Practitioners 47: Alan Moore (Part 1)

Alan Oswald Moore looks and behaves like a Magician and declared himself one in 1994. Often considered to be the village eccentric he is (also) in fact one of the most prolific and revered comic writers in the world and the history of comics books.

Alan Oswald Moore was born 18 November 1953 in England. He is an English writer primarily known for his work in comic books, a medium where he has produced some of the most seminal pieces of comic book literature. Frequently referred to as the best comic book writer in history, Moore blends folklore, myth and legend, science fiction, mysticism, drug use, politics, and fringe culture with a healthy dose of blithe absurdism (and mild perversion) as the basis for a lot of his work. He has occassionally worked under a pseudonym such as Curt Vile, Jill De Ray and Translucia Baboon. It can be said that Moore doesn’t take himself or his work as seriously as most of those who follow it, unless it is despoiled by Hollywood, although even this he acknowledges with shrugging, friendly disinterest.

Abandoning his office job in the late 1970s for the soulless, mentally crippling waste of life that it was to a man like Moore, Moore started writing for British underground and alternative fanzines in the late 1970s, such as Anon. E. Mouse for the local paper Anon and St Pancras Panda, (a parody of Paddington Bear) for Oxford-borne Back Street Bugle. Those however had been unpaid jobs, however he gained paid work, supplying NME with his own artwork and writing Roscoe Moscow under the Pseudonym Curt Vile (a twist on composer Kurt Weill) in a weekly music magazine, Sounds, earning £35 a week. Alongside this, he and his wife Phyllis, along with their new born daughter by claiming unemployment benefit to keep themselves going. In 1979, Moore started producing a weekly strip for the Northants Post, Maxwell the Magic Cat, under the pseudonym Jill De Ray (a pun on the medieval child murderer Gilles de Rais, something he found to be a ‘sardonic joke’, giving you some insight into Moore’s inner workings.)

It was with 2000AD that Moore began to get into his cheerfully lunatic stride, producing Tharg’s Future Shocks prolifically from 1980 – 1984. A formulaic approach had to be used to create and complete a story in the two or three pages available which would have hampered most writers, however Moore grasped this concept and gleefully introduced world after world after world of apparently normal or absurdist characters that were then either exploded, zapped, overrun, sold, shocked, trapped or eaten by the end of the second or third page. A perfect example is a Future Shock in which a erewolf has ‘secretly’ stowed onto a starship intended to travel light years automatically to it’s destination. A dream scenario for any film, comic or TV Sci-fi writer, the possibilities are endless. However, instead of merely playing out the scenario in which the werewolf has to be stopped in the script – Moore introduces another Werewolf. Then another. Until it becomes clear that everyone on board is a werewolf and the ship is on autopilot heading into the sun. Such is the nature of Moore’s mind that he has likely forgotten he even wrote it but he simultaneously created a genre bending idea, incorporating conventions of both horror and science fiction, masterfully making the central character the bad guy and entirely unsympathetic before unceremoniously burning the assembled characters (and the plot line) in a sun in a way that makes you chuckle to yourself. Moore simply never concerned himself with the idea that he would run out of ideas. In his defence he never has. A ferocious reader, he absorbs subject matter as quickly as he generates it, like some intellectual symbiont that looks like Santa on crack, gnawing on the shape of the universe and regurgitating bits of it, now fused and unrecognisable.

So impressed were 2000AD with Moore’s work they offered him his own series, based very, very loosely on E.T. A series to be known as Skizz, illustrated by Jim Baikie. Ever critical of his own work, Moore later opined that in his own opinion ‘ this work owes far too much to Alan Bleasdale.’
Add to that the anarchic D.R. and Quinch, illustrated by Alan Davies, which Moore described as ‘continuing the tradition of Dennis the Menace, but giving a thermonuclear capacity,’ followed two anarchic aliens, loosely based on National Lampoon’s O.C. and Stiggs. Ever the innovator, Moore (with artist Ian Gibson) introduced a deliberately feminist title, based around a female character (a first for 2000AD at that time), The Ballad of Halo Jones. Set in the 50th century, it went out of print before all the progs were completed by Moore.

Unusually, and unbeknownst to may, Moore took on Captain Britain for Marvel UK, taking over from Dave Thorpe but retaining the original artist Alan Davis, who Moore described as ‘an artist whose love for the medium and whose sheer exhultation upon finding himself gainfully employed within it shine from every line, every new costume design, each nuance of expression.’ However he described his time on Captain Britain as ‘ halfway through a storyline that he’s neither inaugurated nor completely understood.’

