various

Publisher: Image Comics

Published: October 2009

This is a comic dedicated to promoting and supporting the Comic Book Legal Defense Fund. The CBLDF is dedicated to ensuring that free speech in comics is protected. I'm all for this.

This particular issue has a number of standout tales from some of comics top talent. I won't go into all the individual stories, but some standouts are Paul Popes Loverman, Chynna Clugston Flores "I Beg Your Pardon" and well, all of them actually. The art is top notch and the stories thrill, titillate, and tickle your senses. And isn't thrilling, titillating, and tickling worth protecting?

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Art & Beauty

Patsy Walker

Heroes For Hire # 13

Writers: Zeb Wells, Fred Van Lente
Artists: Clay Mann, John Bosco
Cover Artist: Sana Takeda
Publisher: Marvel
Published: October 2007

I'm guilty of buying comics based on what the cover looks like, but what I find interesting is the extent publishers will use suggestive covers to draw readers into buying. A comic cover is just an image, and without a story it has no context. If people were to just look at the cover, they would have to accept it at face value, and find sense and meaning based on image alone.

So, my question is: should a comic cover be intended to draw in readers, using whatever means it can to be 'eye catching,' less any type of scrutiny? Or, should a comic cover have a responsibility to further/support the story within its pages before it goes to print?

I would argue that since a cover is snapshot of the story within, cover illustrators have a responsibility to ensure the image is true to the inside contents. Otherwise, the cover has no meaning in regards to the story. At the same time though, if comic creators want to use images for covers that stand alone from the story, then the image has to be seen as just that: an image. The cover image would be no different from a painting or photograph, and just like a painting or photograph, the image would have to be judged at it's face value. So if a comic cover portrays potential, or suggestive violence and sex appeal, and those elements are not supported and contextualized by the story within, then that comic has no complete meaning beyond its cover, and as such, should be judged by cover alone.

In the instance of Heroes for Hire # 13, the only scenes involving the heroes being tied up are at the beginning, and the only scenes involving tentacles are between the Brood Queen and Humbug (who isn't even on the cover - see posted images). Since there were no scenes of tentacles anywhere near the heroines, the cover does not support the story, and thus should have been judged (ie. rated by Marvel's self-imposed code of standards) based on cover alone. However, because of a lack of distinction between cover and story contents, Marvel ignored the cover and judged the story and graded it T+ (13 and up).


Now, I'm not one for ratings, but I figure if Marvel is going to print a comic that has a suggestive cover, that is nowhere duplicated or supported or contextualized by the story, than they have a responsibility to realize the image will have more impact than the story ever will, and give it an appropriate rating.

That being said, I am fully aware that almost all comics, magazines, movies, (basically anything with a face cover), almost never duplicate/support what is depicted in its contents, and so why should this cover be fussed over?

My only answer is because this cover has many qualities that can be interpreted negatively very easily, and it's this potential for misinterpretation that, us as a responsible free thinking society are forced to ensure this cover be scrutinized to the tiniest of details.

Otherwise, publishers will just start printing crap comics with provocative covers.

Now, to all you consumers, get a little more discriminating with your purchases; and if you do want to buy shitty comics with non-shitty covers, fine by me, but realize that your pretty much paying for a cover image.

Or just buy Swamp Thing comics written by Alan Moore. That'll balance out all your shitty purchases.

THB # 1 Vol. 2

Writer/Artist: Paul Pope
Publisher: Horse Press
Published: 1995

THB is Paul Popes sci-fi epic! It's a great series of comics, and because I feel generous, I'm going to share the main plot of this one! This issue follows HR Watson and THB.




But what is THB exactly?
Answer:
And what does it do? Answer: Something special:


Just add water:

But, too bad for HR as she has been betrayed to reveal THB so her friend can join a club!


Whammy! HR is attacked by a Renoir 36!

And another whammy as she loses THB! What is she gonna do?!!

So, how does it all go down?

TRIPLE WHAMMY: I'm not gonna say! Feelin' betrayed?

HAPPY IDES OF MARCH!!!

