Practitioners 30: Jeph Loeb (Part One)

Hate is a strong word. Its a word that slips easily from the tongue on a myriad of subjects. It can be applied forcefully and popularly to many things; the ignorant actions of a maniacal religious fundamentalist and terrorist, the despotic and arrogant foreign policy of industrial nations at times. It can be used in a more personal and specific vehemence, reactionary to a set of circumstances, aimed at a personal and immediate target of contempt; such as getting up in the morning or the discovery of a rainy day. But it can also be applied more blithely and at times more aggressively at figures that have dared raise their heads above the parapets of creative output and deemed themselves worthy of outputting material on the popular stage. One such man to have created such contempt is Jeph Loeb.

Red Hulk makes a good point.

A marmite figure in the starry fermament of the comic book industry sky, Loeb has been the subject of just such a vehement and outspoken attack by me, in the middle of Forbidden Planet. Shamefully, as I make my way, hopefully into the industry I always hoped to work in I am guilty of declaring my ‘hate’ towards a figure I’ve never met. I have existed in a state of contempt of Jeph Loeb for many years now.

There are numerous reasons for this; He dips. Dancing around between industries (Television and Comic book primarily) he never remains on anything for very long. He enjoys a symbiotic relationship with comic books and appears and reappears occassionally from time to time as he feels like it. And they just keep letting him in. As a freelancer, desperate to enter the industry myself it is perhaps galling to see someone allowed to choose when he feels like working. In particular when everything I’ve read of his is hackneyed bollocks. I’d like to point out I haven’t read everything he’s written – or even much but never the less the majority of it is commercially minded, heartless pap with almost no reverence to what’s gone before (pretty much just channelling my rage about Ultimates 3 there). This is jealousy. The most arrogant and divisive motivation to hate. Effectively I’m saying – I could do that, get out of my way – you’re not even doing that good a job – why do you get to be in that position and I don’t?

Next is the most recent actual comics output. Red Hulk: Hulk but angrier. That’s right. Angry Hulk, the angriest of the angry characters in the Marvel Universe. Capable of splitting the crust of the planet with his anger in fact while green is now red. And he’s angrier. This off the back of the exceptional Planet Hulk. A moment in which The Hulk had found pathos and scope and strength in character almost unseen since he was handled by the almighty Peter David (with deft subtlety and aplomb), Marvel choose to hand it to Loeb. This would be fine except that Loeb is now reknowned for taking existing characters at their most beloved and popular and shitting on them from a great height seemingly because everyone knows the smell of shit. It’s popular and well known and people do talk about it Loeb, no doubt. But nobody actually likes the smell of shit.

Then, there’s Ultimates 3. Ultimates but more Baywatch! People like Baywatch. No, they don’t Loeb. They like tits. Baywatch had tits in it. So did Ultimates 3 thanks to the yank up the ranks of Valkyrie; an admittedly nubile and stunningly beautiful warrior maiden, ‘mysteriously’ imbued with powers that levelled her up to Avenger status. Happily. Off the back of Mark Millar’s gloriously dystopian military- industrial complex super human thriller that reinvented central characters and made them as recognisably flawed as the best literary characters, Loeb was handed free reign of the book. Saved effectively by Joe Maduriera’s stunning artwork, Loeb presented us with a morally bankrupt set of misanthropes seemingly happy to watch each other having sex on a wide screen (and that was the opening page) and never really leaving the house. Plodding, self absorbed, hackneyed and laboured Ultimates 3 was a commercial success. I own it, I like reading it. But I like watching Mega shark vs Giant Octopus so don’t pay any attention to me.

I also hate Heroes. Effectively taking 30 years of X-Men continuity and development and repackaging as an ‘original’ show on ABC. Enjoyed by millions and considered ‘original’ by those who never picked up an X-Book, this one just plain makes me angry. Loeb was writer and co-producer, following a run on Lost and receives my rage through this by association.