But it was under Dez Skinn, former editor of both IPC (publishers of 2000AD and Marvel UK), over at Warrior that Moore finally kicked into high gear and started moving towards his massive potential. Moore was working on Marvel Man (later named Miracleman), drawn by Garry Leach and Alan Davies. Moore described it as ‘(taking a) kitsch children’s character and (placing) him within the real world of 1982’ and The Bojeffries Saga, a comedy abouta working class family of Vampires and Werewolves, drawn by Steve Parkhouse. But it was another title, which showcased in 1982 alongside Marvel man in the first edition of Warrior in March 1982.

This was V for Vendetta, a dystopian tale set in London 1997, in an England now run by a fascist regime. The only resistance to this is a masked Guy Fawkes figure who bombs empty iconic government buildings and attempts to foster anarchy in the name of freedom. Moore was influenced by the pessimism that was rife over the conservative government of the time, only creating a future where sexual and ethnic minorities were incarcerated and eliminated. V for Vendetta struck a chord at the time but has lost little popularity through the years – regarded as a seminal work, V for Vendetta is a clear marker in the career of potentially the foremost comics writer of our time. Illustrated by David Lloyd, it’s a lodestone of pent up left wing aggression towards an increasingly reactionary conservative government and like all great literature is loaded with parallel themes inherent in the society of the time. Whether it’s the Crime and Punishment of comic works is another matter, but it remains a poignant and thought provoking piece that will most likely retain it’s popularity well into the future – and certainly for as long as Moore remains a popular writer.

Moore was a phenomenon, his scripts generating the most consistently well rated pieces in 2000AD he grew unhappy with the lack of creators rights in British comics. This would become a consistent problem with future publishers as well, as Moore refused to accept the situation. Talking to Fanzine, Arkensword in 1985 he noted that he had stopped working for all publisher except IPC ‘purely for the reason that IPC so far have avoided lying to me, cheating me or generally treating me like shit.’

He did, however, join other creators in decrying the wholesale relinquishing of all rights, and in 1986 stopped writing for 2000 AD, leaving mooted future volumes of the Halo Jones story unstarted. Moore’s outspoken opinions and principles, particularly on the subject of creator’s rights and ownership, would see him burn bridges with a number of other publishers over the course of his career – but this has rarely done anything but feed Moore’s reputation as an anarchic presence in an industry that, in appearance anyway, runs creatively on anarchy.

During this same period – using the pseudonym Translucia Baboon – became involved in the music scene, founding his own band, The Sinister Ducks, employing a young Kevin O’ Neill to complete the sleeve art. In 1984, Moore and David J released a 12-inch single with a recording of ‘Vicious Cabaret’ a song featured in the soundtrack of the movie adaptation of V for Vendetta, released on the Glass Records label. Moore also wrote ‘Leopard Man at C&A’, which was later set to music by Mick Collins to appear on the Album We Have You Surrounded by Collins’ group the Dirtbombs.

But, musically speaking it wasn’t Leapordman that would occupy his future but a Swap Thing. Alan Oswald Moore was beginning to be noticed on the far side of the Atlantic by Len Wein, DC Comics Editor.

Part 2 on Tuesday 27th December

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Practitioners 44: Andy Lanning

Andy Lanning is a British comic book writer and inker, known, most credibly for his work for Marvel Comics and DC comics and in particular as collaborator with Dan Abnett. For an inker to make the leap to writing one of the foremost titles currently being put out by Marvel, as part of their Cosmic run, is impressive. His association with Dan Abnett has gone from strength to strength for years.

Lanning wasn’t always an inker though, at the spark of his career with Marvel UK in it’s earliest days, he found a position as penciller on the short lived, Jake and Elwood Blues inspired, futuristic Sleeze Brothers was a comic book limited series published by Epic Comics, between August 1989 and January 1990 – a run of just six issues. Written by John Carnell, it followed the titular brothers through a futuristic earth filled with extra terrestrials, pollution, crime and corruption. It was neatly drawn with a warner brothers-esque style with a semi realistic twist. The art style was arguably on par with other artists – Bryan Hitch for instance – who went on to become much more prolific and well known artists – working with Abnett and Lanning much later on their 15 book run on Wildstorm’s The Authority.

