July 2009 Archives

G. I. JOE will be making its ways to British newsstands this summer.

This all new new Panini-Hasbro comic will be out in mid August to tie-in with the new action G.I. Joe film.

A monthly title, the cover for its first issue is featured to the left.

It is being scripted by Ferg Handley with art on the first two-part story arc pencilled by John Royle, inked by Lee Townsend and coloured by James Offredi.

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Classics Illustrated Junior No. 5:
The Sleeping Beauty
By Charles Perrault/Brothers Grimm

The Classic Illustrated Juniors comic book range was introduced in 1953, and presumably intended for the very young.

It's a tried and tested formula to have pictures and words together in books for the young (in fact didn't most books at one point in history?) to help them make educated guesses about what the words they're learning might mean; although comics as a storytelling medium does much more than that.

The late cartoonist Dik Browne provided the cover, with interior art by Pete Costanza (known to old superhero fans for his work on both Captain Marvel and Jimmy Olsen, plus assorted ACG mystery short tales) and Alex A Blum who illustrates a single page that recites the Simple Simon rhyme.

Costanza draws both Perrault/The Brothers Grimm story of The Sleeping Beauty story that takes up most of the book and Hans Christian Anderson's The Real Princess.

They're faithful retellings but the collection is nothing to get excited about for comic fans. Nonethless, it's a fair enough way for the very young to be introduced to either comics or the stories themselves and parents might want to check this out.

For more about Classic Illustrated titles from Classic Comic Store Ltd visit: www.classicsillustrated.co.uk

Classics Illustrated No. 3:
Robin Hood

THIS COMIC book adaptation features interior art by Jack Sparling.

Sparling was a DC/National Comics traditionalist during the 60s working on books like Bomba, and, I think I'm correct in saying that he later went on to do work out of Neal Adams's Continuity Studios.

Sparling's actual interpretation of Robin Hood appears to be based on the classic Errol Flynn film version, although, in places, it can feel more like the old Richard Green television series story wise.

The artwork is a much more simplified affair than that seen in the previous Oliver Twist book. Nonetheless, that fits the looser story being told that flits around and picks choice bits from the popular folklore tales of the merry archer until it ambles merrily towards its happy conclusion.

Generally speaking, it's a pleasant enough introduction for younger readers seeking their first tastes of adventure.

For more about Classic Illustrated titles from Classic Comic Store Ltd visit: www.classicsillustrated.co.uk

Classics Illustrated No. 2:
Oliver Twist
By Charles Dickens

This is the second adaptation of this particular story that was scripted by Alfred Sundel for Classics Illustrated.

Sundel did a good job of condensing what's most likely Dickens' most well known story these days.

Oliver Twist's been adapted into films, musicals and the devil only knows what down the years, and those adaptations have tended to lessen the harsher elements that are present in the original book so it's curiously pleasing that this comic adaptation doesn't necessarily shy away from them.

The art is by Reed Crandall and George Evans. The latter no slouch in the artistic department but Crandall was truly a master at drawing this kind of period detail.

It's top notch throughout, detailed but in subservience to the storytelling. An excellent little read and certainly worth picking up.

For more about Classic Illustrated titles from Classic Comic Store Ltd visit their website at: www.classicsillustrated.co.uk

CLASSICS ILLUSTRATED was an American company that, if not the first, then certainly the most famous international publisher to adapt works of literature into the comic book format.

The company existed from the 30s through to the early 70s with countless translations of the books made globally. Though heavily condensed, the adaptations featured the work of many well-respected artists, and the original comics are still highly sought by collectors and fans.

Back in the early 90s, First Comics bought the license to produce new works using the title. The books were larger, generally lasting around 48 pages with side bindings to cater for the fledgling graphic novel market. Unfortunately, that company had over-expanded itself and folded.

More recently, Jack Lake Productions Inc started republishing the original Classics Illustrated, and over here in the UK; Classic Comic Store Ltd has been established to bring them to the British public's attention.

