Techniques and Tricks: What Not to Do

Welcome to another edition of Comics Techniques and Tricks, in which we showcase techniques that only comics can do! Click here for the archive!

Here's our first example of what not to do when it comes to page layout. Lately I've been reading the old JUSTICE LEAGUE AMERICA series, written by Keith Giffen and JM DeMatteis. As it turns out, the issues I have aren't from their legendary run with Kevin Maguire, but from after that, when the art chores were mostly handled by Adam Hughes. This is from issue #42, with art from a young Mike McKone and Jose Marzan Jr.

See the problem here? J'onn's speech bubble "I won't stand in your way--" goes straight to the panel on the right, and is even connected to the speech bubble next to it, which says, "--but I want you to know that I'm always here for you. Always."

Where does that leave the panel on the bottom left? A reader will either want to turn the page because that right panel where Gypsy is walking away, or realize that the bottom panel went unread and reread the sequence.

The layout isn't the problem; the dialogue and the placement of the balloons are. If only that last balloon in panel 1 didn't overlap with the right panel, and if only "--but I want you to know" continued from "Soon" rather than "I won't stand in your way." Actually, "Soon" is probably unnecessary, isn't it? J'onn's last speech balloon in panel 1 could easily have taken its place!

That's just one example of the many things comics creators have to go through to facilitate readability. Not only does the layout of the pictures have to make sense; the lettering has to do it too. (This is also why letterers are some of the unsung heroes in comics — you rarely ever notice when they do it right, but it's so easy to realize when they're doing it wrong.)

Easter Eggs: Mogo Predicted!

Welcome to another installment of Easter Eggs in Comics! Click here for the archive!

Most Alan Moore fans, as well as Green Lantern fans, know of the short story "Mogo Doesn't Socialize," by Moore and his WATCHMEN co-creator Dave Gibbons. In it, a bounty hunter called Bolphunga the Unrelenting goes to a planet to find and kill the Green Lantern known as Mogo. Eventually he realizes he's in trouble, because Mogo happens to be the entire planet.

"Mogo Doesn't Socialize" was published in GREEN LANTERN #188 in 1985.

Now, in THE COMPLETE ALAN MOORE FUTURE SHOCKS, 2000 AD's collection of Moore's short stories and early work, there's a story by Moore and John Higgins (the colorist of WATCHMEN) entitled "The Bounty Hunters." In it, the hunters are looking for someone named Rogel Dax. As with Bolphunga and Mogo, they don't know what he looks like.

Anyway, one of the hunters says this:

"The Bounty Hunters" was published in 2000 AD prog 253, in 1982, three years before Mogo!


Both these stories can be found here:

An Interview with Joe Kubert, by Michael Leal

Michael Leal, founder and head writer of Metaverse Entertainment,conducted an interview last year with the recently departed Joe Kubert. Since the magazine that was supposed to run it folded and was unable to publish it, Michael asked me yesterday if I would be willing to run this for the Cube. Of course, I said yes. Everything after this paragraph is Michael's, with only minor edits by me.

Original interview conducted on March 3, 2011

Joe Kubert is the legendary comic artist that has worked on everything from Hawkman, to Sgt. Rock, to Enemy Ace and countless other titles, including a few original graphic novels currently being re-released by DC comics. He's had numerous roles in the comic book industry over the years. He's been an artist, editor, and teacher. He is the mentor to thousands of art students that have graduated from The Kubert School over the past 34 years. Including his two sons, Adam and Andy Kubert, who now teach at the school and are legends in their own right. His artistic influence has permeated the comics industry and far beyond. Joe Kubert was kind enough to chat with me about the industry, his life and the work that he is so well known for.

Michael Leal: You seemed to have achieved what every comic book creator dreams of, a long and fruitful career and just a touch of immortality. What do you attribute your long lasting success in comics to?

Joe Kubert: Well, I've been very lucky ...very lucky. There were a lot of guys that I worked with, amazingly talented guys. Why some guys are able to maintain the longevity that I have and others haven't is pure unadulterated luck. It's just my ability to work. I was wise enough to choose parents with the right genes so I'm still able to do this stuff. I'm able to do it to the extent that people still want to see it, and people are still willing to buy it.