Practitioners 5: Eduardo Risso

As a catch up for all new visitors to Beyond the Bunker, we’ll be representing the original Practitioners series 1-55 (Simon BisleyChris Bachalo and featuring the most influential comic creatives in history). Thoroughly incomplete but featuring legends like Stan Lee, Jack Kirby, Frank Miller and Alan Moore already more will be hitting the site every two alternate weeks. For now though, sit back every Tuesday for a run-down of the men and women who created the comic industry we know today. (Or check the full list in the menus above). This week: 100 Bullets and Batman artist and long-running Azzarello creative partner, Eduardo Risso.

Following on from the previous feature on Brian Azzarello we’re looking at the other creative that made 100 Bullets what it was – a pivotal, gravitational piece of visceral and memorable power.


Only an artist with the craftsmanship to make a coffee machine a focus in a scene filled with tension and intrigue could have maintained the awe inspiring integrity and scope of a series like 100 Bullets. Every once in a while an artist will simply prove the power of a black line on a white canvass and no one shows the clarity and purpose of line placement better than Eduardo Risso. He is the dangerous surgeon of the practitioners – his knowledge of anatomy, feature and form informing a sharp, efficient and unflinching style that tears the page between pitch blackness and sharp simple colours – a playground for colourists Grant Goleash and Patricia Mulvihill. In a yankee-centric medium Risso is now synonomous with Brian Azzarello and 100 Bullets, however Eduardo Risso is a multinational artist reknowned in North and South America and Europe for his graphic, noirish linework and efficient and poster-natural artwork. As a western reader, embedded in American comic books anyone’d be forgiven for believing his name was made in the US. Not so.

Like a wandering Mariachi, Risso was born in Leones in Córdoba Province, Argentina and started as a cartoonist in 1981, drawing his first collaborations for the morning paper La Nación and the magazines Erotiocon and Satiricon in his home country. In 1986, he worked for Eura Editoriale of Rome, Italy, and in 1987 he drew Parque Chas, scripted by Ricardo Barreiro. The series was first published by Fierro in Argentina, comic history, and then by Totem in Spain, Comic Art in Italy and finally the complete series as a graphic novel in France, Germany, Denmark, Belgium, Holland, Poland and the United States – no doubt catching the attention of comic industry decision makers there. In 1988, he drew Cain, again scripted by Barreiro, again in Black and White giving rise to a clear inking style that was unforgiving to detail. With each new series Risso’s work has increased in clarity and precision.

He is prolific in his work – every year of working on 100 Bullets turfing up other work including Batman 620-625. Most recently he can be found in the pages of Logan 1-3. The canuckle head giving a character that could’ve been born with Risso in mind to Risso’s gritty and dominating style. While 100 Bullets remains Risso’s most prominent achievement (covering 11 years of his working history and earning him an Eisner for Best Artist) we haven’t seen the best of him yet.

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Practitioners 49: Jack Kirby (Part 3)

In November 1961 The Fantastic Four #1 hit the newsstands across America. The story of four uniquely powered individuals related to each other as relatives, in friendship and purpose, revolutionised the industry. Although clearly reminiscent of hundreds of Sci-fi books before this had a comparative naturalism to it that hadn’t been seen before blended with a cosmic purview informed by boundless imagination. It was powered by Marvel Editor-in-chief Stan Lee and seasoned comics artist Jack Kirby.

For almost a decade, Kirby provided Marvel’s house style, co-creating with Stan Lee many of the Marvel characters and designing their visual motifs. At Lee’s request he often provided ‘new-to-marvel artists ‘breakdown’ layouts, over which they would pencil in order to become acquainted with the Marvel look. As artist Gil Kane described:

‘Jack was the single most influential figure in the turnaround in Marvel’s fortunes from the time he rejoined the company … It wasn’t merely that Jack conceived most of the characters that are being done, but … Jack’s point of view and philosophy of drawing became the governing philosophy of the entire publishing company and, beyond the publishing company, of the entire field … [Marvel took] Jack and use[d] him as a primer. They would get artists … and they taught them the ABCs, which amounted to learning Jack Kirby. … Jack was like the Holy Scripture and they simply had to follow him without deviation. That’s what was told to me … It was how they taught everyone to reconcile all those opposing attitudes to one single master point of view.’

Highlights from the House of Ideas other than the Fantastic Four include: Thor, the Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, Uatu the Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city Attilan and the Black Panther – comic’s first black superhero – and his African nation Wakanda. Last year and 2010 Thor, Iron Man and the X-Men grossed worldwide ($1,425,062,845) One Billion, four hundred and twenty five million, sixty two thousand, eight hundred and forty five dollars (A combination of $623,933,331 for Iron Man 2, $448,512,824 for Thor and $352,616,690 for X-Men: First Class). This was begun by two men, one of which was Jack Kirby. They cemented the concepts so clearly that while developed, the core values remain. All of them have the best writers, directors and actors vying to be a small part in the development of these ideas formed 51 years ago. Decades of the most talented artists have looked to Kirby for inspiration. His ideas as only presented more clearly, barely changed from the original concept design – perhaps drawn, in one case, on a table in Brooklyn many years before – with thoughts of war he hadn’t yet been called on to fight in his mind.

In March 1964, Simon and Kirby’s Captain America was also incorporated into Marvel, Kirby approving Lee’s idea of partially remaking the characters as a man out of his time and regretting the death of his partner. The suit returned almost exactly as it had been 23 years before. Last year, Captain America made $368,608,363 at the box office as Kirby’s suit stepped, again almost unchanged close to 70 years after the day it was designed on the back of Chris Evans.

In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.

Kirby continued to push the industries boundaries, devising photo collage covers and interiors reminiscent of ’80s artists in England playing with sellotape and photocopiers. Developing new drawing techniques such as the method of depicting energy fields known as ‘Kirbydots’ and other experiments. Able to handle high detail, explosive composition, emotion, perspective, conceptualisation and design – it was Kirby’s sense of scale that blows many artists away. Alien engines dwarf figures in certain panels, coils, springs and rivets collected together in such ways that they seem to be an optical illusion. Perspective twists in some of his environments such as Mr Fantastic’s lab in a way that somehow bends the eye. Many generations of artists have dismissed Kirby as dated or unsophisticated until presented with his depictions of machinery and the Silver Surfer.

A character of incredible simplicity, divinity and … just … cool. The concept of a humanoid riding the waves of space at incredible speeds highlights the natural beauty and associations with divine advancement incorporating the universe around it and the increased simplicity it brings. But none of that is said. But all of it is inherent. A perfectly formed, universally accessible character made even more interesting by Stan Lee by being a good man acting as herald to a being of unimaginable power. Again, the genius of the character is that it is a perfect template that can be adapted into anyone’s style. Much like any Kirby character you can mention. The simplicity and intuitive details he applies are often so universal that they are only more interesting with each new reinterpretation. While Iron Man had to inevitably change as technology developed, Thor still carries the same Hammer and wears the same white riveted top, Captain America still has his Red, White and Blue, the star on his chest and the skull cap design applied to him in the newest incarnation, the Ultimates, by Bryan Hitch is a throwback to Kirby’s original design, Hulk remains Green (as he was in his second appearance) and even had a Grey countenance as Peter David’s Joe Fixit in the ’90s – a nod to the original design. Black Panther, Magneto, The Inhumans and Attilan have also only ever been refined – never redesigned. This is the testament to the lasting influence of Kirby. Even the X-Men have retained the yellow and blue of their original uniforms for more than 45 years. Somehow Kirby just knew. Wiser than the rest of us what he put down on paper worked and generations of artists have never cracked how to improve on his original designs.

