Practitioners 8: Chris Weston

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: British Genius, Master Draftsman and flag bearer of old and more traditional comic book art, Chris Weston.

Chris Weston – one of the more understated and unreknowned master draftsmen of English comics – was born in January 1969 in Rintein, Germany and lived in various countries as a child. Things changed for him in 1987 when he came to be apprenticed for a year under Don Lawrence, one of the first generation of UK comic book artists and reknowned for meticulously detailed work that is said to have inspired Brian Bolland and Dave Gibbons. Under Don Lawrence’s tutelage Weston gained an insight into the skills that would make him a quiet mainstay of the UK comics scene securing himself a position on the high beam of Judge Dredd under John Wagner in ‘ A Night at the Circus’ in 1988. His arrival in the British comic circuit was complete.

An assured, meticulous and precise artist he appears at first glance a draftsman before he can be considered an artist. The clarity and realism of his images denoting a controlled and technical skill in advance of most other people in his field. However, perhaps more so than his two counterparts – Bolland and Gibbons – Weston has a wry humour that spills out of his panels and a fierce and aggressive imagination that is enhanced by his realism and precision. As a result he has managed to keep up with some of the sharpest and most consistently abstract minds in the medium.

Predominantly working within DC, Wildstorm and DC Thompson titles he has crossed the atlantic several times to team up with Mark Millar on Swamp Thing, brought the hyper-abstract to life acceptable to the Human eye with on the critically acclaimed The Invisibles with Grant Morrison. His ability to imbed real human feeling to the exceptional has since seen him tackling the most popular fringe titles be published in Starman (DC), JSA (DC), Lucifer (DC) and The Authority (Wildstorm) – in which he had the chance to kill the Pope with a train carriage, consume Manhattan Island in a Super-Tsunami and send a gay pseudo Super-man to the centre of the Earth.

The Filth with Grant Morrison and Gary Erskine (2003)

Arguably, one of his greatest works was when reunited with Grant Morrison on The Filth, a 13 Issue Limited Series inked by his regular inker Gary Erskine. Within the run Weston brought to life Human Size Super-sperms rampaging on the streets of San Francisco, super intelligent scuba dolphins, landscapes made of porn and Human skin, a microcosm super Earth, pseudo maniacal Filth uniforms, vehicles and architecture including a precise and beautifully well realised Gilbert and George running things behind closed doors.

Panel after panel of awe inspiring back drops and mindblowing lunatic spectacle that few artists have managed to create. The intention of The Filth was its blending of both real world and super-states that most Super-hero or other comic books aim to create and illustrate the inner mind of Morrison something only the most adept of artists could begin to cope with. It attacks the idea and it is hard to imagine any other artist who could draw you in to the protagonist injecting his cat, pained at causing it discomfort in a non-descript and run down semi detached somewhere in South London and a Super Intelligent Chimp taking pot shots at the President of the United States – now with bitch tits – on the deck of an enormous city-ship the size of thirty city blocks (a scale he realises in one of the most impressive double page spreads in comic book history in which the aforementioned super-ship is docked in Venice – all decks accounted for and surrounded by the city itself, helicopters and boats and ships.

It is in this that Weston illustrates beautifully the disparity between the work of the artist and work of the writer. While Morrison is highly detailed in his descriptions with Weston if you say ‘a building in the background’ you will get a building correct for its geography and setting, period and price and you’ll get it with every brick visible. Weston rests his feet firmly in both fields of draftsmanship and illustration. Realising ideas most artists would struggle with for page after page within a single panel, succinctly, incredibly accurately and always entertainingly. Absurdity and reality as bedfellows in the mind of a true artist.

A scene from The Filth (2003)

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Kapow Diary 2: What we didn’t see…

Inevitably as an exhibitioner, even one doing the wander around – you miss things inevitably and there was a hell of line up over the course of the weekend. The day was high end and everyone involved (from IGN, Millarworld, Clint and the Business Design Centre) – had pulled out all the stops. Behind us was Markosia, run by Harry Markos. Markosia is effectively the mainstay of the independent comic book scene. I’d been lucky enough to meet up with Harry once before. We didn’t realise he was behind us until half way through the first day. I arrived at the 2000AD stand too late for a portfolio review because I hadn’t had a chance to find out where it was. The way to define a convention is not just by what you see but what you miss. Turns out, after a little scraping away it becomes clear there were some genuine diamonds just out of sight (if heavily sign posted).

