Practitioners 33: Ivan Reis

Born in 1975, Rodrigo Ivan Dos Reis was born in Sao Paolo, Brazil and is a penciller with projects under his wing for Marvel, Chaos! but most prominently – and most recently – DC.

Blackest Night

For three years, Reis worked under Mauricio de Sousa in Brazil. De Souza is a prominent cartoonist who has created 200 characters for his popular series of children’s comic books. His characters are more Jeff Smith than Alan Davis and Neal Adams (as recent collaborator Geoff Johns described Reis’ drawing style) but clearly this time under the tutelage of such a prolific cartoonist taught the young Reis lessons in productivity.

He began his international career for Dark Horse working on titles such as Ghost, starting with Issue 17 and acting as regular artist until the title ended at Issue 36. During his tenure working on Ghost, he also worked on The Mask, Time Cop and Xena. Later, he worked for Lightning Comics (a fairly shameless comic company from the mid-nineties that offered nude variant covers for their female character titles; Hellina, Catfight and other female heroines).

For Vertigo, Reis pencilled an issue of Grant Morrison’s The Invisibles. He became better known for his work on Lady Death for Chaos! Comics. Written by Brian Pulido, Len Kaminski and Bryan Augustin, Reis drew for the title for three years (from 1999 to 2002). Lady Death was a Previews favourite, enjoying large scale pre orders and carrying a lot of popularity from the success of the nineties. It was from this good girl art that Reis enjoyed popularity, however it would be in working on much more unconventional artwork for a mainstream title that Reis would find legendary fame.

For Marvel, Reis worked on the Thing & She-Hulk: the Long Night, Avengers Icons: Vision, Captain Marvel, Iron Man, Defenders and Avengers. It was on Avengers Icons: Vision that Geoff Johns worked with Ivan Reis for the first time and formed a partnership that would literally turn a major publisher on its head and redefine the popularity of a 60 year old character.

It was with DC, after a series of short stints on a number of titles that Reis arrived at Green Lantern volume 4. A well known but slightly unnoticed character in the DC Universe, the number of Volumes was indicative of GL’s troubled past as a title. Consistently reinvented and repackaged, the story of Hal Jordan; test pilot and interstellar police officer with a magic ring had been transposed regularly. Driven nuts and killed in the 90s as part of the Return of Superman storyline and replaced by another character entirely noone was expecting great things from Green Lantern. However, under Geoff Johns the title was beginning to pick up considerable pace. The scope of the burdgeoning conflict and the introduction (after 60 years!!) of the idea that there might be other rings of alternative colour out in the universe that represented danger broadened the scope of the title considerably. Reis worked from Issue 11-38 alongside Geoff Johns, presiding over the introduction of the now famous Sinestro Corps storyline that kicked off the enormous Blackest Night storyline.

Throughout all of this Reis maintained an even tiller at all times. As Johns clearly became increasingly convinced of Reis’ capacity to produce highly detailed and dramatic artwork at incredibly short notice the scope of the title gained considerable pace. More than pure talent, Reis offered Johns a reliable and dependable creative crucible from which to expand the embryonic saga that would incorporate the entire DC Universe.

Not only in Green Lantern but in the Rann / Thanagar War mini series (written by Dave Gibbons) Reis demonstrated an incredible eye for detail, composition and anatomy. His grasp of an empty page allowed him to fill the page with hundreds of variant starship of a multitude of designs, realise the designs of almost limitless alien characters and still maintain scale and scope as a hole in the size of the universe was torn open by giant hands. The requests placed on Reis in the Rann / Thanagar war show a resolute faith in Reis’ capacity to complete the storyline and present it effectively. The complexity of what Reis has been continuously asked to do on behalf of multiple DC writers suggests that writers, if told that Reis is the assigned artist, know that they can let their imaginations run wild. In an industry that still relies on deadlines, even with increasing expectations being placed on artists in terms of quality and precision – that truly is priceless.

Reis simply makes it work. Whatever the script demands appears and is perfectly well realised. Features are precise and emphatic, representing the thoughts and feelings expected in any scenario. If thousands of figures are required they are provided in bold detail. Increased objects on a page in no way denotes how much or how little detail is applied either. In Reis’ work there are no shortcuts.