Working consistently alongside Dan Abnett, no one has ever been more of a fix-it guy on so many varying projects. He drops seamlessly into whatever position is necessary on any given project, pencilling, inking, co-writing and writing – he’s either the most prolific hanger on or one of the nicest, most capable people in the industry. To be able to work alongside so many names of the industry, including Abnett who alone is responsible for the sales of more than 1.5 million novels and hundreds of thousands of comic books, he has to be a hell of a guy to work with. Bouncing ideas backwards and forwards past him must be akin to a Chinese / South Korean ping pong final at the Olympics.

Lanning’s partnership with Dan Abnett began early on, with a Judge Anderson: Exorcise Duty for the Judge Dredd Annual 1991, with art completed by Anthony Williams. Lanning found popular acclaim inking Liam Sharp’s pencils for the industry shaking Death’s Head 2. A title with more than 500,000 preorders DH 2 was a flagship example of success at a boom time for comic books that’ll never be seen again. His sublime work on Liam Sharp’s detailed and precise and exacting illustrative work shows an incredible attention to detail. With Marvel UK Lanning was involved in Digitek (with John Tomlinson and painted art by Dermot Power) and Codename: Genetix (with Graham Marks, Phil Gascoine and inks by Robin Riggs in 1993)as part of Marvel Uk’s second generation wave of titles.

Lanning graduated to Marvel mainstream with Punisher: Year One (with Abnett, Dale Eaglesham and Scott Koblish) and the Avengers West Coast replacement, Force Works (again with Dan Abnett), which featured Iron Man, USAgent, Scarlet Witch, Wonder man and a long disappeared alien warrior guru named Century. Force Works was elevated some time later into an animated series.

Moving over to DC shortly afterwards with a run on Resurretion Man (with Jackson Guice), The Else world One-shot Batman: Two Faces (with Anthony Williams), Abnett and Lanning (or DnA as they are otherwise known) found a home with DC’s resident spit curled former-resisdent of Krypton, Superman with Prime-Time, The Superman Monster, Return to Krypton and Strange Attractors (on which he worked with Gail Simone as well as Abnett). It was the title for which Olivier Coipel became famous that raised the status for both Lanning and his writing partner as they took on Legion Lost, a reimagining of the debunked Legion of Superheroes title, that later became the ongoing Legion. In many ways Lanning maintains his Mr Fixit role in almost every job he undertakes, working alongside the big names of the industry and putting out consistent and notable writing. Impossible as it is to discern where Lanning ends and Abnett begins, it clearly works – as Abnett has worked diligently beside Lanning on almost all major projects (excluding his 2000AD output) for the last 20 years. To maintain a working arrangement like that for so long is notable in that as the profile of the two writers became greater, one would have stood apart as the creative mind. However, in 20 years, no cracks appear to have shown in the partnership. If anything both have had increasing fun obliterating universes together.

Based on Abnett’s other work (with Warhammer 40k), Lanning appears to be the populist and more comic book orientated, perhaps the thing that brings Abnett’s writing into line with audiences with less of a need for heavy weaponry and enormous armies. However it braeks down, Lanning’s partnership with Abnett clearly spawns enthusiastic and impressive ideas and narratives including some of the best character zingers ever heard. The pair have improved and enhanced their reputation in comic books by simplifying and man handling their characters and allowing events to take hold that other titles fail to. Effectively an editor’s potential worst nightmare, when handed a sand box that they have creative control of the effects are absolutely brilliant.

Lanning and Abnett collaboarted on the ongoing Nova series for Marvel in 2007, following the cataclysmic Nova series from the previous years Marvel Cosmic crossover Annihalation. Lanning and Abnett were handed the scenario whereby the Xandarian Nova Corps would be destroyed completely within 12 pages by the incoming Annihalation wave. triggering an intergalactic war. Some might have balked at the idea but this was Lanning and Abnett’s Raise en dentre. Grabbing the Xandarian Nova Corps helmet by the polished brass, they didn’t destroy the Nova Corps, they really Annihalated it. Thousands of Starships pummel the Nova Corps unexpectedly during a Corps meeting and rather than holding back slightly and allowing certain survivors to pick themselves up from the rubble and try to carry on, Lanning and Abnett killed every single Corpsman but one, our very own Richard Rider in less time than it usually takes to have a two headed character discussion. Rider doesn’t simply get knocked aside, he survives because he’s effectively at the heart of it. He spends four or five panels flirting with a fellow Corpswoman only for her head to be smashed to pieces and is sent hurtling backwards down to the planet below, trapped in the flaming wreckage of the Corps hall he was just in and had tried to fly through in order to escape. Issue 2 sees a battered and injured Nova, trapped under rubble in a quiet tableau of post apocalyptic destruction, snow and ash falling from the grey sky. He spends the rest of the issue scrambling through the rubble, a beautifully rendered example of the pause after immense death, tempered with Nova’s obnoxious banter with the discovered Novacorps Artificial Intelligence. Lanning and Abnett are patient and confident writers, allowing the events to breath and never afraid of the possibility of tragedy, carnage, laughter or brevity to take place within a panel of each other.