Yet, Kirby grew increasingly unhappy at Marvel. The reasons given for this included resentment over Stan Lee’s increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman and at Marvel specifically for lack of credit for his story plotting, character creations and co-creations. He began to both script and draw some secondary features for Marvel, such as “The Inhumans” in Amazing Adventures, as well as horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.

Spending nearly two years trying to negotiate a three year contract with the option of staying on a further two additional years. In 1970, at the age of 53, Kirby joined DC and immediately started creating a ‘Fourth World’. A trilogy of New Titles – New Gods, Mister Miracle and The Forever People. He took on Superman’s pal Jimmy Olsen because the series was without a stable creative team and he didn’t want to be responsible for losing anyone their job. The central villain of the Fourth World, Darkseid, and some other Fourth World concepts appeared in the pages of Jimmy Olsen before being launched as their own series, giving greater exposure to potential buyers. Jack Kirby remained an incredibly shrewd operator, still demonstrating the guile and forward thinking that is expected of great creative directors. Though here he was without a company, working as he had always wanted to. As a creative.

Kirby had a lasting effect on DC too, leaving characters that have recurred or consistently remained in the DC Universe, though not as centrally as the Marvel Universe. These included OMAC (seen in the Final Crisis crossover of 2009), Kamandi, The Demon, The Losers, Dingbats of Danger Street, Kobra and together with old partner Joe Simon for one last time, a new incarnation of the Sandman.

But it had to be said that rather than Kirby having Marvel blood in his veins, Marvel ran on Kirby Engine Oil and the company would always have taken him back. In 1975, Stan Lee used a Fantastic Four discussion panel to announce that Kirby was returning to Marvel. Ever the showman, Lee wrote in his monthly article ‘Stan Lee’s Soapbox’ that “I mentioned that I had a special announcement to make. As I started telling about Jack’s return, to a totally incredulous audience, everyone’s head started to snap around as Kirby himself came waltzin’ down the aisle to join us on the rostrum! You can imagine how it felt clownin’ around with the co-creator of most of Marvel’s greatest strips once more.”

Back at Marvel, Kirby both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention in primordial humanity would eventually become a core element of Marvel Universe continuity. Kirby’s other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey, as well as an abortive attempt to do the same for the classic television series, The Prisoner. He also wrote and drew Black Panther and did numerous covers across the line.

Still dissatisfied with Marvel’s treatment of him and with the companies refusal to provide health and other employment benefits, Kirby sadly left Marvel to work in animation. In that field, he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disney’s Treasury of Classic Tales syndicated comic strip in 1979-80.

In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish a creator-owned series Captain Victory and the Galactic Rangers, and a six-issue mini-series called Silver Star which was collected in hardcover format in 2007. This, together with similar actions by other independent comics publishers as Eclipse Comics (where Kirby co-created Destroyer Duck in a benefit comic-book series published to help Steve Gerber fight a legal case versus Marvel), helped establish a precedent to end the monopoly of the work for hire system, wherein comics creators, even freelancers, had owned no rights to characters they created.
Though estranged from Marvel, Kirby continued to do periodic work for DC Comics during the 1980s, including a brief revival of his “Fourth World” saga in the 1984 and 1985 Super Powers mini-series and the 1985 graphic novel The Hunger Dogs. And in 1987, under much industry pressure, Marvel finally returned much of Kirby’s original art to him.
Kirby also retained ownership of characters used by Topps Comics beginning in 1993, for a set of series in what the company dubbed “The Kirbyverse”. These titles were derived mainly from designs and concepts that Kirby had kept in his files, some intended initially for the by-then-defunct Pacific Comics, and then licensed to Topps for what would become the “Jack Kirby’s Secret City Saga” mythos. Marvel posthumously published a “lost” Kirby/Lee Fantastic Four story, Fantastic Four: The Lost Adventure (April 2008), with unused pages Kirby had originally drawn for Fantastic Four 108 (March 1971).
On February 6, 1994, Kirby died at age 76 of heart failure in his Thousand Oaks, California home. He was buried at the Pierce Brothers Valley Oaks Memorial Park, Westlake Village, California.

Kirby’s legacy is enormous. Grant Morrison’s Final Crisis crossover hinged on Kirby’s Fourth World – specifically Darkseid himself – inflicting themselves on Earth, Captain America still leads the Avengers / Ultimates in colours picked out for him by a man he could have fought in the war with. The Hulk continues to smash, the Surfer continues to glide through the Marvel Universe. Artists around the world look to Kirby’s example of steadfast, unfussy iconography, simple, effective design and dizzying compositions. A generation of Marvel artists were trained by him. But more important than that, Jacob Kurtzberg of Suffolk Street, New York City built dreams others could build upon while simply building his own. He has influenced and inspired thousands of creatives (including this one) and built a House of Ideas that millions of people continue to enjoy. Kirby is a true legend to those who know, possibly the greatest comic book artist who ever lived. Responsible for the Incredible Hulk, Iron Man, Captain America, Thor, Mr Fantastic, Invisible Woman, the Thing and The Human Torch. If they existed, all of them would have visited the grave of Jack Kirby. The Hulk would have stood in the rain over Kirby’s resting place, a giant over a small guy’s crypt and simply said ‘Goodbye Dad’. With that, the broad shouldered goliath would turn and launch himself up into the sky, disappearing into the distance. If Kirby, lying where he was could see it he’d have thought ‘Good angle, but perhaps it could be just a little tighter…’

Practitioners 49: Jack Kirby (Part 1)

Jack Kirby was born Jacob Kurtzberg on August 28, 1917, in New York City. His parents, Rose and Benjamin Kurtzberg, were Austrian Jewish immigrants, and his father earned a living as a garment factory worker. Growing up on Suffolk Street, Kirby was often involved in street fights with other kids, later saying that “fighting became second nature. I began to like it.”

Throughout his youth, Kirby wanted to get out of his neighbourhood. Knowing how to draw he sought out places to learn more about art. Essentially self taught from a very young age, Kirby was by comic strip artists Milton Cariff, Hal Foster and Alex Raymond as well as editorial cartoonists such as C.H. Sykes, ‘Ding’ Darling and Rollin Kirby, the first winner of the Pulitzer Prize for Editorial Cartooning. In the shadow of the depression, people had found the capacity to improve their circumstances and those who looked were beginning to find them again. It was the American Dream certainly. But it was Kirby’s dream too.

Steve Canyon by Milton Caniff, in a style very close to that developed by Kirby in later years

Kirby claims he was rejected by the Educational Alliance because he drew ‘ to fast with charcoal’. He eventually found an outlet for his skills by drawing cartoons for the newspaper of the Boys Brotherhood Republic, an astonishing sounding ‘miniature city’ on East 3rd Street where kids ran their own government. This no doubt inspired the Newsboy Legion, a hustle of likely kids that have been repeated several times by both Jon Bogdanove in Superman for DC and Grant Morrison in the Seven Soldiers crossover event in 2009.