Green Lantern threw up yet more challenges. In order to create Red, Orange, Sinestro, Blue, Indigo and Violet corps/tribes each had to have all original characters, each with their own specific designs and detailing. Reis not only designed his own but then enhanced the work of others, adapting them into his own naturalistic style without losing the dynamism of the work being done in GL’s sister title, Green Lantern Corps. As the title that centred the epic, Reis was handling hundreds of different alien designs, at least 7 variants of uniform and insignia design which was then extrapolated and different for each different character of any shape in any Corps, as well as the introduction of DC’s Hall of Heroes as well.

It was with Blackest Night, the final part of the epic that Reis came into his own. 7 Lantern Corps, the entire frontline cast of DC, alien entities, dynamic twists, almost unlimited environments, all colliding on Earth. Reis didn’t miss a panel. Consistent, epic, engaging and faultless – cities collapsed, Lanterns were born, literally thousands of dead aliens fell from the sky, people turned to salt – all of it was incredibly realised at the hands of Reis. Whether it was stormy coastlines in battles against undead merpeople and sharks or porting into a Telephone call centre, Reis struck the right chord in every single scenario.

In Blackest Night his lack of ego and professionalism was there for all to see. It was never about quick tricks or advertising himself as artist but realising as perfectly as possible the best way to present an enormous, sprawling epic, incorporating literally hundreds of characters and incredible events. Reis proved himself a true Practitioner by being put in the spotlight and never missing a beat. His art is so advanced, every aspect of it so precise and well realised that it is impossible almost to fathom how he achieved it in the short time available to him. That is the mark of the true artist, to move beyond what can be done and instead extend to what is needed.

The cast of Brightest Day - Geoff Johns' and Ivan Reis' follow up to Blackest Night

Ivan Reis could’ve come from nowhere (as his Wikipedia profile suggests). His pencil work is now synonomous with the most prominent work being put into the public eye. Seemingly without faltering he has drawn every member of the DC Universe and incorporated a thousand different species into the Green Lantern Corps, a feat that the Green Lantern movie with literally hundreds of technicians and special effects experts are struggling to bring to the big screen. Ivan Reis is the epitomy of big thinking artists.

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Green Lantern Trailer #3

The quest to halt the Marvel studios Juggernaut continues apace as a new Green Lantern trailer drops. This one has the unenviable task of explaining the backstory of the Green Lantern Corps to non-comic book readers and in that it succeeds fairly well. To be honest it’s always gonna be tough to explain the inherent evil of the colour yellow without sounding a little odd.

It’s still a long way from my must see list, but my interest is gradually growing. Time shall tell.

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Kapow in Pictures

Evening all,

I’m still recovering somewhat from the mania that was Kapow Comic Con. We got a lot of interest in the book over the weekend and it looks like we’re gonna be pretty busy for some time to come, which is rather nice. I’m pretty neck deep in work on the Clancy Wallencheck Fallen Heroes spin off this week, but I have managed to find time to upload some of the many photos from the event so that those of you who couldn’t make it can feel like you were really there.

Seems like everybody took this photo at some point during the day. It’s rare that you get such a good vantage point and can really appreciate the scale of an event like this. It also shows of just what a lovely venue the Business Design Centre really is. I know the temptation is going to be to move it to a bigger venue in years to come, but I really hope they stay put. It’s a splendid place.

The Warner Bros Stand was directly opposite the Beyond the Bunker one. This meant that not only were we driven insane by the Arkham City Trailer but we got glared at disapprovingly by Superman for 2 days straight.

One of our fellow exhibitors drew this fantastic pic of our Moon headed hero which I sat grinning at for the rest of the day. I genuinely love it when people do stuff like this, especially when it’s as good a pic as this one.

The BTB stand at the end of Saturday. We sold almost every copy of the book that we brought with us on the day (and we brought a lot of em). I probably could have retaken this one so it was less blurry, but I don’t think I’d have gotten as good an expression as Steve is pulling here. Really sums up the mood at that time.

Bidding a fond farewell to Kapow at the end of a busy day. It’s odd, I’ve been doing stand up gigs around Angel for years and yet I’ve never once noticed the BDC before. This probably has something to do with it not having a massive Hal Jordan slapped on the front of it during that time but it could also be because I don’t pay enough attention to exhibition centres.

We’ve got a few more pics still to go up (including some of the Beyond The Bunker stand itself) so check back later for those. In the meantime, if you want to really recreate that Kapow experience you can go to the BTB store and buy a copy of Moon for yourself. Always working. 😉

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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….