RIP Mœbius (1938-2012)

Jean Henri Gaston Giraud was a french comics artist, working in the french tradition of bandes dessinées (literally drawn strip or BDs).Known more prominently as Mœbius, and to a lesser extent Gir, the latter appearing in a boxed form at the bottom of the artists paintings.

His work has influenced generations of artists around the world for years. His transcendent, highly detailed technical ability belying the incredible simplicity of his compositions. The idea shines most brightly in most of Mœbius’ work, rendered with a clarity of vision rarely seen in any other artist.



Among his most famous creation was the Western comic series “Blueberry” which he cocreated with Jean-Michel Charlier, one of the first Western anti-heroes to appear in comics. Under the pseudonym Moebius he created a wide range of science fiction and and fantasy comics in a highly imaginative and surreal almost abstract style, the most famous of which are Arzach and the Airtight Garage of Jerry Cornelius, and the The Incal. Blueberry was adapted for the screen in 2004, and in 1997 Moebius and cocreator Alejandro Jodorowsky sued Luc Besson for using the Incal as inspiration for his movie The Fifth Element, a lawsuit which they lost.

Moebius contributed storyboards and concept designs to numerous science fiction and fantasy films, including Alien, Willow, and Tron.

Mœbius has given the most famous western artists and film makers their style. Modern industry legends such as Simon Bisley or Frank Quitely, Liam Sharp or Jamie Hewlett have drawn hhuge swathes of inspiration from his work.

The world of comics is significantly poorer without him, or would be had his legacy already been so securely etched into the rock face of modern comics art. An inspiration and an example to all artists arriving into the world now, Jean Henri Gaston Giraud’s effect will be felt for a great many years to come – perhaps as long as comic books exist.

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Practitioners 50: Stan Lee (Part two)

In 2011 the first Kapow convention in London pulled together a line-up of incredibly popular and legendary writers and artists. Mark Millar, Frank Quitely, John Romita Jr, Lienil Yu, Dave Gibbons, Chris Hemsworth, the cast of Being Human, Merlin, Misfits, IGN stands, Marvel, DC, film previews and a Guinness World Record attempt. In 2012, arguably it’s main competitor has Stan Lee in his first visit to a British Comic Convention. People actually saw this as a coup.

Stan Lee, legend of legends appeared at the first Super Comiccon in February 2012 at the Excel Centre in London. The effect was enormous. In an industry trying to find it’s feet it had exactly the right effect. The event was an enormous success. The crowds were more mainstream than had previously been seen. You can claim a number of reasons for this but what it boiled down to was this – it was a chance to meet the man who changed the face of comics.

In the late 1950s Stan Lee was working for what was known as Atlas Comics. He was disgruntled, writing Romance, adventure, westerns, humour, medieval adventure, horror and suspense. By the end of the decade, Lee had become dissatisfied with his career and considered quitting the field.

A curious set of circumstances began to accumulate that was to fuel the creation of Marvel Comics. In DC, Editor Julius Schwartz had run into considerable success with the updated version of the Flash, reviving the superhero archetype, and later had the same success with the Justice League of America. In response to this, publisher Martin Goodman asked Lee to create a new superhero team. Lee’s dissatisfaction with the industry was now turned into an advantage. With his intention to leave comics and with nothing to lose, Lee’s wife urged him to experiment with stories he wanted to write. It was here that the crucible of the entire Marvel Universe was formed. Lee, who, having dutifly worked for comics since he was 19 was about to change every rule.

Lee acted on the advice, giving his characters a flawed humanity, a leap from the god-like archetypes that had been striding the pages of superhero comic books. Lee introduced complex, naturalistic characters who could have bad tempers, melancholy fits, vanity; arguing amongst themselves, but crucially propelled downwards at terminal velocity back to the streets of the real, now forced to worry about bills, relationships, homework. The Superman had been knocked off his perch, dressed as Clark Kent forcibly and told to work his way back up to Superman. Champions were no longer heroes by right; Lee brought the demi-gods of Golden Age comic books back to their literary roots. They were now subject to heartache, anxiety and could even get physically ill. These aspirational figures had become accessible. No longer beyond the reach everyone on the streets, they are everyone on the street – struggling with the same impassable issues we all do.