Kirby enrolled at the Pratt Institute in Brooklyn, one of the leading undergraduate art schools in the United States today, at what he says was the age of 14. He left after a week, dismissing the factory line nature of the teaching at the time. Speaking about that time Kirby said, “I wasn’t the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn’t want to work on any project forever. I intended to get things done.”

According to Kirby’s occasionally unreliable memory, Kirby joined the Lincoln Newspaper Syndicate in 1936, working on comic strips and single-panel advice cartoons such as Your Health Comes First!! This he did under the pseudonym Jack Curtiss, the first of a great many name changes throughout his career. Kirby reacted angrily at any suggestion that it was an attempt to cover up his Jewish heritage throughout his career. He began to work for movie animation company Fleischer Studios as an inbetweener (an artist who fills in the action between major-movement frames) on Popeye cartoons. This was something Kirby couldn’t tolerate, seeing at understandably as a menial job. “I went from Lincoln to Fleischer,” he recalled. “From Fleischer I had to get out in a hurry because I couldn’t take that kind of thing,” describing it as “a factory in a sense, like my father’s factory. They were manufacturing pictures.”

Fliescher Popeye Inking Chart, reinforcing Kirby's opinion that his work at Fliescher animation was factory-like.

At the time the comics industry was booming. Today the sales figures of the early 90s are considered impressive if they hit 500,000. In the late 1930s and early 1940s companies could expect sales figures in their millions. This was the industry Kirby stepped into as young man, starting at Eisner & Iger, one of a handful of firms creating comics on demand to publishers. It was here that Kirby remembered as his first comic book work, for Wild Boy Magazine. Wild boy, Jumbo Comics and other Eisner-Iger clients gave Kirby the chance to work on numerous titles something we can only assume he achieved admirably. He used the various strips to test out any number of pseudonyms such as ‘Curt Davis’ for The Diary of Dr Hayward, or as ‘Fred Sande’ for the western crime fighter strip Wilton of the West, he returned to ‘Jack Curtiss’ for the swashbuckling Count of Monte Cristo and for the humour strips Abdul Jones he drew as ‘Ted Grey’ and with Socko the Dog simply as ‘Teddy’. Ultimately though, he settle on the pen name Jack Kirby because it reminded him of actor James Cagney.

In the summer of 1940, Kirby and his family moved to Brooklyn. There, Kirby met Rosalind “Roz” Goldstein, who lived in his family’s apartment building. The pair began dating soon afterward. Kirby proposed to Goldstein on her eighteenth birthday, and the two became engaged. However, there was one other partnership that Kirby would enter into that would change the face of popular comic books forever and provide the world with one of it’s most iconic figures.

Working with comic-book publisher and newspaper syndicator Fox Feature Syndicate, earning a then-reasonable $15 a week salary, Kirby began to investigate the superhero narrative with the comic book Blue Beetle, published January to March 1940, starring a character created by the pseudonymous Charles Nicholas, a house name that Kirby retained for the full three month strip. During this period, Kirby met and began collaborating with cartoonist and Fox editor Joe Simon, who worked freelance as well as his staff work. In 1988, Simon recalled, “I loved Jack’s work and the first time I saw it I couldn’t believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt…”

It was then that Kirby and Simon met what-would-be Marvel Comics, then Martin Goodman’s Timely Comics. Joe Simon had concieved the idea of Captain America and made a sketch, writing the name ‘Super American’ at the bottom of the page. Simon felt there were too many ‘Supers’ around but very few Captains. Presenting it to Martin Goodman the go-ahead was given but trying to fill a full comic with primarily one character’s stories, Simon did not believe that his regular creative partner, Kirby, could handle the workload alone. Two young artists from Conneticut had made a strong impression, Al Avison and Al Gabriele having worked together regularly and proven they could adapt to each others styles.

Simon recalled, ‘The two Als were eager to join in on the new Captain America book, but Jack Kirby was visibly upset. ‘You’re still number one, Jack,’ I assured him. ‘It’s just a matter of a quick deadline for the first issue.’

‘I’ll make the deadline,’ Jack promised. ‘I’ll pencil it [all] myself and make the deadline.’ I hadn’t expected this kind of reaction … but I acceded to Kirby’s wishes and, it turned out, was lucky that I did. There might have been two Als, but there was only one Jack Kirby.’

You can imagine the dull thunder of New York outside somewhere as the image of Captain America was formed at the hands of Jack Kirby, the bombs of the War in Europe also audible to him. A full year before Pearl Harbour was attacked both Kirby and Simon were morally repulsed by the actions of Nazi Germany in the years leading up to the United States’ involvement in World War II and felt war was inevitable: “The opponents to the war were all quite well organised. We wanted to have our say too.”

Aware that he was creating a political figure, Kirby generated an iconic figure, broad shouldered and powerful, incorporating the red, white and blue, the stars and stripes, the eagle wings (however small) and the bright red boots that have survived almost unaltered for 70 years. The first Captain America comic in early 1941 saw him punching Hitler squarely in the jaw at the heart of a Nazi headquarters.

Simon negotiated 15% of profits for both he and Kirby as well as salaried positions as the company’s editor and art director, respectively. The first issue sold out in days, the second print run set at over 1 million copies. This enormous success established this creative team as a formidable creative force in the industry. After the first issue, Simon asked Kirby to join the staff as Art Director.

With the success of Captain America, Simon felt that Goodman wasn’t paying them the promised percentage of profits and so found work for them both at the National Comics (later to be called DC). Kirby and Simon negotiated a deal that would secure them $500 a week, compared to the $75 and $85 they respectively earned at Timely. Keeping the deal secret, fearing that Goodman wouldn’t pay them what was owed if he discovered their approach to National, both Kirby and Simon continued to work on Captain America. Goodman in fact did become aware of their plans and both of them left after Captain America #10. Kirby and Simon were leaving behind the highlight of their partnership, though Captain America wouldn’t return fully for some years yet.

The first few weeks at National were spent trying to devise new characters while the company sought to figure out how to utilise the pair. After a few failed editor-assigned ghosting assignments, National’s Jack Leibowitz simply told them to ‘just do what you want’. The pair then revamped the Sandman figure in Adventure Comics and created the superhero Manhunter. Not the Martian Manhunter, Kirby and Simon created a character that became adapted, represented by numerous alter egos and finally depersonified throughout the decades, Kirby’s original design returned nearly completely unaltered with the Manhunters, creations of the Guardians of the Universe as a forerunner to the Green Lantern Corps, most prominent in the recent Blackest Night saga. The ongoing ‘kid gang’ series Boy Commandos was to be their biggest hit, launched in the same year to become a national feature, selling more than a million copies a month and becoming National’s third best- selling title. They also scored a hit with the homefront kid-gang, the Newsboy Legion in Star Spangled Comics.

Kirby married Roz Goldstein on May 23, 1942. The same year that he married, he changed his name legally from Jacob Kurtzberg to Jack Kirby.

The war had been brought to American shores. Pearl Harbour was bombed by Japan and the US, after several years of tacit support to Britain through supply could no longer remove itself from armed conflict. Jack Kirby was going to war.