The Complete Cheech Wizard Vol. 1

Writer/Artist: Vaughn Bode
Publisher: Rip Off Press
Published: 1986

Any underground comix fan will know of Vaughn Bode. He was the magician of the underground crew, and with his creation the Cheech Wizard, the two created magic; and by magic I mean a lot of magical kicks to the groin. The Wizard is also a fan of the more carnal aspects of life. Remember folks, these comics are'nt called 'underground comix' without a reason. Then again, that being said, these comics could be considered tame in regards to today's standards.

Anyway, this volume collects about 16 strips of the Wizard in action. Here's a few shots, and by shots I mean nut shots:If you're wondering why I censored this one, it is strictly because I never did like the way Vaughn Bode drew the lizards groins....well as much as one can like seeing lizard groins...


"Arrgh my groin"

All Star Batman & Robin The Boy Wonder # 10

Writer: Frank Miller
Artist: Jim Lee
Publisher: DC
Published: August 2008

"Holy Shit Batman!"

After a spectacular issue # 9, Miller and Lee follow up with a voyage into Swearville. The story was decent, with Batman rescuing a beat up Catwoman, Batgirl being arrested, Black Canary blowing up a child porn base, and Jim Gordon's wife Barbara in the hospital after drinking and driving. Beyond that, the only element of note was the excessive amount of swearing. Now I can see why DC 'accidentally' published this issue without the swears being entirely blacked out, because with them blacked out I have to spend half my time figuring out what swear works best in the sentence. Are they saying "fuck", "shit" or what? I don't like having to guess what swear works best. Call it my lazy comic book nature, but the reason I buy comics is because the pictures are already created for me and I don't have to "imagine" the visuals. Hiding the words just further complicates my lazy nature, 'cause if I don't even want to imagine the visuals, who the shit Goddamn fuck motherfucking asswipe dickwad fucker' would think that I want to imagine the words!

Show me the muthfuckin' money bitch!

Swearing is wrong. But if Batman can get away with calling Catwoman "Baby " while Miller romanticizes their "sweaty, dirty, glorious mess..." then I guess swearing is the least of concerns.

EC Sampler

Writers: Bill Gaines & Al Feldstein, Harvey Kurtzman, Johnny Craig
Artists: Al Feldstein, Alex Toth & Harvey Kurtzman, Johnny Craig, Wally Wood
Publisher: Gemstone Publishing
Published: May 2008

E is for EC!

This comic is a free comic, picked up on one of the greatest days besides X-Mas: FREE COMIC BOOK DAY! What a great idea. The goal of free comic book day is to generate some business and spread the word, which it does. The selection of comic choices has gotten progressively better over the years. 2008 was a particularly good year for me. I went to 2 different shops in St. John's NL and was able to pick up 13 comics for free between the two. The EC sampler was one of them.

EC was a major producer of horror/suspense/action/science fiction comics during the 40s and 50s. However, the day Dr. Fredric Wertham dropped his bomb shell book titled Seduction of the Innocent, this pretty much spelled the doom of EC. His book was an attack on crime comics and horror stories, which he accused to be directly correlated with juvenile delinquecy. This book's attack on the producers of comics led the industry to create the Comic Code Authority through self-censorship. However, EC was not one to bow down to censorship, and the battle raged. Eventually EC would lose and close shop, and focus on it's humor line such as MAD.
Moving on, the EC sample is just that, a sampling of various stories from the EC archives. The first tale concerns an unidentified blob that is unstoppable in its destruction of all it touches. The second tale follows a grandfather who questions the value of his blind grandson's decision to join the revolution. The third tale involves a man who has to come to terms with his werewolf affliction, and finally, the last tale is about a journalist who sticks his nose where it doesn't belong, right up the KKK's arse, and now has to pay the price.

If it weren't for this sampler, I would have been introduced to these type of tales. My first reaction, considering the past and reasons for ECs fall, is that it just doesn't seem to make sense. Yes, the stories depicted violence, horror, murder, and other seedy elements, but each tale has a moral at its core, or at least a fantastical element that tells you not to take it too seriously. I think EC was just the victim of a Salem witch style hysteria, which is too bad. It would be interesting to see where comics could have gone if they weren't restricted or branded evil without proper judgment.