The first was the Fantastic Four. Workaholic Reed Richards, brash and impetuous Johnny Storm, thuggish and crude Ben Grimm and the occasionally ferocious Sue Storm were hammered with cosmic rays and thrown back to Earth where they respectively gained the powers of elasticity, fire and flight, invulnerability, super strength and impervious rock skin and invisibility. The combination of super powers and real life drama is reflected now in the popularity of supernatural and superhero TV shows. It proved a flawless and undeniable combination; real life issues and concerns propelled into battles with monsters, investigation of interdimensional travel and space giants!! The most noteworthy character was Ben Grimm, named ‘The Thing’ thanks to his new found craggy demeanour. Reflected in his personality, his is in fact a science fiction story of a successful, confident figure being faced with dismemberment. Susan Storm’s feelings of abandonment by the man she loves and his lack of understanding as to why his work isn’t more important to her are universal ideas, locked in high literature and TV soaps. When the emotional story lines might dip in other genres now there were Mole Men to smack down, or intergalactic heralds declaring the arrival of a globe threatening natural disaster.

The Fantastic Four’s immediate popularity led Lee and Marvel’s assembled Marvel Illustrators, including Steve Ditko, Bill Everett and led by Jack Kirby to create a field of dreams that would outlast almost every other book on the market. With Kirby, primarily, heroes known throughout the world, representing ideals and concerns and fears recognisable to everyone began to appear out of the smoke of heady creation. Bruce Banner saved Rick Jones moments before a Gamma blast irradiated him and created the angry, defiant, thundering Hulk, genius inventor Tony Stark meets his greatest fears as he is forced to create a metal suit to save him from shrapnel wounds to create Iron Man, the mutant X-Men are assembled in a Westchester School of Higher Learning by Professor Xavier, Lawyer Matt Murdoch gains super senses as a result of losing his sight as a young boy, swearing to represent justice at both ends of the spectrum. Captain America returns from the icy seas of the North Atlantic, Namor is resurrected from war-time comic books, the Norse God Thor appears from the thunder and the Avengers are formed. Finally with Steve Ditko, Doctor Strange – an arrogant doctor who loses his hands and uncovers, in his desperation to regain them – the art of mysticism and finally, the figure that represents most clearly Stan Lee’s ideals.

Lee had been watching a fly crawling on the surface of a window and ‘marvelled’ at it’s ability to move as it did. Imagining a man capable of the same thing he decided that ‘Fly-man’ had little appeal however perhaps a ‘Spider-man’ would have a better time in the cavernous streets of Manhattan.

Stoic, brave and heroic, Peter Parker is the absolute embodiment of the Marvel ideal and it’s most successful character. Representative of every one in America, his struggles are real, his fears and worries palpable and his capacity to overcome them unlimited. Parker is the little guy, the sickly, victimised orphan boy mollycoddled by his Aunt, he is clever and brave but struggles to utilise either. With the bite of a radioactive spider, Peter Parker gains the proportional power of a Spider. Over the years Spider-man has fought every major villain in the Marvel Universe, wise-cracking all the way in a fit of denial as to the situation he is throwing himself into. Those idiosyncracies and habits are real. The overcompensation of Peter Parker to be Spider-man on the battlefield historically irritates more seasoned, honed fighters but that’s the point. He’s no professional. And Lee understood this and presented a boy trying desperately to keep up with the lot life had shown him, without realising, as so many of us do, how capable he always was. The perpetual underdog, Spider-man shines with a humanity that Lee gave him more than half a century before – and one that will never dim. Editor-in-chief Joe Quesada’s decision to scrub out Peter Parker’s life with Mary Jane, his wife, was one of genuine affection and a need to return to the vulnerability that Lee had imbued him with previously. While the character was growing, it was the innate lack of experience that Lee had given him that made Spider-man such a mainstay character and it’s testament to Lee’s decisions so long ago that Quesada felt the need to reset it.