Of course, Mark Millar was present but was effectively operating on an entirely different level to the rest of the place. Like a machiavellian god with Postman Pat hair he was only spotted by us once throughout the entire event. News I had back however was that he was friendly, cordial and helpful about the place. Millar is on a pedestal in an industry populated by people who are often happier being ashamed of themselves and both myself and Dan, when presented with an opportunity to meet him – didn’t want to bother him – advice I could’ve given myself earlier in the day (more on that in another blog). It was inevitable that Millar was going to take some flak across the bows for having the gall to elevate comic books above the level it has been stuck at over the last ten years. Regardless of his intentions or reasons, Kapow was a massive success with things popping out of woodwork all over the joint if you were looking.

Jonathan Ross reportedly nailed a show over on one side of the room while Quitely and Leinil Yu quietly began the proceedings on the Guiness World Record attempt to involve the most people in a single comic book in one day on the opposite side, down by the IGN stand (something I managed to be involved in). The sheer scale of what was taking place was enormous. Chris Hemsworth was in the building at some point for the Thor launch and there was talk of a mystery movie – which clearly was so unimpressive that we still don’t know what it was. Highlighted as Movie X, myself and Dan distracted ourselves from the replaying Batman/ Green Lantern game promos playing repeatedly in front of us by taking guesses as to what it’d be about.

X-Men: First Class? Matthew Vaughn and Jane Goldman (Jonathan Ross’ wife) have close connections with Millar following Kick Ass last year. Thor? Chris Hemsworth in place you’d think they wouldn’t bother flying him over for that one if they could preview the film. Kick Ass 2 was suggested at one point though the liklihood that messrs Vaughn and Goldman knocked out a major sequel quietly with no PR or evidence of production seemed a little far fetched. Things turned again when it was revealed (by a bloke somewhere) that it was an 18 and involved a guy in cape. At that point we gave up. If anybody’d taken a look at the Kapowcomiccon site it clearly said there was preview footage of Hobo with a Gun. Starring Rutger Hauer as the aforementioned hobo it looks like a breakneck ‘Braindead’/ ‘Bad Taste’ mash up. Someone even lets ol’ Rutger do a little ‘burning off the orion belt’ ad libbing while staring at a baby. Nobody expected this? This looks like a great movie! Why don’t they just call it Rutger Hauer is a vengeful tramp! You wouldf have had to have chained me to something to stop me from kicking the doors down to see it!

But there was bigger news in that the Green Lantern movie looks like its back on track. 8 minutes were played of the film – in excess of the 4 available online and everyone was turned as a result. CG more intact, tone a little heavier and more intelligent and obscure images from the original trailer resolved in the new material. This is good news as we here at the Bunker had dismissed the Green Lantern movie as a disappointer of the masses based on the previous output but right now we’ve got the focus back on. I’ll admit Geoffrey Rush as Tomar Re took me by surprise. The whole thing is

Also out there was Attack the Block’s writer and first time director Joe Cornish of Adam and Joe who was doing signings and photos at the IGN stand while I was drawing. The crowd was being ‘entertained’ by a guy who looked and sounded like he’d be happier at the X-Games than a comic convention and locked onto the idea that Spider-man 3 was shit to exactly one person’s noisy agreement. Meanwhile, pleasant man-child Joe Cornish (responsible for my favourite Radio 6 show by the way) was out of sight making geeks happy. Attack the Block is the story of hoodies battling Aliens in South London and was inspired by Joe getting mugged. The empathy of that man is astonishing. But it looks fukkin’ bo muvver! Bare Good! Check it out.

