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.
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.
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.