Welcome to another edition of Comics Techniques and Tricks, in which we showcase techniques that only comics can do! Click here for the archive!
Today's comic trick comes from Alan Moore and Bill Sienkiewicz, who in 1990 did Big Numbers, an unfinished comic book series about shopping, fractal mathematics, small-town life, and the dynamics of real life and the imagination.
In this comic trick, Sienkiewicz takes the Frank King Gasoline Alley trick I showed you last time, and refined it for a modern audience and a longer format. See, the Gasoline Alley strip was great to look at, but if you read it in any direction, well, it didn't really make much sense in terms of telling a story. And it didn't have to; it was one page, and it looked great. But in Big Numbers, the technique had to be adapted to tell the story efficiently. So it's the same technique, except that you read it in your regular left-to-right, up-to-down way:
Pretty cool, huh? Bill Sienkiewicz did the art, but Alan Moore is credited for really detailed scripts, so I think they both deserve the credit for this one.
Jun 24, 2010
Jun 22, 2010
Easter Eggs in Comics: Top 10 #1
Welcome to another installment of Easter Eggs in Comics! Click here for the archive!
In Alan Moore, Gene Ha, and Zander Cannon's Top 10 for America's Best Comics (ABC), one police precinct keeps the peace in a town full of superpowered beings.
As you can tell, this makes for a lot of inside jokes and gags, and is therefore a prime spot for me to go Easter Egg Hunting every now and then.
For example, this is the first panel in the first issue of Top 10.
Check out the ads!
"Time for a change of outfit? Stop in at the PHONE BOOTH!" plays off of the conventional trope in which Superman used to change in a phone booth.
"1 Million Cured! Logan's DNA Dietary Supplement! With Extra Adamantium!" references Wolverine's healing factor.
"Hold it! Better call ACTION Insurance!" comes complete with a drawing of a Superman-type figure carrying a car, just like Superman did in Action Comics #1.
Pretty cool, huh? And that's just the first panel of the first issue!
Got an Easter Egg for the Cube? Email it to comicscube@gmail.com!
In Alan Moore, Gene Ha, and Zander Cannon's Top 10 for America's Best Comics (ABC), one police precinct keeps the peace in a town full of superpowered beings.
As you can tell, this makes for a lot of inside jokes and gags, and is therefore a prime spot for me to go Easter Egg Hunting every now and then.
For example, this is the first panel in the first issue of Top 10.
Check out the ads!
"Time for a change of outfit? Stop in at the PHONE BOOTH!" plays off of the conventional trope in which Superman used to change in a phone booth.
"1 Million Cured! Logan's DNA Dietary Supplement! With Extra Adamantium!" references Wolverine's healing factor.
"Hold it! Better call ACTION Insurance!" comes complete with a drawing of a Superman-type figure carrying a car, just like Superman did in Action Comics #1.
Pretty cool, huh? And that's just the first panel of the first issue!
Got an Easter Egg for the Cube? Email it to comicscube@gmail.com!
Featured In:
Alan Moore,
Duy,
Easter Eggs,
gene ha,
top 10,
Zander Cannon
Jun 18, 2010
Watchmen, the Charlton Action Heroes, and the MLJ/Archie Heroes
So here's something you may or may not know. Did you know that Watchmen was not supposed to feature original characters?
Nope, when Alan Moore wrote his proposal for the series, he had in mind some characters from Charlton comics, which, at the time, had just been purchased by DC Comics.
So for example, going clockwise from top left: The Question, a Randian Objectivist, was turned into Rorschach; Captain Atom, with nuclear powers, was turned into Dr. Manhattan; the Blue Beetle, a rich scientist complete with a Golden Age predecessor and flying animal-themed vehicle, became Nite Owl; Nightshade, a woman who was dating Captain Atom, was turned into Silk Spectre (although it could be argued that she was pretty much just substituted with Black Canary, who had no powers and a superheroic mom); and Peacemaker, who preaches peace with guns, was replaced with the Comedian. As for Ozymandias, he was derived from Peter Cannon, Thunderbolt, who trained his body to near-perfection.
In all these cases, Moore and Gibbons took the characters to even more extreme degrees - Dr. Manhattan, for example, was more distanced from humanity, and more powerful than Captain Atom.
So, that's something you may already know, but did you know that the Charlton heroes were not Moore's first choice for this series?
Moore conceived the idea that eventually became Watchmen with the MLJ characters, better known as the Mighty Crusaders, or the Archie Heroes, because they were being published by Archie Comics:
Moore never says how far he went in his treatment, just that the dead superhero to begin with (the one who would later be the Comedian) would be the original Shield (that's the dude in the middle up there). And then it would draw out the rest of the Crusaders, including Joe Simon and Jack Kirby's third (by my counting) patriotic superhero, Private Lancelot Strong, the second Shield:
I don't know how that particular final product would have resembled what became Watchmen. It or anything that didn't involve the Watchmen characters probably would not have had the impact that it did, since a huge part of Watchmen was what someone like Dr. Manhattan brought to the table, but I do think it was interesting that in 1983, even before Watchmen, Archie was (under the Red Circle imprint) already putting out the characters in more contemporarily-drawn and written stories (with art and story by Rich Buckler):
I do think it's a safe bet that Fly Girl would have been in the Silk Spectre position, though. And Hooded Justice from Watchmen seems to be inspired by MLJ's Hangman. (That's the green dude with the noose in that group picture above).