There were folks from Misfits (Iwan Rheon (Simon) and Lauren Socha (Kelly)), Merlin (Colin Morgan (Merlin)), Bradley James (Arthur), Angel Coulby (Gwen) and Katie McGrath (Morgana) as well as folks (Dakota Blue Richards (Franky), Sean Teale (Nick) and Jessica Sula (Grace)) from Skins, World Exclusive Pilot of Falling Skies and Toby Whithouse, the creator of Being Human. Games previews for Super Street Fighter IV 3D Edition, Nintendo 3DS, Lego Star Wars 3, Operation: Flashpoint and Dirt 3 from Codemasters.

Present were Mark Gatiss, Lienil Yu, John Romita Jr, Bryan Hitch, Simon Bisley (which was so last minute I couldn’t find him) Olivier Coipel (apparently), Kevin O’Neill, Paul Cornell (sporting a comedy beard for charity much to his own embarrassment), Noel Clarke, Mick McMahon, Brett Ewins, Brian Bolland, David Lloyd, Andy Diggle, Liam Sharp, Sean Philips, Adi Granov, Chris Weston and Eric Stephenson. Not one of these people I saw.

The important thing is who I did….

Practitioners 10: Grant Morrison

With the upcoming Kablam! Comicon in London I discovered whilst rolling through the list of legends that no less than 15 people intended to appear in ‘The Practitioners’ are due to appear there. So over the next… um …. 15 weeks – one will be posted each Tuesday until the big weekend. Excelsior!!

All Star Superman 6 (DC, 2006)

Grant Morrison is a scottish comic book writer and playwright born 31 January 1960 who harnesses and embraces the full power of pseudo-science, age old magic and high end zen heavy weaponry in the pursuit of perfect storytelling in comic books, drawing on a bewildering array of sources to bring forth the borderline lunatic and the emotionally real through storytelling as broadly wild as Frankenstein tearing apart a future-human/insectoid master race three billion years in our future at the end days of Planet Earth or permitting James ‘Wolverine’ Logan a respite as he muses at a pin-up girl above the urinals in the Hellfire Club has ‘got the same eyes as that girl in Arnhem Land, 1943.’

All Star Superman

Never scared of the poignant or the difficult Morrison has the canny knack of shifting seamlessly from the scientific explanation of a Voyager Titan mentally preparing to be launched into deep space for centuries in All Star Superman to the very real failure of Scott Summers to retain his marriage in the wake of post traumatic stress he is unable to express in New X-Men. It his acknowledgment of the need to ground – at least to the degree required for a readers’ mind if not in real terms – absurd statements and events with less abstract and more concise human situations and scenarios, underpinning everything with realistic and recognisable reactions.

He recognises, as all great writers perhaps do – no matter how many stars and space cannons are exploding around the main characters – that it is the individual humanity carefully identified by the writer that each character demonstrates that pins the story to the ground and allows it to resonate with the reader. He understands, in the same way that every great writer in any medium did, that if a magical Tempest circles about a Human soul its abstract nature can only be effectively communicated through the soul through means it retains – not simply through the abstract idea of the wind itself. As such Morrison reminds himself to allow his characters to slap their heads in disbelief at his own words if it is in their nature but to allow them to take it in their stride if it is not. It is in these reactions as Lex Luthor remains steadfastly oblivious to the possibility that Clark Kent has saved him as a prison riot rages around them in All Star Superman – assuming, naturally, that he has the situation well under control when in fact Kent continues to use an array of powers beyond his notice to ease his passage and even save him from a blundering Parasite. Kent remaining true to the honest and unassuming character of Superman to great comic effect.

Arcadia Byron of the Invisibles (Vertigo)

Morrison’s first published works were Gideon Stargrave for the brilliantly titled Near Myths in 1978 at the age of 17. Soon followed Captain Clyde, an out of work superhero for the Govan Press, a local newspaper in Glasgow, plus various issues of DC Thomson’s Starblazer, the sister title to the companies Commando title and the New Adventures of Hitler. He spent much of the early 80s touring with his band The Mixers, putting out the odd Starblazer and Zoids strip for DC Thomson.

In 1982 he submitted a proposal for a storyline involving the Justice League of America and Jack Kirby’s New Gods entitled Second Coming to DC. It was dismissed but his fascination of the New Gods no doubt formed the skeleton of the enormous Final Crisis saga in which Darkseid launches armageddon on an unsuspecting world in a second age of the New Gods using Earth and its inhabitants as hosts and demonic incubators. His desire to write DC’s primary superhero group was no doubt sated with his long run on JLA in 1996 to revamp the team and bring it up to date which he pulled off with Rock of Ages, Earth 2 and World War 3 (in no particular order).