BTB Awards: Biggest Story

Biggest Comic Book Story

Joe Quesada’s Building the Cover – Avenging Spider-man #1 (October 16, 2011)

Marvel Chief Creative Officer Joe Quesada often applies his long honed artistic skills to emblazon the titles he was supervising. One of the best artists in the history of Marvel, Quesada is known for his unflinching determination to create the best piece of art he can. Beyond the Bunker’s Dan Thompson discovered JQ’s post in which he revealed the process behind his most recent project and posted it with us. Amazingly Mr Quesada saw the tweet and tweeted it way beyond our limited range. Que the highest number of hits we’ve ever received and, deservedly, almost the highest number of hits for any post we’ve ever put up – in certainly the shortest time. Thanks again to Mr Quesada for taking the time to point his fans to our humble site…

Those of you who follow Marvel Chief Creative Officer, Joe Quesada on twitter may have seen his occasional “Building The Cover” sessions in which he explains the entire process of creating his astounding cover images. He posted a special one from New York Comic Con last night and I thought that it was interesting enough to share here. Just so we’re clear, this is not our work or associated with us in any way. The intention here is simply to compile together Joe’s tweets on the subject for easy reading. Enjoy.

“First step was to work up a few thumbnails. Here’s a thumbnail template I made just for such an occasion”
“These initial thumbnails were drawn in Sketchbook Pro. The absolute best pencil sketching program on the market”
“I was immediately partial to the center image, but decided to make life difficult and make it a wraparound cover…Once again, in Sketchbook, I used their mirror function in order to get a nice symmetrical framework”

“Not crazy with Spidey’s head, too stylized and he looks hunchbacked. also started toying with possible background”

“Still in mirror mode and trying a different positioning for his arms and hands. Also expanding the web idea.”

“Since Hulk and Wolvie are in the issue I decided to alter the arms again and to make room for cameos. I also decided to drop the web motif…So lets try a gargoyle while we’re at it”

“Not killing me, so perhaps a more passive Hulk and Wolvie and a smaller gargoyle”

“For those wondering, I’m drawing all of this digitally on my Cintiq using their stock pen tip and working in Sketchbook Pro at the moment…I switched over to Manga Studio EX 4 and start to lay in a perspective grid for possible buildings”

“In the middle of working on this cover I see Joe Mad’s AMAZING cover for the book, he has Hulk and Wolvie on it so I abandon the idea…No longer in mirror mode, I now start to rework Spidey’s arms and hands so that they’re different and have a much more naturalistic feel…And also back in Sketchbook, notice the digital pencils are getting tighter”

“It’s at this point that I regain my senses and wonder if I’m working to hard, maybe a single cover will do”

“Okay, who I kidding, I’m a masochist, lets go back to wraparound. I bounce now to Photoshop and start building the figure in black line…Here’s the beginning of that”

“Also, I’ve abandoned the gargoyle idea altogether, I think it’s going to be webbing and noir cityscape…Next is a light study, the idea being that Spidey is lit from the city streets underneath him”

“Now for a much tighter drawing, we’re getting close”

“A real rough pass at the kind of feel and weight I want the webbing to have”

“Time to block out the webbing for real now. Keep in mind, this is for placement only, sans all detail”

“Okay, I’ve got webbing, figure, lighting and city perspective done. Now I print this out at actual page size, light box and start penciling…here’s the final pencils as Danny Miki received them”

“For those unfamiliar with this kind of stuff, the X’s on the board indicate to the inker that that area needs to be a solid black…I rarely use x’s, but this cover had so much black and shadows that it would have been a gray mess if i had actually filled that stuff in…And, this afternoon I just got the final inks from the brilliant Danny Miki TAA-DAA!”

Fascinating stuff. If you want more stuff like this then be sure to follow Joe on Twitter.

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Biggest Movie Story (Biggest Number of Combined Hits)

A Merry Band: The Band of Dwarves Part 1, 2 & 3 (February / March 2011)

Always best to write about things you’re interested in. In 2010, one of us missed an open audition in London for The Hobbit. Upon realising that the first days of the shooting for Peter Jackson’s version of The Hobbit and those cast chosen to become the Merry Band that takes on old Smaug was en route to New Zealand, we wanted to know who played who and where these men had come from… While the three all appear in the top 25 most popular posts, combined they make more than 1000 hits.

Part One

‘The Dwarves of yore made mighty spells / while hammers fell like ringing bells / in places deep, where dark things sleep / in hollow halls beneath the fells.’

JRR Tolkien’s The Hobbit begins with 13 Dwarves arriving in small groups and one by one at Bag End to meet with a surprised Hobbit of the Shire, Bilbo Baggins and convince to aid and abet in their plot. Doughy, rough faced, beardy cave miners – sturdy and brutal warriors and cheeky imp like mini-vikings, the Dwarves represent a family of MiddleEarth’s population only a mother could love. Even Tolkien doesn’t rate them much; admitting that trouble is never far behind them.

His first depiction of Dwarves in the Silmarillion (the first of the Middle Earth novels) depicts them as evil employers of Orcs and Tolkien’s urge to fill his roll call for the Hobbit with them demanded a more sympathetic perspective. He draws most heavily from the Norse storytelling of the ferocious warrior midgets and endowed them with armour and weaponry befitting this background.

At the time Tolkien was reportedly heavily influenced by his selective reading of Jewish history and the Jewish community oddly found representation in the band of short men that visit Bilbo. Dispossessed from the Homeland (the Lonely Mountain; their ancestral home is the goal the exiled Dwarves seek to reclaim) and living among other groups while retaining their own culture, while true of many cultures in modern history, was derived by Tolkien by the medieval image of Jews, whilst their warlike nature stems from accounts and tales from the Hebrew Bible. The one cultural similarity with Tolkien’s (and Dwarves themselves) initial approach to Dwarves was that both Medieval views of Jews and the fictional Norse Dwarves were seen and referred to as having a propensity towards making well-crafted things. This, to a writer so absorbed by the representation of cultures in his own work rings very true.

Tolkien was faced with a number of choices in how to present his 13 characters – while a small number of the Dwarves are prominent in the book; fundamentally they’re a mass of opinions and reactions to the events of the book. But the reader behaves among the group as a guest would – noting those most familiar with and recognising the others as individuals that make the whole more interesting. Even with Peter Jackson’s love of characterisation ( shown in LOTR, King Kong and The Frighteners) he’ll have a tough time making sure each and every one of this band of Dwarves will be introduced to us fully over the course of the adventures. Though how they might appear on screen is of great interest….

So who are these dwarves? And perhaps more importantly in the advancement of our expectations of what we’ll see in 2012 – who has been chosen to play them? If you are expecting a repeat of John Rhys Davies’ sturdy and gravity hugging Gimli in the Lord of the Rings trilogy you may be in for a surprise as the foremost in the cast look very little like the little men they’ve been called to play.

The band of Dwarves and the Hobbit - after arriving for Dwarf bootcamp in New Zealand

Though on the whole broad and powerful looking as a bunch they’ll no doubt fulfill every expectation put upon them. Assembled are new, younger, upcoming stars, more established actors, long standing performers who have enjoyed many roles but little recognition (most likely until now), older, less well known gentlemen and a familiar face from the previous films you just won’t recognise. They are now assembled in New Zealand for Dwarf Bootcamp, in which they will gain training, linguistic and accentual and physical, performance and technical to prepare for the role. Aidan Turner (of BBC3 horror comedy Being Human) is doing all he can to grow his own beard in time for preliminary shooting.