In June 2008, Abnett and Lanning announced they had signed an exclusive deal with Marvel and they have served the populist hulk very well. They piloted the Annihalation: Conquest storyline, in which the Phalanx take advantage of the vulnerability of post Annihalation wave societies and block off Kree space. This became a more paired down sequel to Annihalation, focussing very deliberately on very, very specific figures. From these, the title Star Lord, a reimagining of the adapted character that appeared in the late ’90s spawned a new Guardian’s of the Galxy title.

In this Lanning and Abnett have hit their stride absolutely. With a play pen involving some of the most notable characters in the Marvel Universe, they decided to opt for a Green Nymphomaniac murderess, a smart mouthed hero of the Annihalation wars, a warrior built to kill gods, a fallen space mage with schizophrenic tendencies and a talking Raccoon. The inclusion of Rocket Raccoon alone is worth a pat on the back and a pint in the hand. Rocket Raccoon was last seen frequenting 1980s Marvel comic books, being chased by Keystone cops in an absurdist forest surrounded by oddball creations. It was hard to see how the character existed then, let alone could find a place in modern comic book teams. But Rocket Raccoon returned, found in a Kree holding cell, he befriended Groot, a walking tree king so he could use him as a platform for his heavy ordnance. As tactical leader of the team, Rocket is one of the finest examples of writing outrunning the lunacy of a plot. Rocket, along with all the other members of the team are written sublimely. Private progress reports give each character their own distinctive voice and has seen Guardians become one of the most talked about series in years for fans in the know.

Lanning and Abnett have a habit of taking crackpot ideas and breaking all the rules, to positive effect. Their run on War of Kings, described usually as the Cosmic aftermath of Secret Invasion dwarves the events that took place on Earth. With the apparent death’s of Cyclop’s new-found brother Vulcan you would think they were resolving an unfortunate creative choice from the X-men universe (Vulcan wasn’t well liked and leadened the X-men universe immeasurably) until you realise that the External’s King Black Bolt, an iconic and famous figure in books, often stood beside Reed Richards, Namor, Iron Man, Captain America as pillars of a character filled universe dies with him, blowing a massive hole in the side of creation from which nasty things pop out for the Guardians to deal with. The death of a long standing Shi’ar leader (and X-men regular) in Empress Neramani and the raising of Gladiator as new Emperor of the Shi’ar state is plotting that had been denied for nearly 20 years. These character’s were seemingly immovable on the chess board of Marvel’s tactical board. Lanning and Abnett set fire to the Chess board.

But more than that, the love story between Ronan the Accuser and the External’s Crystal is thought provoking and engaging as the clumsy Accuser finds himself out of his depth but slowly charms the warm and emotionally open Crystal to him with his honesty. Gladiator’s struggle with his obvious rise to power is touching as a picture of man who’s devotion is to the seat of power but comes to understand that his future is at the service of his people. It’s powerful stuff, more than acceptable for a historical, political play or romance but it is found in the pages of a comic book in which a Raccoon bounds about the panel shouting insults at his fellow team mates as they fight at the edge of space. They have brought back the multi layered space opera unexpectedly and I know that we at Beyond the Bunker will continue to read it for as long as Lanning and Abnett continue to put them out. Long may they write of Empire building in far distant galaxies. They could even show a certain bearded film maker a thing or two….

Practitioners 43: Dan Abnett

Born in England (12th October 1965), Dan Abnett is  a comic book writer, novelist and full time fantasist absorbed in the world of fantasy, space and superheroes. He has directed enormous future armies into cataclysmic battles, led mighty metal robots to clang together to save the universe, assassinated space empresses and sent heroes into space in wheelchairs. He is a frequent collaborator with fellow writer Andy Lanning, and is known for his work on books for both Marvel Comics, and their UK imprint, Marvel Uk, since the 1990s, including 2000AD. He has also contributed to DC Comics titles, and his Warhammer Fantasy and Warhammer 40,000 novels and graphic novels for Game Workshop’s Black Library now run to several dozen titles and have sold over 1,150,000 copies as of May 2008. In 2009 he released his first original fiction novels through Angry Robot books.