Alan Moore has even said that in general, the very bare bones of the Watchmen plot could be applied to any small superhero universe (meaning not Marvel or DC). This is true because the story wasn't really about its plot, but the nuances and devices they used to tell it. So technically, you could take the barest treatment of Watchmen and apply it to any other property. Moore said he thought of using the T.H.U.N.D.E.R. Agents:
And in 1995, Douglas C. Atkinson wrote, for fun, a script that featured the other Archie Heroes: Captain Hero, Pureheart the Powerful, SuperTeen, and Evilheart, which you can read here (I recommend reading it. It's good fun):
Watchmen has been blamed for kickstarting the grim-n'-gritty movement, but honestly, I'd like to see someone take a more serious look at properties like Cat-Man and Kitten:
And I would honestly pay serious money if someone actually made this loser, the Captain Marvel of the 1950s, worth reading. No, seriously. I would fork over like 4 dollars an issue for six issues if someone made this guy contemporary, relevant, and good to read. Because I think it's impossible.
Thanks to Dial B for Blog for the Pureheart/Superteen/Captain Hero graphic, and to Comic Book Artist for the information!
Top Row: Dr. Manhattan
Bottom Row: Rorschach, Nite Owl, Silk Spectre, Ozymandias, the Comedian
Nope, when Alan Moore wrote his proposal for the series, he had in mind some characters from Charlton comics, which, at the time, had just been purchased by DC Comics.
So for example, going clockwise from top left: The Question, a Randian Objectivist, was turned into Rorschach; Captain Atom, with nuclear powers, was turned into Dr. Manhattan; the Blue Beetle, a rich scientist complete with a Golden Age predecessor and flying animal-themed vehicle, became Nite Owl; Nightshade, a woman who was dating Captain Atom, was turned into Silk Spectre (although it could be argued that she was pretty much just substituted with Black Canary, who had no powers and a superheroic mom); and Peacemaker, who preaches peace with guns, was replaced with the Comedian. As for Ozymandias, he was derived from Peter Cannon, Thunderbolt, who trained his body to near-perfection.
In all these cases, Moore and Gibbons took the characters to even more extreme degrees - Dr. Manhattan, for example, was more distanced from humanity, and more powerful than Captain Atom.
So, that's something you may already know, but did you know that the Charlton heroes were not Moore's first choice for this series?
Moore conceived the idea that eventually became Watchmen with the MLJ characters, better known as the Mighty Crusaders, or the Archie Heroes, because they were being published by Archie Comics:
Moore never says how far he went in his treatment, just that the dead superhero to begin with (the one who would later be the Comedian) would be the original Shield (that's the dude in the middle up there). And then it would draw out the rest of the Crusaders, including Joe Simon and Jack Kirby's third (by my counting) patriotic superhero, Private Lancelot Strong, the second Shield:
I don't know how that particular final product would have resembled what became Watchmen. It or anything that didn't involve the Watchmen characters probably would not have had the impact that it did, since a huge part of Watchmen was what someone like Dr. Manhattan brought to the table, but I do think it was interesting that in 1983, even before Watchmen, Archie was (under the Red Circle imprint) already putting out the characters in more contemporarily-drawn and written stories (with art and story by Rich Buckler):
I do think it's a safe bet that Fly Girl would have been in the Silk Spectre position, though. And Hooded Justice from Watchmen seems to be inspired by MLJ's Hangman. (That's the green dude with the noose in that group picture above).
Alan Moore has even said that in general, the very bare bones of the Watchmen plot could be applied to any small superhero universe (meaning not Marvel or DC). This is true because the story wasn't really about its plot, but the nuances and devices they used to tell it. So technically, you could take the barest treatment of Watchmen and apply it to any other property. Moore said he thought of using the T.H.U.N.D.E.R. Agents:
And in 1995, Douglas C. Atkinson wrote, for fun, a script that featured the other Archie Heroes: Captain Hero, Pureheart the Powerful, SuperTeen, and Evilheart, which you can read here (I recommend reading it. It's good fun):
Watchmen has been blamed for kickstarting the grim-n'-gritty movement, but honestly, I'd like to see someone take a more serious look at properties like Cat-Man and Kitten:
And I would honestly pay serious money if someone actually made this loser, the Captain Marvel of the 1950s, worth reading. No, seriously. I would fork over like 4 dollars an issue for six issues if someone made this guy contemporary, relevant, and good to read. Because I think it's impossible.
Thanks to Dial B for Blog for the Pureheart/Superteen/Captain Hero graphic, and to Comic Book Artist for the information!