They are;

Richard Armitage (Thorin Oakensheild). The most prominent of the Dwarves in the book, Armitage appears on first glance an odd choice. Predominantly a theatre and television actor his only movie credit so far is as an uncredited Naboo Fighter Pilot in Star Wars: Phantom Menace, however following some very prominent roles in mainstream British TV in recent years; Cold Feet, North and South, ShakespeaRe-told, a strong performance BBCs Robin Hood series as misunderstood villain of the piece Guy of Gisbourne and an Armed Police Officer in Spooks he will appearing in Captain America: The Last Avenger this year as Nazi Heinz Kruger. (Whether he’s a misunderstood Nazi is yet to be seen). Regardless, his climb up the ladder has been steady and long and his strong voice and glower will add a lot to the head Dwarf, Thorin Oakenshield. I’ll be very interested to see how he’s presented.

Tolkien borrowed Thorin’s name from the Old Norse poem ‘Voluspa’, part of the poetic Edda. Thorin appears in stanza 12 and used for a Dwarf and the name Oakenshield (Elkinskjaldi) appear in stanza 13. Thorin is proud and brash and while he and Gandalf stand their ground in the Goblin tunnels and he is the least surprised by an encounter with Trolls but his leadership is far from distinguished and generates most of the difficulties the party face on their journey. Driven into exile by the Dragon Smaug in 2770, he wants to retake his homeland. He carries a charmed blade named Orcrist, a similar weapon to Frodo’s ‘Sting’ in LOTR.

Aidan Turner (Kili) – standing at 6′ and slim in build Aidan Turner is one of the main cast members that is undergoing a transformation in order to play his part. A British Television actor, Turner found prominence in BBC1’s Desperate Romantics as Romantic period painter Dante Gabriel Rossetti and more notably BBC’s Being Human as Vampire Mitchell. His performances are strong and he’s physically a very capable actor. He tends to play romantic, self-destructive leads because of his appearance so his casting as a short stop will be another interesting one. A capable character actor however and great things should be expected for him. His character in Being Human has been told he’ll be killed by a Werewolf (cool) and much of Series 3 has the appearance of a rushed rewrite – as well as reduced budget – which is unsurprising as his character will be disappearing for at least a year shooting The Hobbit (original estimate under Del Toro was 377 days before final production on the second film).

Kili is one of two brothers, both young in Dwarf terms, younger than most of the group by as much as fifty years. Both brothers are described as having the best eyesight and are often sent for searching and scouting. They are also described as cheerful, as the only Dwarves to emerge from the barrels at Lake Town ‘more or less smiling’.

James Nesbitt (Bofur) – a bit of a statesman of British television, Nesbitt (like Turner) is an Irish actor witha strong, clear accent. A powerful and capable character actor Nesbitt has forged a distinctive career since appearing in A Play for Today in 1984. His status has grown progressively with Tv projects Ballykissangel, Playing the field and most notably Adam Williams in Cold Feet ( a precursor to Friends made in the UK about 3 couples of which Nesbitt was arguably the most prominent) as well as film roles – playing Ivan Cooper in Paul Greengrass’s Bloody Sunday – a dramatisation of the Irish Civil Rights protest march and subsequent massacre by British troops on January 30, 1972. Most recently he’s appeared in mainstream series such as the tepid The Deep and as the central character of Murphy’s Law (for ITV). Nesbitt is an actor of considerable character and is hilarious to watch in most things he’s in. A capable performer able to handle broad styles and physical performance (Jekyll, 2007) and sympathetic roles (also Jekyll, 2007 perhaps unsurprisingly).

‘Poor, fat,’ Bombur us frequently shown as having been the last in everything. A comedic character through and through, introducing himself by tumbling into Bifur and Bombur as they arrive at Bag End at the very start of the story and falls into the enchanted river. Bombur sleeps at several key moments of the book. Having fallen into the Enchanted River he sleeps for days, forcing his already frustrated companions to carry him. Understandably edited out in Fellowship of the Ring, Bilbo asks after Bombur and is told that he had grown so fat it took six young dwarves to lift him, as he could no longer move from his bed to the couch.

Bombur is simply written and easy to delightfully realise. He’s right up Peter Jackson’s comedic street and we can expect great moments from the fattest Dwarf in the band. He also plays a drum.

Graham McTavish (Dwalin) is a perrenial and long standing character actor on British TV and film as well as a prominent voice artist. His distinctive and boxy appearance have given him many military and hardman roles throughout the years though he injects intelligence and character well in each case. A theatre actor he has appeared as Banquo in Macbeth, as well as Thangbrand in Erik the Viking, one of the best things in a flawed series as Warden Ackerman in Red Dwarf VIII as well as with James Nesbitt twice in Jekyll as Gavin Hardcastle and Murphy’s Law. He has made the jump to US projects in recent years, appearing in Quantum of Solace, 24, Prison Break, Lost, Lara Croft: Tomb Raider and the new Rambo. He also voiced Loki in Hulk Vs (Video Game), Sebastian Shaw in Wolverine and the X-Men animated TV series and Thundercracker in Transformers: War for Cybertron video game. A man of some considerable stature, he is a capable and intelligent performer which accounts for his steady success on multiple platforms. He represents a warrior in almost all he does but more often than not a sympathetic one. I look forward to him representing Dwalin.

Dwalin is the first Dwarf to arrive at Bag End. He is a kindly soul, offering Bilbo a hood and cloak as they leave Bag End. After the events of the Hobbit, Dwalin rules Thorin’s halls in the Blue Mountains. His name is taken from Dvalin, a dwarf in the poetic Edda. The arc that Dwalin’s character follows suggests that he will be an interesting one to watch. An honourable character that survives the quest and gains what he deserves in the end. A precursor to Aragorn in the LOTR trilogy perhaps.

And finally for this batch of the band of Dwarves we have Kili’s brother, Fili.

Robert Kazinsky (Fili) is the definition of how you climb the ladder as a young actor. Starting on the Basil Brush Show as neatly monickered Sven Garley and as Casper Rose in Footballing soap Dream Team he completed the populist rope walk to find a place as unhinged Sean in Eastenders. Shortly afterwards he made the leap across the pond to appear in bit parts in Law and Order: Los Angeles and Brothers & Sisters. Apart from one short (Love, in 2009) and a film called Red Tails (still in Post Production he has no cinema credits. However, his performance was strong in Eastenders (the only place I’ve seen him) and I look forward to seeing him play cheery as opposed to mentally ill (TV style). An opportunity to play a character such as Fili should cement Kazinsky’s rise nicely and I suspect we can expect to see him more things afterwards.

Brother to Kili, Fili has the longest cloak on the quest (?!!). A temperament like his brother Kili, Fili is a cheerful character. Following the battle with spiders he’s forced to cut off most of his beard due to it being covered in webbing.

It grows late and the torch grows dim and I think I must retire so I must bid you all a good night / good day and leave you until next time. In which I will introduce you to the remaining members of this merry band of Dwarves. Keep warm dear reader and if you hear your trinkets moving in the night it’ll most likely be Dwarves come back to claim that which they bothered to dig up….