Many companies, all over the world, now realise the advantages of turning novels into comic books, the best example I can think of being Classical Comics, based in the UK; who obviously put a lot of time and effort into producing works that are faithful to the original stories and so combine excitement and scholarly pursuits in an admirable way.

What Classics Illustrated still has to offer modern audiences may not be as immediately apparent: certainly fans of artwork by the likes of George Evans will want to buy the titles, but those numbers are unlikely to keep a company in business, where they will succeed is as primers to not only the real books but more extensive modern adaptations by the likes of Classical Comics.

The fact that Classics Illustrated titles have newsstand distribution via Comag and are generally inexpensive should be of benefit, also that they have side-bindings like real books so won't be displaced on shelves like regular comics. Ultimately it will be down to how the individual titles appeal to their young modern audience.

Over the next few days, we'll be looking at a few of their titles.

Classics Illustrated No. 1:
The War of the Worlds
by H.G. Wells

Interesting this one. A very famous tale, but known much more for its radio and film adaptations than its original novel. Those adaptations made it contemporary to the times they were made, whereas, this comic book version, while abridging the story, generally establishes it as taking place in the late 19th century or thereabouts as Wells intended it; with a quaint take on the setting of a Britain as viewed by an American artist.

Lou Cameron apparently did a number of works for Classic Illustrated. I've also read before that a number of his other strips for long-lost American comic book companies were reprinted, or syndicated in UK published anthologies, and while that was over 40 years ago, AC Comics in America has reprinted some of his work in their own books over more recent years.

Cameron's art is loose, very slightly cartoony, strong on movement and he had a penchant for foreshortening that when drawn as the barrel of a gun or even just a pointed finger aimed at the reader creates a nicely intense feel that works well in drama and horror, which The War of the Worlds essentially is; alongside the obvious metaphors for humanity's common greed, social injustice, and the unknown alien or foreigner in our midst.

As stated, a brisk story as delivered by Cameron with a script by Harry Miller. The cover should attract young lads, but I'm not so sure about the interiors; as I've said, Cameron's art doesn't go in for excessive detail, and kids probably tend to prefer more action less personality, and opt for film versions, but for those who do, and probably more so for the younger ones, they'll find the tale is lightly told yet gets its theme and message across, and may entice them to check out the real book.

For more about Classic Illustrated titles from Classic Comic Store Ltd visit: www.classicsillustrated.co.uk

ROVING INVESTIGATIVE & subversive gossip column reporters alike beware... Sequential art's original sci-fi motormouth is coming back online!

Carter's Column will be making a weekly deadline at Speech Balloons, the comics-related websection of the popular UK Birmingham Mail newspaper.

Created by writer/editor Paul H Birch, the Carter's Column comic strip has been described as "Classic sci-fi delivered with great style, spot-on dialogue and quality storytelling." It also features lip-smacking action-art, overflowing with buckets full of charisma, courtesy of a variety of artists.

Next Sunday, Speech Balloons will feature some behind-the-scenes background on the series along with exclusive character sketches revealed for the first time.

From then on Carter's Column kicks off for real; debuting with the 12 part The Princess of Tsyzac saga, pencilled by John Royle (Spider-Man, Wolverine).

"We've got great thrills and bad puns aplenty with some cool end-of-episode cliff-hangers in our upcoming storylines.

"And we've some surprise guest star artists whose names I can't wait to reveal, but for the moment I'm just going to have to!" Birch revealed.

Carter's Column is back with a bang! Loud, proud, and on the web at Speech Balloons.

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COMIC BOOKS fans of the eighties when the range of titles was diverse and sales figures solid, shouldn't need reminding about a man who went by the surname of Garvey.

As one half of the respected Akin & Garvey inking partnership, he worked on countless books for Marvel, DC and others.

Paul Brian Garvey (dropping his forname when being credited) and Ian Aiken made their name on an extensive and popular run inking over Sal Buscema's pencils on The Incredible Hulk at Marvel, and spent about two years on Rom Space Knight, developed from the american toy robot.