The other defining characteristic introduced by Stan Lee was that of a shared universe. This connected all of the various characters together in a way that united the creators and readers in a way. A community could now be formed around that universe. Based in the real world, the cities were those that the readership woke up in every day. The Human Torch left a message for Spider-man across the sky over the real Manhattan. Gods walked amongst men in a way unseen. The Hulk smashed in real states, not the purpose built spires of an imaginary city such as Metropolis, Gotham or Coast City. It also reduced the level of destruction that took place in the confines of the books which bred greater creativity in developing the plots. It turned the real world, in particular New York into a sandbox world to be played with, both recognisable by real and fictitious characters. It raised the stakes as well as the events taking place had the potential to end everything we all knew. Galactus would devour our homes and towns. The nuclear threat created by Magneto would radiate part of our planet. These were gods given consequences.

While Superman’s Metropolis had been laid to waste by Doomsday and flood and rebuilt, Batman’s Gotham destroyed by plague and earthquake and Coast City decimated by star ship as a mere plot point someone else’s story in order to facilitate a plot that would bring back Superman in Stan Lee’s Marvel Universe a single school is destroyed in middle america in a dust up between super powered ‘heroes’ and ‘villains’ and the effects are far more divisive and far reaching than the destruction of an entire state in DC. Stan Lee gave Marvel pathos, real life drama, boundaries and greater emotional punch. He gave us figures that could bring down buildings but crack under emotional pressure. He gave the super humans their humanity. It is something that cannot be undervalued.

Stan Lee’s Marvel revolution extended beyond the characters and storylines to the way in which comic books engaged the readership and built a sense of community between fans and creators. There has been some dispute as to the creative credit associated with his works – particularly in the case of projects with Kirby and Ditko, however Lee did more for creative credit than any other editor previously. Lee introduced the practice of including a credit panel on the splash page of each story, something now adopted into every book brought out in some manner, naming not just the writer and penciller but also the inker and letterer. This has fuelled fans of writers and artists as well as characters, titles and companies over the years and has really allowed articles such as The Practitioners to develop. Regular news about Marvel staff members and upcoming storylines was presented on the Bullpen Bulletins page, which (like the letter columns that appeared in each title) was written in a friendly, chatty style. Lee had made the Marvel Universe friendly and easy to visit – his welcoming and inclusive style and his love of people clear in his approach to how he ran this company.

Throughout the 1960s, Lee scripted, art-directed, and edited most of Marvel’s series, moderated the letters pages, wrote a monthly column called “Stan’s Soapbox,” and wrote endless promotional copy, often signing off with his trademark phrase “Excelsior!” (which is also the New York state motto). To maintain his taxing workload, yet still meet deadlines, he used a system that was used previously by various comic-book studios, but due to Lee’s success with it, became known as the “Marvel Method” or “Marvel style” of comic-book creation. Typically, Lee would brainstorm a story with the artist and then prepare a brief synopsis rather than a full script. Based on the synopsis, the artist would fill the allotted number of pages by determining and drawing the panel-to-panel storytelling. After the artist turned in penciled pages, Lee would write the word balloons and captions, and then oversee the lettering and coloring. In effect, the artists were co-plotters, whose collaborative first drafts Lee built upon.

Because of this system, the exact division of creative credits on Lee’s comics has been disputed, especially in cases of comics drawn by Kirby and Ditko. Lee shares co-creator credit with Kirby and Ditko on, respectively, the Fantastic Four and Spider-Man feature film series.

In 1971, Lee indirectly helped reform the Comics Code. The US Department of Health, Education and Welfare had asked Lee to write a comic-book story about the dangers of drugs and Lee conceived a three-issue subplot in The Amazing Spider-Man #96–98 (cover-dated May–July 1971), in which Peter Parker’s best friend becomes addicted to pills. The Comics Code Authority refused to grant its seal because the stories depicted drug use; the anti-drug context was considered irrelevant. The comics sold well and Marvel won praise for its socially conscious efforts. The CCA subsequently loosened the Code to permit negative depictions of drugs, among other new freedoms.

Lee also supported using comic books to provide some measure of social commentary about the real world, often dealing with racism and bigotry. “Stan’s Soapbox”, besides promoting an upcoming comic book project, also addressed issues of discrimination, intolerance, or prejudice. This has been seen throughout Marvel’s history as writers introduce plots they feel particularly strong about, Peter David’s continued inclusion of gay and lesbian agendas in his work from The Incredible Hulk and X-Factor has allowed a subject he feels strongly about be presented in an unusual but popular medium. That, in part, is thanks to Stan Lee’s years of effort and devotion to putting out positive messages of tolerance and civility.