The Dwarves and Bilbo by Sam Bosma

Part Two

Following a two year wait The Hobbit has now gone into production with Dwarf camp in full swing as the crew and cast prepare for initial shooting. As such Beyond the Bunker.com wants to take a closer look at the production as it happens. Last week was Richard Armitage (Thorin Oakenshield), Aidan Turner (Kili), James Nesbitt (Bofur – it turns out), Rob Kazinsky (Fili) and Graham McTavish (Dwalin) we take a look at four more of the assembled Dwarves on the quest against Smaug the dragon and the actors playing them. Pick up your axes, we’re heading back into unfamiliar territory….

Ken Stott (Balin). Stott is an exceptional Scottish actor specialising in slightly downtrodden and bitter individuals. A theatrical, Television and Film actor he began on screen in 1977 appearing in TV series Secret Army in a single episode. He has stocked up a pile of TV appearances in Taggart (1985), The Singing Detective (1986), Bad Company (1993), Silent Witness (1996), the harrowing Messiah (2001), the title character in Rebus as DI john Rebus (2006-2007) and the Runaway – due out this year. With occassional but notable positions in cinema over these years playing Dalfonso in Casanova (2005), Chancellor of the Exchequer in the much passed over Girl in the Cafe, made as a commentary on the lack of (or potential for) influence on social politics to common people made by Richard Curtis for Live 8. He also played Adolf Hitler in TV Movie Uncle Adolf in 2005, Marius Honorius in the unfortunately leaden King Arthur in 2004 and the ferocious and snivellingly brutal head of the constabulary as Chance in 1999’s Plunkett and McCleane playing opposite Robert Carlyle and Jonny Lee Miller and Liv Tyler. His performances are always gripping and impressive, Stott representing twice the man his height suggests – something pretty handy for a dwarf.

Balin is brother to Dwalin (Graham McTavish) and is the one Dwarf who carries with him a hidden purpose. Above all other Dwarves in the company he is the only one explicitly stated to have been present in the Mountain Kingdom of Erebor before the attack by Smaug. The book also makes clear that Balin was in the company of Thorin when Smaug arrived but curiously also reveals their respective ages as 7 and 24 (interesting given the difference in ages between Stott and Armitage). Balin is look out at all times and is the only Dwarf to volunteer to enter Smaug’s lair with Bilbo.

Balin is the only character written to have visited Bilbo at Bag End after the events of the Hobbit but his story does not end in the pages of the Hobbit. In one of the most memorable scenes from The Fellowship of the Ring, it is Balin’s tomb in the Chamber of Mazarbul the title character’s discover. In that scene Gandalf finds the dwarves’ book of records written by Ori, and discovers from it that Balin was killed by Orcs.

The cast in question Balin, Nori, Dori and Ori (Ken Stott, Jed Brophy, Mark Hadlow and Adam Brown)

Jed Brophy (Nori) Jed Brophy is a ‘lucky charm’ in Peter Jackson films beginning as far back as Braindead (1992) listed as Void and Heavenly Creatures (1994). He appeared in Lord of the Rings: Two Towers as Sharku – the mounted Urukhai responsible for forcing Aragorn over the cliff and Snaga who I suspect is the Orc perturbed at the ‘Maggoty Bread’ before promptly being beheaded by the infuriated Urukhai Commander and Lord of the Rings: Return of the King (simply listed as Orc Leiutentant 1) as well as James Hope – Police Officer in 2009’s SA based alien District 9, produced by Jackson. His credits outside of the franchise are few and far between and almost certainly NZ and Australian based including Joseph Savage in Return to Treasure Island and a short hilariously called Lemming Aid. Returning to the fold once again its hard to know how much or how little influence Brophy will have on the screen this time around but based on his previous work and Jackson’s clear reliance on him we can be sure that however brief a moment is offered by Nori it will likely be memorable. Notably more lightweight that his fellow actors, Brophy may need more time in the make up and costume departments or may represent a new shape of Dwarf amongst the broad cave Vikings.

Brophy hopes to ‘make it all the way through without getting killed. Horribly.’ Something his previous films with Jackson suggest is unlikely.

Nori is the brother to Ori and Dori. He is merely listed as one of the companions of Bilbo Baggins in the Hobbit. His survival is no way assured.

Mark Hadlow (Dori) is another NZ veteran of Peter Jackson movies playing Harry – opposite Naomi Watts- at the beginning of King Kong and the voice of Heidi, Robert and Barry the Bulldog in Jackson’s 1990 psycho Muppet movie Meet the Feebles. Besides this he has mostly gained parts in small films and TV series (including Milo in Xena: Warrior Princess in 1999 and Orrin in Warlords of the 21st Century. Otherwise Jackson’s casting represents a great jump up for Hadlow, particularly as brave and capable Dori. He says he’s ready for the adulation taht will come from starring in a movie like this. ‘We’ve had our shots,’ he laughs on set in Wellington with the rest of the cast.

Dori is the brother of Nori and Ori. When it all goes wrong it falls to Dori to carry Bilbo in the tunnels of the Misty Mountains, but Dori dropped Bilbo and the other dwarves blame him for “losing their burglar.” In the original book, Dori is described as “a decent fellow, despite his grumbling,” while Thorin describes him as being the strongest member of the company.

Adam Brown (Ori) has appeared almost from nowhere with his online credits literally being Oswald Potter in Chucklevision in 2009 and then the youngest of three Dwarf brothers in The Hobbit: Part 1 and Part 2. Predominantly a Theatre actor, he is 29 years old (born 1980) and trained in performing arts at Middlesex University, co-founding ‘Plested and Brown’ (presumably on hiatus at present) writing and performing in all six shows (Carol Smillie Trashed my Room, The Reconditioned Wife Show, Flamingo Flamingo Flamingo, Hot Pursuit, Minor Spectacular and the most recent Health & Stacey.) He has toured with the company across the UK as well as performances in Armenia, South Korea and the Best of British Festival in New Zealand (good practice) prior to his offer to join the Dwarf cast of The Hobbit. The only American in the group and professionally the most junior Adam Brown may be said to be the only evidence of a casting held in the UK (where he was based at the time) turning out cast members. Brown is proof that success and opportunity can literally smash you in the face and drag you somewhere you didn’t anticipate at a moments notice and his presence is absolutely hilarious and most likely still a slight mystery to the man himself given the cast surrounding him though we wish him the best of luck and am sure given the scale of the casting that introduced him that his placement is entirely justified.

Ori’s knowledge of Moria helps the group. Brother to Nori and Dori, Ori is the youngest of the three. Surviving the events of the original book it is Ori’s writings in Balin’s tomb in the Chamber of Mazarbul that is read aloud by Gandalf. So in many ways Ori is the longest surviving remnant of the original story though he never lives long enough to see Gandalf again.

On that sad note, I must call it a night once again dear reader. Only one more account of the band of Dwarves is required to round off our band of 13 with brothers Gloin, Oin, Bifur and Bombur still to come. Until then I hope you sleep well and are not disturbed by the beating of a Dragon’s wing outside in the dark.

Part Three

Following a two year wait The Hobbit has now gone into production with Dwarf camp in full swing as the crew and cast prepare for initial shooting. As such Beyond the Bunker.com wants to take a closer look at the production as it happens. Last week was Ken Stott (Balin), Jed Brophy (Nori), Mark Hadlow (Dori) and Adam Brown (Ori) the week before was Richard Armitage (Thorin Oakenshield), Aidan Turner (Kili), James Nesbitt (Bofur – it turns out), Rob Kazinsky (Fili) and Graham McTavish (Dwalin) we take a look at four more of the assembled Dwarves on the quest against Smaug the dragon and the actors playing them. Pick up your axes, we’re heading back into unfamiliar territory….