Working at Marvel they naturally worked on many superhero titles. However, Garvey surprised me by saying that genre wasn't one he was initially that keen on, but he then explained: "I can honestly say that I was perfectly happy because I had the chance to ink a lot of great artists."

Regardless, I must declare I loved the work they did on the superhero married couple series The Vision & The Scarlet Witch, where all the creators involved seemed to do a sterling job; it had good stand alone stories that built to a conclusive fouth issue, each issue also connnected with Marvel's back catalogue while giving something that added to the company's mythos as well, that subsequently got used and sometimes misused by future writers and artists working on those characters.

Heading almost towards robot territory again the pairing also had a good run on Iron Man and worked from 1986-1988 on the original Transformers comics. Over at DC they worked on mini-series and shorter runs like Firestorm.

They also worked for independent American comic book companies; I could be mistaken but I think one of their earliest professional collaborations was within an anthology published by Pacific Comics and latterly quite a bit of work for Neal Adams' Continuity Comics, where again my memory shows its age but I seem to recall them having some story input too. As a team they went their separate ways in the early 90s.

Working solo over the next few years, Garvey contributed to titles published by Marvel, Dark Horse and DC, where his 1995-96 run as inker on The New Gods was his last consistant outing in comics.

"After the great comic book crash of 95-96 I worked for Dreamworks feature films in the clean-up department (roughly equivalent to inking in comics) on Prince of Egypt and El Dorado, and on Spirit in rough animation," Garvey explained. "I also did Harry Potter and Galador (a live action sci-fi kids' show) style guides."

The fact was that he had been worked solidly as an artist since he was eighteen, so after Garvey decided to leaving Dreamworks he became what he jokingly refers to as a "civilian."

Of those more recent times, and now living in Tucson, Arizona,he said: "I only did artsy side jobs if it was something that appealed to me." Fortunately, that interest has been increasing of late, as he revealed "I'm itching to get back into art full-time."

This fact should draw the attention of those publishers who want to put some quality into their finished products by working with an established talent, and one who's continued to diversify his styles.

"I'm up for pretty much anything in inking but for penciling I would like to start with short stories," the artist informed me.

So, those seriously interested in working with Mr Paul Brian Garvey should do themselves a favour and contact him care of:p.garvey@worldnet.att.net

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THE ADVERTISING world has always known that every picture tells a story, and using comic strips to get your message over does it in an entertaining way.

The Mr Muscle advertising strip above is by John Royle, an artist from Manchester known to comics fans for his work on books like Excalibur and Wolverine: Evilution at Marvel, Robin books at DC, and work for Valiant and Malibu in the past.

In recent years he has done a good amount of work for Panini in the UK, who publish their own comics based on Marvel Comics' characters. A few examples by John are below.

For more about John Royle visit: www.johnroyleart.com

Organisers of BIrmingham's own Comic Convention, BICS, are celebrating after securing a £6,000 Arts Council grant.

The grant should be good news for all comic creators, pubilshers and readers as it demonstrates that the medium is increasingly accepted by the arts establishment.

The Arts Council are particularly supportive of the opportunities given to novice artists and writers through the workshops, portfolio reviews and talent searches - which have proved and entertaining part of previous shows.

THE SEVEN LIVES of Dr Phibes, as previously noted, is a two issue mini-series from Blue Water Productions, and features the ongoing escapades of the classic character, as portrayed in films by Vincent Price.

This is the second Dr Phibes title the company has produced, with more intended. The Seven Lives of Dr Phibes is due for distributors' solicitation this November .

Above: Cover art for #1, from sketch to finished colour art, by Mel Smith, Ken Hooper and colorist

Below: Internal pages for #1 by Nadja Smith. As co-writer I recently redialogued the script to match the art for the letterer to insert later.

Concluding this short visual presentation is a sketch, again by Smith. For further information on The Seven Lives of Dr Phibes and other books from Blue Water visit: www.bluewaterprod.com/