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Pedro Bouça
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Posted: 02 March 2007 at 5:33pm | IP Logged | 1  

Guys, Exiles is a series that centers on characters going from paralel dimension to paralel dimension, like a Marvel version of Sliders or something. That is NOT the "real" Sue Storm!

And, please, no Claremont bashing.
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Martin Redmond
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Posted: 02 March 2007 at 5:35pm | IP Logged | 2  

I've read Chris for years on end. I'm just sick of that one plot. It's like his ONE plot he writes over and over. It's bizarre because everytime he deviates from that plot, an editor seems to kill the deviant plotline and it's set right back to the sweet girl turned dominatrix plot. It's happened on X-Treme and then Uncanny.

Besides, admit it. The first half of my post could've been a line of dialogue from his books since I was quoting an F4 issue he wrote.

As for Metabarons, I believe Charest started as far back as 1999.

I'm not sure about this. But I think most european albums are done in the artist's spare time. BlackSaad was drawn on the artist's week-ends while he had a full time job at Disney.

Anyway, unless the background detail is amazingly detailed or the script calls for alot of research. I can't understand spending more than a day on just figures with no backgrounds.



Edited by Martin Redmond on 02 March 2007 at 5:38pm
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Stéphane Garrelie
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Posted: 02 March 2007 at 5:40pm | IP Logged | 3  

Two other Scot Eaton pages, from New Excalibur 16 this time:

Like Exiles 90-91, New Excalibur 16-17 mark the real return of Claremont. Great issues.



Edited by Stéphane Garrelie on 02 March 2007 at 5:43pm
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Pedro Bouça
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Posted: 02 March 2007 at 5:46pm | IP Logged | 4  

The guy tho does Blacksad is an exception, that's why he takes 2-3 years to do a book! Most other european artists are full-time (or, at least mainly) comic artists.

HOW long they work every day, I don't know, but they are usually on a page-a-week routine, like old time sunday page artists (the model for european comics).

And you are being unfair to Claremont. I'm not a fan of his work, but can easily recall dozens of different plots he has done in the past. And Exiles is just a big "look at the hero that is a villian on this month's issue" series, that's why I got tired of it by the third issue or so. This month is Sue Storm, next may be Speedball or the Power Pack. This is just a coincidence.


Edited by Pedro Bouça on 02 March 2007 at 5:48pm
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Darren De Vouge
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Posted: 02 March 2007 at 5:51pm | IP Logged | 5  

I want to be a harem tester.

++++++++++

Can you meet the deadline?

****************

I will give it my undivided attention until the job is done!  That is my pledge to all who need harem's tested.

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Dan Bowen
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Posted: 02 March 2007 at 5:51pm | IP Logged | 6  

EDIT:  Sorry, I really shouldn't post at the level of tired emotionalism I was experiencing on Friday night.



Edited by Dan Bowen on 04 March 2007 at 1:52pm
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Greg Kirkpatrick
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Posted: 02 March 2007 at 5:58pm | IP Logged | 7  

Blacksad rocks.
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John Byrne
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Posted: 02 March 2007 at 6:00pm | IP Logged | 8  

I look at the pages produced by many of the Young Turks in the industry today -- such as those posted upthread -- and again and again I am struck by the fact that without the color these would be very, very sparse pages. The drawing is mostly top notch (tho not "great" -- let's save that word, please!) -- and the linework itself is slick and clear -- but what's on the page? How much work is on the page?
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Carmen Bernardo
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Posted: 02 March 2007 at 6:01pm | IP Logged | 9  

There was one thing I did want to mention a while back, coming from some issues of Bob McLeod's Rough Stuff magazine.  In reviewing some of today's professional work, he often mentions how tight the artists are told to make the pencils in the present day as opposed to when he and others were in their heyday, when pencilers were allowed to be quite loose with their finished work and inkers were allowed to interpret the pencils any way they could.  Classic examples would be with John Buscema and Dave Cockrum, whom I could do some embellishment on, but with the new artists, there is no room for improvisation.  I wonder how much time is consumed in actually doing all that extra work instead of just leaving enough detail for inkers to use in doing such things as filling black areas, especially for those artists whose work is just being scanned directly to the page?

Of course, JB added some points about the discipline needed to fill in a book to make the monthly deadline.  I cannot imagine working the way some of these idiots seem to be working; I might not wake up early in the morning, but I'd still be putting in at least 10 hours a day just to complete one or two comicbook pages if I were on that job.  I recall some years ago that doing 5-8 pages a week was considered sufficient, and that was when JB would be putting out two or three books a month!
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Stéphane Garrelie
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Posted: 02 March 2007 at 6:15pm | IP Logged | 10  

JB: both Exiles and New Excalibur or only New Excalibur?

A better scan of the second page from New Excalibur 17. Since the picture is full page i suppose thats the reason why there's more work about the details than on most of the pages (background, etc..)



Edited by Stéphane Garrelie on 02 March 2007 at 6:16pm
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Randy Sterger
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Posted: 02 March 2007 at 6:19pm | IP Logged | 11  

OT: Does Nightcrawler have a daughter these days?
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Stéphane Garrelie
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Posted: 02 March 2007 at 6:20pm | IP Logged | 12  

And a better scan of the third page of New Excalibur 17:

Isn't there as much as needed background and details in this page too?



Edited by Stéphane Garrelie on 02 March 2007 at 6:20pm
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