At every stage he proved time and time again that he expanded the material handed to him – writing for 2000AD with Big Dave, Future Shocks and the unusually superhuman for 2000AD – Zenith under his wing before his tenure at DC.

The Filth with Grant Morrison and Gary Erskine (2003)

Upon crossing the Atlantic he demonstrated immediately his capacity for reinventing fringe characters and enhancing them beyond the original idea – taking the near unknown fringe character Animal Man and not only imbuing his character with the real reactions of a man who could channel the powers and thoughts of animals nearby to him but forced him to look through the fourth wall at the reader – breaking the indefinable rules of the medium in the process to brilliant effect.

Morrison is known for treating mainstream established titles in the same way as fringe titles and this has earned him a status as the great re-inventor in Modern comics. He was the man to make Scott Summer’s cool again as he took hold of the X-men universe and rang the life out of it – a process he tried to make un-reconnable – Killing 16 Million Mutants and giving Professor Xavier an unborn, evil sister who returns as a mind slug and unleashes the Shi’ar navy all over the mansion. Introducing a cavalcade of new Mutants some as hilariously and poignantly useless as ‘Beaky’ the featherless, beaked bird boy who batters in the head of the newly uber-feline and faux gay Beast. Jean Grey dies but for once is given no reason to return – as psychic hyper-bitch and new headmistress of Xavier’s Emma Frost sways Scott Summer’s exhausted heart, filling the emotional vacancy usually left by Phoenix every time she summarily carks it. Magneto is beheaded after destroying half of Manhattan and Xavier’s approaches an actual curriculum and focusses on its students for the first time in its history.

Jean and the Beast (New X-Men, 2002)

Morrison often – whether intentionally or not – represents the discussion boards and blogs of the fans – testing theories that are discussed hypothetically on public pages that no one expected to see them on. Batman is killed and returned and given a son in Morrison’s watch. Jason Todd effectively returns breaking the almighty unwritten rule of comic books – partly you suspect out of sheer bloody mindedness. Morrison finally being characteristically brave to investigate the reality of Dick Grayson under the cowl.

Dick Grayson as Batman (Batman, 2009)

The content of his independent titles have become mainstream – for good or ill – leaving many readers of Final Crisis utterly confused as to what was taking place – an abstract Superman tale in which he passes through multiverses in order to combat an abstract thought form made real in storytelling in an ephemeral world populated by reality vampires via a limbo championed by an indifferent Woody Allen-alike in a jesters outfit in order to save Lois Lane in between her penultimate and final heartbeat borders on the lunatic – but is incredibly detailed and worth the three reads it takes to fully grasp the deliberately overlapping realities thrown at it.

Morrison clearly found a like mind in penciller Frank Quitely, bringing to life the inner workings of Professor X’s mind in New X-Men, the gnarled and diseased but lithely libidoed geriatric in Lust for Life from Jamie Delano’s 2020 Visions (Speakeasy comics, 2005), scraping by each other by two volumes of the Authority – Morrison on Volume 4 with Gene Ha and Quitely on Volume 2 with Mark Millar, empowered the new JLA with a little much-needed modern sheen in the book of the same name in the early naughties and reinvented the greatest super hero of them all in All-Star Superman.

But it was WE-3, the story of three prototype ‘animal weapons’ as they flee the project that ‘enhanced’ them encapsulates the creative partnership. Morrison was meticulous as ever with his descriptions and insisted on consistent and protracted revisions of minute details from Quitely in order to produce a work of rare and fine quality. This certainly was achieved as it was released via Vertigo imprint in 2004 to public and critical acclaim. Morrison’s subtlety and nuance of character supplied each of the fleeing and desperate central characters; a rabbit; a cat and a dog a bewilderingly believable character each recognisable as an individual and the drives and psychology of the animal in question. Morrison’s capacity for invention supplied the narrative with a relatively basic speech pattern simulator for each of the animals allowing them to emote through limited cognitive language in a way not human but beyond its species. The effect is a dizzying, gripping and poignant story of extreme science inflicting havoc and chaos on three innocents’ lives – each reacting in their own very specific way. In many ways WE3 is exceptional and as near perfect as a comic book can get because it uses – perhaps most transparently and as such to best effect – Morrison’s greatest creative methodology – to recognise inherent and recognisable characteristics in vulnerable and capable beings and then inflict seven hells of pseudo lunacy on them – in whatever form seems most fun!