While Abnett cannot claim to have kick started a character on the same scale as Judge Dredd, the ABC Warriors or Slaine in his tenure at 2000AD, he did create one of the book’s better known and longest running strips of the last decade, Sinister Dexter, following the exploits of gun sharks (hitmen) Finnigan ‘Finny’ Sinister and Ramone ‘Ray’ Dexter in the state city of Downlode, sprawled across central Europe ‘ like a hit and run victim’. Sinister Dexter is a universe apart from that of Strontium Dog and Dredd, and style supplants horror, with neat and precise detailing throughout to give it an alternative edge that readers found addictive. With more than 135 stories alone to his name, most stretching to more than one issue, Abnett is one of the most prolific of all 2000AD writers, making his lack of success at generating a  genuine globe trotting legend like Slaine or Dredd more down to bad luck than anything else.

Most likely in fact it’s lack of intent intent. Abnett’s style is pretty light, humorous and wry. His stories bound along and drag you with them. First and foremost is character, planted firmly at the heart of whatever dying star/ hive of alien warriors / dangerous street he can find. In Abnett’s universe character is secondary to event at times but only momentarily. Then, the characters bounce resolutely back into the frey and mash it up (for want of a better word). Abnett is addicted to failures. The almost-guy. Slaine and Dredd, much like Superman, Batman et al are a stall of successes. You put a criminal in his way, Dredd crushes dissent and puts them away. Slaine warp spasms, charms, wangles or shags his way out of every scenario. One of Abnett’s character steps into the frey he might as well be ready to lose an arm. Abnett’s characters are desperately, hilariously and touchingly out of their depth. This makes readers even more attached to the characters as they survive all that Abnett (and Lanning – to be featured in the following article) throw at them. Major characters are put to the sword, or in the case of perrenial space empress and Mutant headteacher beau du jour circa 1995, Empress Nerimani of the Shi’ar, who has wandered in and out of Marvel’s most prominent titles for decades, unceremoniously blown away by a sniper as part of a Darkhawk conspiracy. This, to anyone unfamiliar with the situation – is lunacy. Brilliant lunacy. You can almost see the grins on their faces as they decided it.

This was to move a nobody character, effectively unheard of since the ’90s into the foreground of an empire churning, galaxy battering epic in the guise of Marvel’s War of King’s series two years ago, in which stable, mainstay characters were supplanted, abused, annihalated, twisted and entire empires changed status. The scale of the effect on accepted rules of the wider Marvel Universe was mad, but Abnett and Lanning play with the planets and principle characters involved like so many ping pong balls. This, you suspect, was learned in the furnaces of the creative pool of 2000AD and the more blood thirsty Marvel UK. But more likely, they are just crazy bastards.

As well as a neat absurdist streak and a whithering habit of throwing humour at serious plot points (hard not to when your head tactician is a talking Raccoon but more on that later). He didn’t stop there. As well as generating Black Light, Badlands, Atavar (with Richard Elson, about the last Human alive trapped between warring alien races), Downlode Tales (an extension of the Sinister Dexter universe), Sancho Panzer (with Henry Flint, featuring the eponymous character piloting a giant tank, excellently monickered Mojo, with his brilliantly named technician, Tool), Roadkill and Wardog, Abnett scribed Judge Dredd, Durham Red and Rogue Trooper.

With Marvel UK, Abnett had runs on Death’s Head 2, The crossover Battletide, Knight’s of Pendragon (all of which he co-created) as well as The Punisher, War Machine, Nova and various X-Men titles. Over at DC he reinvented Legion of Superheroes as the Mini-series Legion Lost which was later launched as the ongoing series The Legion. As was typical of his most recent work, most of Abnett’s work was written with Andy Lanning. From this they derived their moniker DnA. For Dark Horse comic Abnett was responsible for Planet of the Apes: Blood Lines as well as knocking out Lords of Misrule and Hypersonic. Many UK readers will know his work however primarily on the 40,000 Warhammer series, including the Gaunt’s Ghost, Eisenhorn and Ravenor trilogies, and more recently as part of the Horus Heresy, the SF best-selling Horus Rising, Legion and Prospero Burns. Frankly, these titles are unfamiliar to us here at the Bunker however clearly Abnett has brought his strong character and situation writing to bear on the battlefields of 40K, no doubt, injecting personalities that prove engaging in ferocious battle. He’s dabbled in comic books for 4ok’s black library imprint; producing Damnation Crusade, Lone Wolf, Inquisitor Ascendent and Titan. Again no doubt with the same results, given the number of titles.

