Screen printed poster for Heavy Metal Magazine. Released yesterday by Mondo at San Diego Comic-Con. This Poster was commissioned to promote the future Heavy Metal film.
From time to time, Druillet’s influences shine through. Here, the most obvious are Kirby and Giger. Druillet’s been Kirby influenced for some time, but the Giger stuff is relatively new. I really like how the sky in the background is done using a completely different art style.
(Heavy Metal issue #84, March 1984 - Pages 48&49 Salambo II: Carthage by Druillet)
William Gibson Interview - May 1985, Heavy Metal Magazine
-HM: That’s all we have room for, unless you have an opinion on Michael Jackson or a favorite color…
-WG: Michael Jackson will go flat fucking crazy eventually- and labial pink.
- Mad Max 2: The Road Warrior (1981), dir. George Miller
- Harzakc (Metal Hurlant no.5, 1976), by Moebius
Well will you look at that.
The Metal Hurlant #1 cover that Moebius based off a maxfield parrish painting.
It’s weird living in the internet age where you can read something like that and just look it up. I’d known it was based off a parrish for 20 years but never looked it up until now.
Life in the future.
To be sure, the artwork in Zora is visually appealing. I particularly enjoy the fact that the art style shifts from panel to panel. The green on green int the second panel pops out precisely because it’s so different from everything else on the page. And the partially unfinished look of the last panel really accentuates the urgency of the action scene.
Of course, the numerous half-naked women operating a warship is slightly ridiculous - I guess you could crank the heat up, but the fact that nobody on the bridge seems to feel the need for pockets is not entirely plausible.
Overall, the story comes across as a stereotypical Heavy Metal story - strong visuals with an almost inconsequential story. Every page is what Benoit Peeters refers to as a “Decorative” page, more interested in the composition and not entirely driven by the narrative.
Add in the very prominent breasts throughout and you have the formula for a something that stoned teenagers will sit and stare at for hours without being overly concerned that they entirely understand what’s going on. Heavy Metal in a nutshell.
(Heavy Metal issue #69, December 1982 - Page 56 Zora by Fernandez)
much as i love old heavy metal comics, this rundown is right on the money
Druillet’s Kirby influences really come across in the bottom image. And, as usual, the best part of these images is the use of color - especially the airbrushed gradiants in the background.
(Heavy Metal issue #63, June 1982 - Page 91 Yragael by Druillet)
The offices of Metal Hurlant: photos from the early 80s
1. Writer/director Alejandro Jodorowskwy, journalist Philippe Manœuvre, writer and Hurlant co-founder Jean-Pierre Dionnet, and writer/editor/game designer Pierre Rosenthal
2. 3. Two great shots of Jean-Pierre Dionnet, looking like Crumb’s identical twin.
4. Hurlant co-founder and cartoonist, Philippe Druillet, best known for his Lone Sloane series.
5. Hugo Pratt, legendary cartoonist and creator of Corto Maltese
6. Paul Gillon, cartoonist and illustrator of the Lost in Time series, written by Jean-Claude Forest
7. Yves Chaland, creator of the popular Freddy Lombard series, prolific cartoonist, and colorist(notably coloring the initial chapters of Moebius & Jodorowsky’s The Incal)
8. Chaland’s work-in-progress artwork
9. Olivia Clavel, cartoonist and co-founder of the Bazooka Groupe
10. Pascal Guichard and(I think?) Isabelle Morin, editing an issue.
This installment of Yragael is three or four double page splashes - basically the kind of thing where Druillet really excels. This was the brightest and most impressive of those splashes.
(Heavy Metal issue #61, April 1982 - Pages 46&47 Yragael by Druillet)