We3 (2004, Vertigo) by Grant Morrison and Frank Quitely

Merry Christmas!!

Practitioners 9: Chris Weston

Chris Weston – one of the more understated and unreknowned master draftsmen of English comics – was born in January 1969 in Rintein, Germany and lived in various countries as a child. Things changed for him in 1987 when he came to be apprenticed for a year under Don Lawrence, one of the first generation of UK comic book artists and reknowned for meticulously detailed work that is said to have inspired Brian Bolland and Dave Gibbons. Under Don Lawrence’s tutelage Weston gained an insight into the skills that would make him a quiet mainstay of the UK comics scene securing himself a position on the high beam of Judge Dredd under John Wagner in ‘ A Night at the Circus’ in 1988. His arrival in the British comic circuit was complete.

An assured, meticulous and precise artist he appears at first glance a draftsman before he can be considered an artist. The clarity and realism of his images denoting a controlled and technical skill in advance of most other people in his field. However, perhaps more so than his two counterparts – Bolland and Gibbons – Weston has a wry humour that spills out of his panels and a fierce and aggressive imagination that is enhanced by his realism and precision. As a result he has managed to keep up with some of the sharpest and most consistently abstract minds in the medium.

Predominantly working within DC, Wildstorm and DC Thompson titles he has crossed the atlantic several times to team up with Mark Millar on Swamp Thing, brought the hyper-abstract to life acceptable to the Human eye with on the critically acclaimed The Invisibles with Grant Morrison. His ability to imbed real human feeling to the exceptional has since seen him tackling the most popular fringe titles be published in Starman (DC), JSA (DC), Lucifer (DC) and The Authority (Wildstorm) – in which he had the chance to kill the Pope with a train carriage, consume Manhattan Island in a Super-Tsunami and send a gay pseudo Super-man to the centre of the Earth.

The Filth with Grant Morrison and Gary Erskine (2003)

Arguably, one of his greatest works was when reunited with Grant Morrison on The Filth, a 13 Issue Limited Series inked by his regular inker Gary Erskine. Within the run Weston brought to life Human Size Super-sperms rampaging on the streets of San Francisco, super intelligent scuba dolphins, landscapes made of porn and Human skin, a microcosm super Earth, pseudo maniacal Filth uniforms, vehicles and architecture including a precise and beautifully well realised Gilbert and George running things behind closed doors.

Panel after panel of awe inspiring back drops and mindblowing lunatic spectacle that few artists have managed to create. The intention of The Filth was its blending of both real world and super-states that most Super-hero or other comic books aim to create and illustrate the inner mind of Morrison something only the most adept of artists could begin to cope with. It attacks the idea and it is hard to imagine any other artist who could draw you in to the protagonist injecting his cat, pained at causing it discomfort in a non-descript and run down semi detached somewhere in South London and a Super Intelligent Chimp taking pot shots at the President of the United States – now with bitch tits – on the deck of an enormous city-ship the size of thirty city blocks (a scale he realises in one of the most impressive double page spreads in comic book history in which the aforementioned super-ship is docked in Venice – all decks accounted for and surrounded by the city itself, helicopters and boats and ships.

It is in this that Weston illustrates beautifully the disparity between the work of the artist and work of the writer. While Morrison is highly detailed in his descriptions with Weston if you say ‘a building in the background’ you will get a building correct for its geography and setting, period and price and you’ll get it with every brick visible. Weston rests his feet firmly in both fields of draftsmanship and illustration. Realising ideas most artists would struggle with for page after page within a single panel, succinctly, incredibly accurately and always entertainingly. Absurdity and reality as bedfellows in the mind of a true artist.

A scene from The Filth (2003)