Freakwave! Chapter 3 by Milligan & McCarthy, from Vanguard Illustrated #3(Pacific Comics, 1983)
Book Expo America featured Paul Pope in their In Your Space series of interviews that explore the studios of creatives. (Click the link to watch the video).
If you listen closely, about three minutes into the interview, you might get a kick.
Pope’s got quite a library, even if his pad is, as he calls it, a “shambolic mess.”
Important page from DETECTIVE COMICS #416 by Frank Robbins.
Why is it important? Because comics. You could try to translate this to prose or cinema or cutscene or whatever, but it would only be an approximation of the power that comics gives us to dissect time and poke around it and choose what’s important (out of what the artists choose to present to us, the viewer.)
Everything matters on this page.
“The mass production of instruments of comfort - all revolutionary, according to the publicity handouts - has given the most unsophisticated of people the right to express an opinion on the marvels of technological innovation in a tone as blase as the hand they stick in their pants. The first landing on Mars will pass unnoticed at Disneyland.”
(Panel by Jack Kirby, Mike Royer et al, from (OMAC #1, 1975)
What the man said.
zero-mecha said: Is this gonna be a real game??
I’m getting close to a point where I can get this functioning the way I need it to — both the visual novel type conversations and the dungeon crawling style maze exploring/battles — but the real work is drawing and writing a bunch of stuff to fill out the actual game. So in short, I have no idea, but here’s hoping.
“My way of telling stories is so remote from tradition that young artists - rightly, I confess - choose other models. I have no desire to serve as a model. My universe is truly my own.”~Guido Crepax, quote from the introduction to the Evergreen Edition of Bianca, Emmanuelle, and Venus in Furs
I like this quote because I think it speaks to the degree to which, even when he was adapting work the world he creates with his pen is solely his own—he’s not trying to copy anyone—he’s speaking his own language, creating his own unique universes.
The other thing is that I would definitely consider myself as a student in his school. I’m fairly obsessed with picking apart what he does—and that comes across in how my comics read. Especially so the last say 15 pages I’ve penciled—which I haven’t gotten to show a lot of—but I would definitely describe them as me working with the lessons I’ve learned from studying Crepax.
The page above is from Anita Live—which is in my opinion the best colored Crepax work. I own the physical copy of that, and it’s pretty big pages—and really beautiful. Beyond the composition of his pages—one of the things I love about Anita Live and Emmanuelle is how long and languid his characters are. That’s not always the case in work like Bianca, Valentina, Story of O and work like that—but Anita and Emmanuelle have these sort of stretched out long bodies which I really like. I think you can see the advantage of it in the next to last panel on this page—where you can sort of feel a stretching of the figure, which is I think a kind of erotic tension also present in Schiele.
The Devil, apparently, is heavy into the use of psychedelics.
If anyone recognizes the artist, lemme know and I’ll set the credits right.
BEYOND THE GRAVE #8
1983, Charlton Comics
The Devil’s House - A. Funell script, illegible signature art
A little poking around suggests that the artist is Enrique Nieto, an Argentinian artist, who was going under the alias Fred Nieto for this comic. The ‘A. Funell’ listed as the writer is Augustine Funnell. Both are mostly known for doing various horror titles for Charlton in the 70’s and 80’s.