Put this together with writing two Doctor Who audio dramas – the Harvest and Nocturne – as well as Torchwood: Everyone says hello for BBC Audio as well as two novels based on the respective series: The Story of Martha and Torchwood: Border Princes, and it’s clear that Abnett is a significant bedrock in British Science Fiction. With this grounding in space and time hopping adventurers it’s perhaps unsurprising that Abnett (and Lanning) have found such a secure home in Marvel’s cosmic titles.

But prior to that they developed the sharp edge of DC’s Wildstorm Imprint, The Authority, spawning storylines in which Earth is attacked by God himself back to feed on what was a primordial soup and understandably narked at discovering a Human populated, verdant planet where he left his pantry. It’s not til you see an interdimensional, sentient supership entering God’s pores and detonating its brain with the power of the previous century that you understand the lunacy of Abnett and Lanning. Magnificent space operas be damned, God assassinations by chain smoking blondes is the remit here. In many ways that is Abnett and Lanning’s genius. Lighter than Millar’s follow up too as perhaps would be expected.

At the heart of incredibly massive events, the collapse of star spanning empires or the decimation of a city block there is the average, the easily recognisable. The character’s written by them carry the easily recognisable traits of normal people. No matter what you throw at these characters, they remain people first and superheroes second. After joining Guardians of the Galaxy, as part of Marvel’s Cosmic Imprint Jack Flag can’t stand ‘space stuff’ even as he fights tentacled beasts from the far side of an interdimensional fracture or trying to survive a Negative Zone prison breakout in a wheelchair. Jack Flag is another fringe character unrecognisable outside of Captain America comics until he was crippled by the Thunderbolts under Osborne. He came out of nowhere, went downhill and sent to a prison in a backlot of the Marvel Universe and instantly became irresistable to Abnett and Lanning (I’m not calling them DnA – I’m just not).

It’s Guardians that represents the hybrid brain of Abnett and Lanning. Led by the permanently down trodden Star-lord and a Raccoon, Guardians of the Galaxy represents exceptional gung-ho space adventure and dead pan tongue in cheek humour at it’s own expense. Most of the characters are as unhappy to be there as you’d expect to be if you were faced by an interstellar absolutist faith that feeds on the beliefs of others and kills anyone who steps in their way. The members of the team are an eclectic batch (when alive); including a psychic titan lesbian, a master assassin, a talking tree king and a man from 1000 years in the future witha  Captain America shield. These characters should struggle to blend but at the hands of Abnett and Lanning the many parts become a much more satisfying hole. Not a mispelling.

Abnett is a veteran chef of plot line and character, always incorporating the right blend to create satisfying and engaging storylines. A man of specific interests, he is most at home (with Andy Lanning) dealing with situations of bewildering scale and yet manages to draw you in to the minutae of characters caught in these events. A master of scale and plotting, Abnett can handle a charge on an alien world or two characters grabbing a drink (provided it descends into a bar room brawl inspired by an quadreped alien with telescopic glasses on. As 9 Billion lives are threatened and an imprisoned Moondragon (character), pregnant with a spore from a cancerous universe where life won allowing disease to thrive is about to give birth amongst a militant fundamentalist cosmic church, Star Lord jumps out and shouts ‘ Hi, I’m Starlord! I’d wave but my hands are full of guns.’ Don’t know if that was Lanning, don’t know if that was Abnett but Abnett was in the room and that is good enough for me.

Regarding the talking Raccoon – you’ll have to wait ’til we do Lanning. I got worried I wasn’t going to leave anything for his article next week….

Practitioners 37: Peter David (Part 2)

Peter David is an American writer of comic books, novels, TV, Movies and Video Games. In part One we looked at how Peter David came to arrive in comic books, in Part Two we arrive at how he changed the fcae of comic histories most prominent characters.

