Good Girl Art: Young X-Men no. 2 by Terry and Rachel Dodson

That title sounds so wrong.

According to wikipedia "good girl art" is:

"...found in drawings or paintings which feature a strong emphasis on attractive women no matter what the subject or situation."

Whereas Young X-Men was a secondary storyline to the X-Men "Divided We Stand" story.

However, my interest really lies with Terry and Rachel Dodson's artwork!

I was first introduced to Terry and Rachel's work when I stumbled upon DC's Harley Quinn in 2001. There was something special about the comic. Well written, great characters, fun stories, and the clincher - Harley herself. No longer a whimsical cartoon depiction from Batman The Animated Series, Harley took on a whole new level of reality. Terry and Rachel drew Harley with the form of a fully realized person (albeit an 'idealistic' person). But here was a Harley who was athletic, emotional, capable, and ultimately, sexy.

And right there is the truth to why the Dodson's artwork is so appealing. The women the Dodson's draw are not weak, docile characters whose only strength is their exterior. The women they draw are fully realized both internally and externally and in essence are not just attractive women, but attractive characters.

Over the years I've kept an eye out for Dodson's work, be it their run on Spider-Man or their current work on X-men, but a few years ago I realized that I had seen their work from way back in my past. Digging through my comics I came across my old copies of Mantra. Judging from the cover art I knew why I purchased these comics as a 13 year old boy and looking at them now as an adult I appreciate them for much more than a prepubescent thrill they were then, but now a realization that even at 13 I had great taste in good girl art.






Young X-Men #2 written by Marc Guggenheim, penciled by Yanick Paquette, inked by Ray Snyder, colored by Rob Schwager, lettered by Dave Sharpe. Marvel July 2008.





Terry and Rachel Dodson Gallery




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Fan Expo 2010 - Girl Comics # 2

Writers: Various
Artists: Various
Colours: Various
Publisher: Marvel
Published: July 2010

While at the Fan Expo in Toronto, I had the opportunity to meet Jill Thompson! She's a nice person who is a wicked artist. Our conversation was brief and a bit stunted, but enjoyable nonetheless.

I mentioned how much I liked her cover for Girl Comics 2, what with the spin on a fairytale using Marvel characters. She said she "got to do a Marvel cover" and so she wanted to cram as many characters as she could on it. All the better in my mind - I think it's the best cover of the 3 issues.

We then turned to a discussion on her technique. She is a master artist in my mind. She can write, draw, illustrate, paint, letter, and color. She mentioned that one of the draw backs of digital coloring is how easy it is to create a flat looking image. She's totally right. Now, just to clarify, she's not saying digital coloring sucks, just that it is very easy to create a flat image, whereas with paint, depth and perspective can be explored more thoroughly. By having the color trail off, recede, or fade out, an illusion of depth is created, which makes the art all the more interesting. Another thing she mentioned was on her Scary Godmother series, she uses her own font, which has since been made into a digital font. I'm not sure why Marvel didn't just use her font for her Inhumans story...but that's the corporate machine at work I guess. Man she's a wicked artist though! I only wish I had the cashonies to buy a copy of her sketches...I'll be kicking myself over that one....

Check below a pic I took of the printed copy vs. the original artwork from Girl Comics 2. (I still think Girl Comics 2 is a terrible title. All the more considering I have to think of Jill Thompson and the phrase 'Girl Comics' in the same sentence. Just seems wrong...anyway, enjoy the art!)




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Fan Expo 2010 - Batman: The Return of Bruce Wayne # 1

Writer: Grant Morrison
Artist: Chris Sprouse
Inks/Colors: Karl Story/Guy Major
Publisher: DC
Published: July 2010

As only Grant Morrison can pen and Chris Sprouse can envision, the first issue of Bruce Wayne's return from "the dead" hits like a rumbling thunder storm. Near the conclusion of Final Crisis, Batman was hurled back in time to the dawn of civilization. It is at this point where The Return of Bruce Wayne kicks off. Essentially, issue # 1 is an action packed cave man yarn staring Batman. I know - Awesome.

So as the title above mentions I recently attended the Fan Expo in Toronto and I had the opportunity to meet Chris Sprouse. He comes across as a real nice guy. I think I may have gotten a small reaction out of him when I said his version of Batman was "a manly man's man." I sincerely meant this as a compliment, because Batman is normally a clothed figure, shrouded in darkness, so it's a interesting change to see him shirtless, but still wearing his leotards. Plus, Chris Sprouse has got the whole alpha male look nailed down. It don't get more manly than his drawing of men. (Again, that's a compliment.)

Our conversation then turned to how the internet is essentially a stomping ground of negativity. He mentioned that some complaints on the internet of his book were that one of the cavemen was blond, and that there was a giant bat thingy in the book. I don't read comic book message boards generally, but I wasn't surprised to hear this. If there is one thing the internet has encouraged, it's complaining. Which is fine in of itself, but due to the sheer quantity, it can be a bit much. So as Sprouse mentioned, he just turns it off and does his thing.


With this in mind, I sometimes wonder if comic creators read comments, reviews, or reactions to their work? I think they would almost have to, considering it's vital to their success to know what is working and not working with their audience; but at the same time, where do they draw the line? I know when I was in elementary school, I used to read and re-read my report card comments. I was obsessed with knowing 'my areas of improvement'. But then one day I just turned off that side of my personality. It wasn't getting me anywhere. In the end it was a relief. I think many comic book creators also feel this sense of relief once they turn off the message boards. No point getting charged up just because some fanboy didn't dig your version of a cave man, even if he is the manliest man of cave mans...