Wellington NZ was shaken by another Earthquake a week following the previous more devastating one that claimed at least 160 lives in Christchurch. This will have effected the Dwarf training ground as it was near to Wellington but no cast, crew or associated PR has been created by it which is a refreshingly nice example of a production not jumping on an easy scoop. James Nesbitt (coach), Mark Hadlow (umpire) and Martin Freeman (umpire) will be involved in a charity cricket match to raise funds for the Earthquake appeal. Russell Crow is coaching the opposing team.

James Nesbitt was interviewed briefly about his training so far; “We’ve been here for training, because I’m going to be here for a year so the amount of work and the work we’ll be getting up to means we all have to be fit, you know, and a few of us are getting on a bit, so we’ve been training and horse-riding and doing stunts and all that kind of thing, and then we start.” He also revealed that filming was due to start and members of the cast had arrived in mid January but Peter Jackson’s perforated ulcer had caused delays while the Director got the necessary treatment. It all starts fully in ‘three weeks’ and Nesbitt himself is quoted as not minding the break.

But we have Dwarves still to introduce and its taken considerably longer than expected. Still remaining are two of the older members of the band and brothers one particularly tiresome character that holds up proceedings and is unlikely to be training as hard as the others and a seasoned warrior Dwarf.

Stephen Hunter (Bombur) Unwittingly cast as “the clown” from an early age, Stephen is at home with comedy roles, and has developed a great sense of comic timing from many years on stage. This has resulted in him being cast in dozens of comedic roles in TVC’s, and Television Comedy. Stephen is also reportedly a very strong dramatic actor, scoring leading guest roles in many TV dramas including All Saints (NZ), Mercy Peak and Street Legal (NZ). And he keeps himself sharp for the next role with regular “Meisner” training at The Actors Pulse in Redfern (NZ). This is a significant step up for the occasional TV actor from New Zealand, representing a character of considerable (though not always welcome) influence on the plot and the journey himself. Bombur has the potential to be a hilarious character so Hunter’s grounding in comedy puts him in good stead at playing the complete liability among the troupe.

‘Poor, fat,’ Bombur is frequently shown as having been the last in everything. A comedic character through and through, introducing himself by tumbling into Bifur and Bombur as they arrive at Bag End at the very start of the story and falls into the enchanted river. Bombur sleeps at several key moments of the book. Having fallen into the Enchanted River he sleeps for days, forcing his already frustrated companions to carry him. Understandably edited out in Fellowship of the Ring, Bilbo asks after Bombur and is told that he had grown so fat it took six young dwarves to lift him, as he could no longer move from his bed to the couch.

Bombur is simply written and easy to delightfully realise. He’s right up Peter Jackson’s comedic street and we can expect great moments from the fattest Dwarf in the band. He also plays a drum.

William Kircher is a long standing TV and minor film actor from New Zealand going back to the mid-eighties as a constable in a film called Trespasses (NZ) and Worzel Gummidge Down Under (?!) as 2nd Screcrow, Farmer and Stallholder. His career has followed a path of fantasy and literary movie and TV projects such as the Enid Blyton Adventure Series (1996), the Legend of William Tell (1998) and Xena Warrior Princess as a Captain (also 1998). Almost ten years past before he returned for a couple of credits in small locally made films Out of the Blue, Wildfire and Aftershock and finally appeared in the TV series Legend of the Seeker in 2009 before being picked up to join the primary cast of the Hobbit. Kircher has a distinctive look and strong features that will likely set him apart from many of the other characters as he appears perhaps more naturally dwarf like than many. It will be interesting to see what won him the part above many others but is part of ‘ an amazing jigsaw of talent’ as he described it himself.

The clarinet-playing cousin of Bombur and Bofur, he is very fond of Raspberry Jam and Apple-tart and wears a yellow hood. He didn’t have as rough a barrel ride as many of his companions but was still too stiff to de-keg the other Dwarves. Bifur is potentially a less prominent character among the group but the long format may offer the character a little more room to breathe. While an unwritten character may be absent in the awareness of a reader, the immediacy of cinema means that a distinctive actor such as Kircher might gain a greater foothold for a footnote character. Its Bifur that will be worth watching to see how Jackson may have altered the characterisation and organisation of Tolkien’s characters as his generous nature towards characters will likely allow some minor members to offer greater influence on events.

John Callen (Oin) is a veteran New Zealand actor who’s credits begin with Pictures (NZ) as Casey in 1981, appearing in the the same Worzel Gummidge series as William Kircher though in a separate episode as a bailiff. He supplied additional voices to Star Wars: Knight of the Old Republic II: The Sith Lords in 2004 and Mucor in Power Rangers Mystic Force and Sonimax in four episodes of Power Rangers Jungle Fury TV series – how many Power Rangers series were there? He also offered up voiceovers for two documentaries in 20o1 and 2002 and directed for TV in 2000. His last credit before the Hobbit was Love Birds as Professor Craddock. John Callen has been brought in for his voice as much as any other attribute as true to Tolkien’s novel ‘I’m doing boy Soprano’, he quipped at the initial boot camp.

Oin, Son of Groin (pronounced Gro-in) is brother to Gloin and was counted on – along with his brother to start the campfires which both characters bickered over. Oin was ultimately a survivor of the battle of Five Points and entered Moria with Balin (where they met their doom at the hands of Orcs). However, he didn’t die in the catacombs discovered by Gandalf and Frodo – sadly his death came when trying to escape via the Western Door (featured in the Fellowship) -taken by the slightly terrifying Watcher in the Water.

And this brings us to the final member of the collective that travels to Smaugs lair alongside a certain inexperienced Hobbit and adventurous old Wizard.

Peter Hambleton (Gloin) is another Kiwi actor who appeared in the Shark in the Park (TV series), the Last Tattoo (1994) with William Kircher and Rainbow Warrior in 1992 as Maury Whitman alongside his future brother-in-height John Callen. His parts run fairly consistently throughout the nineties (predominantly in TV) but his longest stint was as Father Donleavy in The Strip TV series in 2002 and in film briefly in Home by Christmas as Sgt Syd Gurton in 2010, His last credit before joining the cast of The Hobbit was The Inspector in NZ TV series Paradise Cafe this year. His work is mostly New Zealand based and it is unsurprising that he would’ve worked previously alongside Kircher and Callen previously as the NZ TV and Film industry is miniscule. However, clearly Jackson was influenced enough by his hoem viewing to sign up 5 kiwis (although in relatively minor parts). Hambleton’s resume runs fairly consistently which suggests a professional and likable actor with an ability. It’ll be interesting to see what chemistry he can ignite with his singing and bickering brother on the cold nights preparing the fire.

Father to Gimli, Gloin survives the events of the Hobbit and travelled to Rivendell with his son as an embassy from Dain II to bring news of Erebor, Moria and what they knew of Sauron’s plans; in time to attend the council of Elrond. Making Gloin the only character to appear in Jackson’s previous film incarnation of Tolkien’s classic.