But it is Stan Lee’s lasting legacy (one that he still fuels) that has elevated him above other writers, artists and creators. His relationship with his fans and his creations have made him synonomous with them. If you type in Stan Lee into any search engine, the majority of the images generated will be of the man himself; as famous as any one of his creations. That was what we saw at Super Comicon in London on February 25th and 26th in 2012. A man who allowed millions to dream of seeing a man fly through the sky on rocket jets – but more importantly – made it clear that they could just as easily be that man themselves.

Next: The Legacy of Stan Lee.

‘Airstrike Suck-arse!!’ Rocket Raccoon Joins Ultimate Marvel Vs Capcom 3

Rocket Raccoon joins the throng of Capcom and Marvel Godheads that pummel each other as part of Ultimate Marvel Vs Capcom and he’s a cockney wideboy!! Although it appears he shouts ‘Airstrike Suck-arse!’ just after kicking Chun-li’s teeth in which is odd, perhaps in an American attempt at a cockney accent, Rocket has been one of our favourite characters for ages and it’s good to see him bombing a wolf. Seems the Guardians of the Galaxy might be nothing without him but it would appear he’s a bit of a tw@t.

Whatever the reason behind Rocket coming from the mean streets of Tottenham and Bexley Heath it’s good to see that the universe’s primary defence against reality bending necromancers talks like a Pearly King after 15 pints and a gin in the ol’ Dog in Canning Town. When it comes to kick ass on a galactic level; send in the mammal who fashions himself on the Krays.

Epileptic Fury: Marvel Vs Capcom 3: Fate of Two Worlds Trailer

Out now on XBox 360, Playstation 3, its the return of the cross platform, cross genre, cross character cross over. Reviews are in and are great. Its choice of characters is reportedly enormous. 43 playable characters from across both Universes there’s an infinite amount of gameplay to be found if you’re a fan of either side.

The trailer itself uses comic book lettering to great effect and there’s some unnecessary glass smashing something that reminds me of a certain Moon headed agent of justice. Might borrow some of the angles and gunfire effects for when things really start kicking off in Moon. If only there was a character who would use a semi-automatic….

Galactus Devours Your Twelve Hit Combo!

Hands up everyone who likes games about characters with no discernable connection to one another beating the snot out of each other in ever more imaginative ways! Well then this post is for you. Marvel vs Capcom 3: The Fate of Two Worlds is the latest in Capcom’s long line of bizarre yet addictive 2D beat-em-ups and it’s hitting the shops next week. The fifth instalment of the series (maths is always the first casualty of inter dimensional war), MvC3 features a packed roster of Marvel and Capcom characters beating the M. Bison out of each other in glorious arcade style in an effort to save both of their worlds from a messy end.

Capcom has promised that this game will define itself from the rest of the series by focusing on the “robust plot” created especially for the game by comics writer Frank Tieri:

“Doctor Doom has assembled the greatest villains of the Marvel Universe and has joined forces with Albert Wesker in order to unite their respective universes in an effort to conquer both. However, this course of action awakens a great and powerful threat that could potentially destroy both worlds. It is up to the heroes of the Marvel and Capcom universes to put a stop to this evil before it is too late.”

Ok, so ‘robust’ may be a bit of a strong word. But let’s be honest, buying a game like this for the story is like buying a Ferrari F40 for the cup holders. The point of the MvC series is to cram together iconic characters with fast paced action and more combos than KFC and on this level MvC3 looks set to deliver. The roster is beefy (any game that lets you play as the Marvel U’s resident Suicide Girl craving demon, Dormammu is fine with me) and the control system has been simplified so as to help appeal to the casual fan. It’s even got a ‘Simple Mode’ which allows players to pull of combos more easily while you learn the ropes.

Unique character endings, online match-making and piles of DLC are all present and accounted for and if you pick up the collector’s edition then you even get a special prologue comic which is…er…yeah.

Old school beat-em-ups may not be the powerhouse of gaming that they were in the 90s but there’s no denying that they deserve their place in the hearts of gamers. If you’ve got a few quid in your pocket then you could do far worse than renting this bad boy and seeing what it’s like. After all, who doesn’t want to play a game where you can make Viewtiful Joe punch Galactus in the head?

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