Featured In:
Alan Moore,
archie,
charlton,
dave gibbons,
Duy,
Jack Kirby,
mighty crusaders,
thunder agents,
wally wood,
watchmen
Comics Techniques and Tricks: Art Spiegelman
Welcome to another edition of Comics Techniques and Tricks, in which we showcase techniques that only comics can do! Click here for the archive!
Today's Comic Trick comes from the legendary Art Spiegelman, creator of, among other things, the Pulitzer Prize-winning Maus.
In "A Day at the Circuits," published in Arcade Comics Revue #3 sometime in the mid-70s, Art Spiegelman uses arrows to direct your attention to the next panels. Sometimes, there exists more than one arrow, and it's up to you to choose your own adventure, so to speak.
Having seen Art Spiegelman talk twice and use this example each time, I can say it's even better when he's reading it aloud.
And look, it ends in the middle of the page. Pretty cool, huh?
In addition, have you checked out Cross Panel Comics lately?
Today's Comic Trick comes from the legendary Art Spiegelman, creator of, among other things, the Pulitzer Prize-winning Maus.
In "A Day at the Circuits," published in Arcade Comics Revue #3 sometime in the mid-70s, Art Spiegelman uses arrows to direct your attention to the next panels. Sometimes, there exists more than one arrow, and it's up to you to choose your own adventure, so to speak.
Having seen Art Spiegelman talk twice and use this example each time, I can say it's even better when he's reading it aloud.
And look, it ends in the middle of the page. Pretty cool, huh?
In addition, have you checked out Cross Panel Comics lately?
Featured In:
art spiegelman,
Comics Techniques and Tricks,
Duy
Jun 8, 2010
Comics Techniques and Tricks: Frank King
Welcome to another edition of Comics Techniques and Tricks, in which we showcase techniques that only comics can do! Click here for the archive!
Today's comics trick comes from Frank King, who in the early 1900s drew Gasoline Alley!
In this particular strip, Frank King took a continuous background and divided it up into 12 equal-sized panels, so the characters can happily move around in them.
Pretty cool, huh?
Today's comics trick comes from Frank King, who in the early 1900s drew Gasoline Alley!
In this particular strip, Frank King took a continuous background and divided it up into 12 equal-sized panels, so the characters can happily move around in them.
Pretty cool, huh?
Featured In:
Comics Techniques and Tricks,
Duy,
frank king,
gasoline alley
Jun 4, 2010
Comics Techniques and Tricks: Gustave Verbeek
Welcome to another edition of Comics Techniques and Tricks, in which we showcase techniques that only comics can do! Click here for the archive!
Today's comics trick comes from Gustave Verbeek, who in the early 1900s drew The Upside-Downs of Lady Lovekins and Old Man Muffaroo!
The conceit of the strip was such that the first half of the story took place in the entirety of the page...
...and then you had to flip it over to read the second half!
Pretty cool, huh? Imagine making 64 of those!
Today's comics trick comes from Gustave Verbeek, who in the early 1900s drew The Upside-Downs of Lady Lovekins and Old Man Muffaroo!
The conceit of the strip was such that the first half of the story took place in the entirety of the page...
...and then you had to flip it over to read the second half!
Pretty cool, huh? Imagine making 64 of those!
Jun 3, 2010
Comics Techniques and Tricks: Jose Luis Garcia-Lopez
Welcome to the first installment of Comics Techniques and Tricks, an indefinite series in which we showcase techniques that only comics can do! Click here for the archive!
Today's Comics Technique and Trick comes from the Superman vs. Wonder Woman All-New Collectors' Edition, published in 1978, written by Gerry Conway and drawn by Jose Luis Garcia-Lopez and Dan Adkins!
By retaining the uniformity of the panels on the upper tier of the page, Jose Luis Garcia-Lopez simulates a speedy motion by having Wonder Woman tackle Superman outside the confines of those panels. With four images of Diana tackling Clark taking place just over three panels, the effect is that the action is happening faster than the regular beat of the panels would have us believe!
Note also how Garcia-Lopez places Wonder Woman at the bottom panel - our eye is instinctively drawn to her because the motion is so fluid.
Pretty clever, huh?
Today's Comics Technique and Trick comes from the Superman vs. Wonder Woman All-New Collectors' Edition, published in 1978, written by Gerry Conway and drawn by Jose Luis Garcia-Lopez and Dan Adkins!
By retaining the uniformity of the panels on the upper tier of the page, Jose Luis Garcia-Lopez simulates a speedy motion by having Wonder Woman tackle Superman outside the confines of those panels. With four images of Diana tackling Clark taking place just over three panels, the effect is that the action is happening faster than the regular beat of the panels would have us believe!
Note also how Garcia-Lopez places Wonder Woman at the bottom panel - our eye is instinctively drawn to her because the motion is so fluid.
Pretty clever, huh?
Featured In:
Comics Techniques and Tricks,
Duy,
jose luis garcia-lopez
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