But who is he? This hate figure I’m so determined to despise? Check in here on Thursday to find out as I actually take a crack at uncovering who Loeb is to the comic industry and whether he has, does or should have the credentials to be considered a Practitioner….

Advertisements

Practitioners 8: Joe Maduriera

A controversial choice this week with Joe Maduriera. Known to everyone as Joe Mad, Joe Madureira’s style combines Western comic book convention with the wildest and broadest Japanese manga style and has been creditted for helping the latter to influence the western comic book market in recent years – clashing the two in a way that has not been matched before or since. Most reknowned for his work on Marvel Comics Uncanny X-men he was a bold choice. His populist and cartoon-like visuals have made him a foil of ‘credibility-hungry’ critics throughout the years however the reason for his inclusion here is sheer, raw, distinctive talent, perhaps not his diligence on release of independent series as will be revealed below.

Few artists in the history of Comic Books (Jack Kirby, Steve Ditko, Frank Miller, Alan Silverstri all of whom will appear here) have had a bigger effect on the ebb and flow of the comic industry than Joe Maduriera with their own natural drawing style. He drew comics out of love of it and this is illustrated most clearly by how little there is to tell about his working history in the field. He arrived high up, splashed around – made his mark – and left.

Maduriera’s first published work was an eight page story for the anthology title Marvel Comics Presents featuring Northstar, a fringe character in the Marvel fermament. He became the regular penciller on Uncanny X-men in 1994 with issue 312, seeing through the formation of Generation X, the tenure of Sabretooth and the stuff of legend that is ‘The Age of Apocalypse’. His work even influenced the title itself. Archangel and Wolverine pitched headlong into an Eastern adventure in order to save the soul of Psylocke – an adventure that ran for three consecutive issues – involved none of the other characters, no Blackbird, no mansion and no other mutants. A complete departure from continuity that seemed in the reading as a neat excuse (as well as hinting at Psylocke’s oriental half-self’s mystical past) to showcase Maduriera’s distinctive and fun artwork.

Ultimates 3 (2008)

A hint at the effect his artwork would later have on the much later 2008 run of Ultimates 3 1-5 with Jeph Loeb. Critically and publically lambasted for its near total disregard for the conventions introduced and made popular by Mark Millar’s run on the series it was an enormous hit for Marvel. Its secret to longevity? The immersive and unabashedly shame faced comicdom taking place in every panel – the luxurious redesign of the character’s making the continuity jump worthwhile.

Battlechasers (2001)

It was his independent title, Battlechasers, published under the Cliffhanger label, which Madureira founded with J. Scott Campbell (Danger Girl) and Humberto Ramos (Crimson) that stirred the biggest fervour. Set in a high fantasy setting and utilising steam punk and sci-fi genres the story follows four central characters – most notably Red Monika and the outlawed War Golem, Calibretto. A simple enough premise but one that showcased Maduriera’s work faultlessly – which was exactly what he had in mind. It is this title’s production he has received the most criticism for, producing 9

Red Monika of Battle Chasers

issues in 4 years – constantly pushing up the value of the title rather than reducing it as fans anticipated the next instalment with ever increasing enthusiasm. He cancelled Issue 10 and placed the series on permanent hiatus after forming a game development company, Tri-lunar with Tim Donley and Greg Peterson.

Upon the announcement he would be returning to comics for Ultimates 3 he was asked about a conclusion to Battlechasers to which he replied ‘”one of those things that I think about every once in a while, and not having finished it bums me out… I would love to do it at some point, but it would be very far out.”

In July 2007, Vigil Games’ Darksiders was announced, of which Joe Madureira was creative director. It follows War, one of the Four Horsemen of the Apocalypse, on his quest to find out who prematurely triggered the apocalypse. It was released on Xbox 360 and PlayStation 3 on January 5, 2010 and September 23, 2010 on PC.
Madureira has also provided cover artwork for Capcom’s Marvel Super Heroes for the Sega Saturn and Sony PlayStation, and the Sony PlayStation game Gekido: Urban Warriors.

Battlechasers for Cliffhanger 2001