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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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Girl Comics # 2 of 3

Writers: Various
Artists: Various
Colours: Various
Publisher: Marvel
Published: July 2010

Terrible title. Fun comic though. Girl Comics issue 2 has a smorgasbord of 'girl' talent. As a mini series of various stories, some are gonna be hits and some misses. This issue has more hits than misses, so that's a good thing. I really liked the story of the prank call set upon Dr. Doom by Johnny Storm and Thing. As well, the art by Jill Thompson for her tale was fantastic. She also did the cover, which makes this issue worth picking up just for that.

For those not in the know, Girl Comics is a series dedicated to showcasing the talent of Marvels women writers/artists/colorists/editors and so on. The tales are generally lighthearted, fun, accessible, and beautifully drawn. Throw in a few pin ups and some bios of past female creators written by Trina Robbins, and you have a decent mini series dedicated to women Marvel creators.

Not sure why they went with the title "Girl Comics". But then again, from personal experience I've always had trouble figuring out how to address a group of females/ladies/women/girls(??) anyway.

If I address them as "ladies" I feel like a Beastie Boy.
If I say "women" I feel like an ass.
If I say "girls" I feel like and idiot.
If I say "females" I feel like a biologist.

I usually just go with "guys". That's safe. Better to just address everyone as if they're a dude.

Hellboy: The Storm # 1 of 3

Writer: Mike Mignola
Artist: Duncan Fegredo
Colors: Dave Stewart
Publisher: Dark Horse Comics
Published: July 2010

I haven't read any Hellboy comics in a long time. So with this issue, I decided I'd see what he's up to these days. Turns out he's got Excalibur and is the heir to the the throne of England. Go fig.

THB - Comics From Mars # 1

Writer/Artist: Paul Pope
Publisher: Adhouse Books
Published: July 2007

Comix-365 is back! And what better way to kick start things with one of my favorite artists/writers: Paul Pope! (That, and I just recently met the guy in Toronto at the TCAF show - but more on that later.)

THB is one of those comics that is largely overlooked by the mainstream. This is a shame...I consider this series a diamond in the rough. It's the perfect cross between adolescent rockabilly and high-minded Sci-Fi. This particular issue has four tales. The first is an awesome 5 page graphic of Popes futuristic sport, Zoo Ball. The second is a history lesson from the main character HR, and the third is, well I'll let Pope describe: "Fun! Comics - The UR-PEOPLE are the unseen continuity mechanics living between sequential phases of meta-fictive time/space." This is in my opinion the best tale of the four. It has a certain quirkiness, not unlike the film "Being John Malkovich" but crossed with a Disney-esque pedigree. Finally the final tale concerns the famed Bumble Hipshakes that only a certain gangster on Mars can make.

As stated above, a few weeks back I attended Toronto's The Comic Art Festival. It celebrates and discusses comics, with a focus on independent creators. The reason I attended was to catch the panel discussion between Paul Pope and Dash Shaw. The panel was neat. It was cool to actually hear some thoughts and opinions from one of my favorite comic creators. He seems like a nice guy, a bit introverted, but not in socially-shy way. What I found interesting during the discussion, is that Pope is bit of a paradox. He comes from indie roots, produces amazing indie works, but also has an active and widely sought out style by mainstream press. He's been in GQ, Playboy, has worked for the big guys, DC and Marvel, and so on... one of the possible reasons for this dichotomy stems from his work on THB.

As I had mentioned earlier, THB has yet to capture a mainstream audience. There have been an handful of issues over the years, and while each are golden reads, THB's stunted success seems to be bit of a frustration for Pope. Here's a magnificent series, but it has yet to be fully appreciated. And Pope wants to be appreciated. As an artist, this is paramount. While producing art for a singular audience is rewarding in of itself, it is so much more rewarding to have a larger audience embrace and demand more of your artwork. THB is series that screams to be appreciated, not just because it's awesome, but because it bleeds awesome. So, as Pope mentioned in the discussion, one way to get his message, his art, his way of thinking out was to tackle the superheroes. He want after the big guy - Batman. He wanted to reach a larger audience. What better way than the greatest fictional comic character in history?

What is interesting about this statement, is that it worked. On me. I never heard of Paul Pope until I read Batman Year 100. I was blown away. I got it. I saw and embraced the Paul Pope vision. Now I'm hooked.


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Time Warp # 5

Writers/Artists: Various
Publisher: DC
Published: July 1980

Time Warp was a 5 issue mini series. Each issue was a collection of sci-fi stories. Issue # 5 has a number of stories, ranging from time travel, transformations, suspense, love, and so on...One particular story that stands out is "Vengeance of C-92" by Arnold Drake and Vicatan. The story opens with Dr. Logan being hired to assist Barney Goffs run his super computer, C-92, which is programmed to run the North American continent.


Barney Goffs is so caught up with C-92, it is common knowledge the computer is like his son. However, after Dr. Logan has started work, Barney Goffs mind starts to stray:


But it would seem during his neglect towards C-92 he has also neglected Dr. Logan:



SHAZAM! (That one's for the ladies).

However, C-92, doesn't take to kindly to Barney's attention to Dr. Logan, so it tries to kill him with suck power!


But of course, Barney isn't just a wizard scientist, but and ASS-KICKIN' wizard scientist...

...who now has to live with the pain of killing his only son!


So, take heed: hell have no fury like a super computer scorned!

The Goon # 19

Writer/Artist: Eric Powell
Publisher: Dark Horse
Published: July 2007

One more tentacle issue after this and I think I'm tentacled out.

The Goon is just an awesome comic. I think I've said this before. Powell is about the only artist that I know of who can pull of pages of just Goon hitting things. Issue 19 has Goon taking on a new menace spawned by the Zombie Priest. This new beast has taken some from Goon, but you'll never guess what. Hint: it ain't the love of his life. Or is it?

Oh and this issue has this guy. Watch it, he's a biter:

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