So there we have it; the circle has formed (perhaps in the shape of a Ring) and paths are linked between the old tales and the new in ways I didn’t expect as I began investigating these strange short and stout warrior travellers. Tolkien formed this band of misfits and inadequates, proud and pompous, inept and incapable, brazen and belligerent to travel to recapture something important to their civilisation. But when compared to the heroes and that populate the later, grander saga of the Lord of the Rings trilogy you begin to see that maybe in this simpler and more honed prequel to the famous tale, Tolkien created something more Human than the Humans that followed shortly after.

Short legged and long journeyed, having familiarised myself with the Merry band of Dwarves that are to travel to Erebor on a seemingly lunatic quest to fight an enormous talking Dragon and kick start a series of events that will threaten the entirety of Middle Earth completely, I look forward to getting a chance to sit back in the darkened hall of the Cinema and watch these fools do more than they ever expect. Make millions of people happy while they fight over fires, fall into rivers, climb out of barrels, argue with town leaders and survive a great Journey… there and Back again.

Really… a Dwarves tale.

Biggest Convention Story

Stan Lee is Coming to the UK

UK conventions have been trying to secure an appearance by Stan Lee for longer than many of us have been alive but it seems one of them has finally pulled it off! London Super Comic Convention announced last night that the Fantastic Four creator will make his first UK convention appearance in 40 years at their show next year!

Lee joins an already star studded line-up of creators including the likes of Brian Bolland, Steve Epting and Duncan Fegredo. In LSCC’s own words:

“Organisers of The London Super Comic Convention 2012 are going all out to make the inaugural event unique and special for all attendees, by giving them a unique opportunity to interact with Stan, who recently celebrated his 89th birthday and created many of the most enduring comic book characters and pop culture icons of the last 50 years

Attendees can look forward to having their comics signed, their photo’s taken and watch Stan “The Man” in action on guest panels.”

In a year that will see no less than four mega comic cons taking place in London, the announcement of Stan Lee is a major coup for the newcomer of the bunch. A lot of cons can boast impressive guest lists, but Stan Lee is in another category all together.

London Super Comic Convention takes place at the Excel Centre on 25th & 26th February 2012. There will be no tickets on the door so if you want to meet The Man then you’ll need to book in advance on their website.

Needless to say, Beyond The Bunker will also be there.

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Biggest Tech Story (Biggest Number of Hits)

IPAD 2 and Comics – 5 Things You Need to Know

If you’ve not noticed from the sound of a thousand apple enthusiasts hurling their old models from balconies and shuffling, zombie like towards the high street, the new iPad has been announced. We know that some of you have iPads and that some of you like to read comics on your iPad so I thought it’d be nice if we had a sift through the piles of release notes and plucked out the choice bits that are of interest to you good people.

1 – Thinner and lighter

The original iPad is hardly a heffer (it’s one of the things that makes it so good as a digital comics reader) but it’s sexy new sibling takes this to a whole new level. It weighs in at an impressive 1.33lbs making it 15% lighter than the first iPad and at 8.4mm thickness it’s a full third slimmer, heck that’s slimmer than an iPhone! Carrying your entire comics collection around with you just got even easier.

2 – No change to battery life

If you were worried that the iPad 2’s new trim waistline was going to affect the run time then you may breath a sigh of relief. Battery uptime is staying put at a very respectable 10 hours. This may drop slightly if you want to play games on the damn thing but if you’re just reading comics then it should be just fine. Let’s be honest, if you’re starring at your iPad for more than 10 hours without a break then you’ve probably got bigger problems than battery life. One word of warning – Apple are still being their usual evasive selves about what the standby time is on the device so if the phrase “about a month” is too vague for your tastes then you’ll want to check the charge from time to time if you’re not using it for long periods.

3 – It looks better than ever…but not quite as good as it could

Apple have promised the best graphics ever but then it’s only the second in the series so you’d kinda hope they’d do that anyway. Nonetheless the step up is impressive. The iPad 2 boasts 9 times the graphical processing power of it’s predecessor and has brought a duel core processor to the fight to help back that up. Will this increase in processing speed affect your comic book enjoyment? Well maybe, but not by much. Digital comics load pretty promptly anyway so the difference probably won’t be that noticeable. The extra graphical power however will be a welcome addition to those of us who like to get in close and study artwork in detail, you’re paying for the artist’s pencils after all, not his pixels. But don’t get too excited, Retina Display (the iPhone 4 tech that renders images at the highest possible resolution perceivable by the human eye) is sadly missing from this version of the device. If that’s your thing (and it is awesome) then you may be better off waiting for the iPad 3.

4 – The stupid button problem has been fixed!

When the first iPad came out it had a button on the side that locked the screen rotation so that you could tilt the device without the image on screen moving about. Awesome for reading comics as there’s nothing as annoying has having the page spin out on you just because you’re trying to read in bed. Sadly, earlier this year Apple decided to ‘fix’ this feature for no discernible reason and changed it to a mute button despite there already being a volume control on the other side of the device. Well you can stop throwing stuff at pictures of Steve Jobs now because the new version of IOS which goes live the same time as the iPad 2 will give you the option to decide which function you want the switch to have…and yes you will be able to do that on your old iPad as well. Internet, you may unbreak-in-half.

5 – No change in price

If the sound of all this has got you salivating then you’ll be pleased to know that the iPad 2 won’t cost you any more than the iPad did. The price is staying fixed at £439 for 16GB Wi-Fi and £539 for 16GB Wi-Fi + 3G and yes, you do want the 3G one.

So is the iPad 2 worth buying as a comics reader? Probably not if that’s all you want to use it for. Retina Display is the feature that will really make comics stand out on the device and the other tweaks, while nice, won’t make a tonne of difference over the last model. If you’re in the market for an iPad then you may be better off taking advantage of the inevitable price drop of the older model as rampant Apple devotees attempt to offload their once beloved devices in order to buy the new version. If, however, you like a spot of gaming with your comics, you like taking photos or you give a shit about Face Time (queue tumbleweed) then it’s a very nice bit of kit to own.

iPad 2 hits UK stores on 25th March. Oh and did I mention, it ships in both black and white. Yeah, now you want one. 😉

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Biggest BTB Story

Bizarre Magazine Gives Moon 4 Stars

Moon has always been a fan of the bizarre but now it seems that the bizarre has become a fan of Moon! The latest issue of Bizarre Magazine contains a review of Moon #1 and it seems that they rather like it. In a section of reviews on alternative comic books they described our beloved little child as “vibrant and action packed” before going on to award us a glorious 4 stars!

We had a lovely chat with some of the magazine’s reporters at Kapow and at the time they seemed pretty keen on getting the book mentioned somewhere, but it wasn’t until today that we found out just what kind of mention it would be. A thumbs up from a publication as big as Bizarre is a massive boost to a new company like us so as you can image we’re over the…er…orbital-rock-based-satellite.

You can pick up the magazine from any newsagents as of today. If you read the first Kapow article then be sure to have a little look for Mr Penfold in one of the photos, it’ll be like the oddest game of Where’s Wally you ever played. 😉

If you’re a new follower of Beyond The Bunker after reading the review then welcome to the site. Please have a look around and make yourselves at home. You can buy the comic HERE or read more about it HERE and there’s a metric asstonne of other stuff to read and enjoy around the site, with more added each and every day. Welcome to our odd little family!

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