Peter David made his name on - and a legend of The Incredible Hulk with 12 Years as writer


Having been given an unpopular and derided title like the Hulk David discovered that he had greater creative control so far away from the central, more popular titles. This enabled him to investigate and test out his storytelling with impressive results. Within his first 12 month run on Hulk, David had reintroduced his estranged wife, destroyed the Hulkbuster base, sending several characters turn-coat and on the road with Bruce Banner (trying to contain his other persona), introduced X-Men – for a rematch with Wolverine, and X-Factor (who he would write for in the mid-nineties), effectively kill Hulk and have him return as the more cerebral Joe-Fixit, a figure in contention with the less intelligent Green persona. David concentrated on the recurring theme of the Hulk/ Bruce Banner’s multiple personality disorder, his periodic changes between the more rageful and less intelligent Green Hulk and the more streetwise, cereral Grey Hulk, and of being a journeyman hero, whicxh were inspired by Incredible Hulk 312 (October 1985) in which writer Bill Mantlo (and according to David himself Barry Windsor-Smith)had first established that Bruce Banner had suffered childhood abuse at the hands of his father. These aspects of the character would later be used in the slightly misaligned but well-intentioned 2003 film adaptation written by Michael France and directed by Ang Lee. In his 12-year run as writer of Incredible Hulk, in which he worked with luminaries and upcoming talents as Todd McFarlane (there when he got there) Gary Frank, Liam Sharp and Adam Kubert he developed the character further, revealing a third, and potentially less engaging Hulk. Banner and the Hulk merge in a more balanced character, retaining the intelligent characteristics of Bruce Banner and the strength and power of the Hulk. The effect was impressive. The now intelligent Hulk found a new relationship with his former wife Betty Ross and along with friends Rick and Margot found himself in control of a secret cabal of immortal heroes known as the Pantheon. David gave Hulk everything he wanted, access to his intelligent mind, strength and access to a private jet and technology bordering on magic. This is where David excels. He puts no limitations on the potential for change in his characters in order to explore possibilities in the story and is fearless in progressing the story at a break neck pace. He also listens to his artists, asking the newly signed Liam Sharp, fresh from success in the UK and US with Marvel Uk’s Death’s Head 2, what character he would like to draw. Gary Frank’s first comic book project with Marvel Uk was drawn upon as well, as the Marvel UK characters Motormouth and Killpower arrived in the pages of Hulk. Using the newly empowered Hulk as a platform to deal with difficult issues such as AIDs, false political imprisonment and homophobia. Not forgetting who was reading the book however, he soon brought the furious, sub-intelligent Hulk back to the pages of Hulk, leaving him lost and alone in the Everglades, effectively restarting the story of the only journeyman struggling with his own demons. Not to say he didn’t throw in Swamp-Thing and Speedfreak for good measure.

And was after he had been freelancing for a year, and into his run on Hulk, that David felt his career as a writer had been cemented and he began to make approaches to DC, being offered a four issue mini-series of The Phantom by Mike Gold. Finally – and astonishingly given that he had been employed on a Marvel title for a year, David only then left his sales position to become a full time writer.

Dreadstar (DC Comics)


David took on Dreadstar during its First Comics run, with issue 41 after Jim Starlin left the title, and remained on it until issue 64 (March 1991), the final issue. David’s other Marvel Comics work in the late 1980s and early 1990s includes runs on Wolverine, the New Universe series Merc and Justice, an excellent run on the original X-Factor, including issue 92 (with Joe Quesada), as part of the Fathers and Sons crossover which incorporated X-Men 25.
Peter David launched the future universe of Marvel with Spider-man 2099, a beautifully realised, dystopian tale of Miguel O’Hara, a futurist scientist who develops powers comparable to a spider in the corporate-run streets of a monolithic New York. Intelligent, witty and deliberately referential of the original without touching directly on its predecessor thematically or literally, Spider-man 2099 helped launch the entire 2099 Universe which lasted for the better part of a decade and took in almost every character in the Marvel Universe and redeveloped them. David set the tone for it all.

At DC Comics in 1990, David wrote an Aquaman miniseries, The Atlantis Chronicles, detailing the history of Aquaman’s home city Atlantis. This has since been cited by David as one of the works he is most proud. His following Aquaman mini-series Aquaman: Time and Tide and the subsequent run of 46 issues on the ongoing series gained notoriety as Aquaman lost a hand early in the series, which was later replaced with a harpoon, a feature of the character that lasted David’s full tenure on the book. He also wrote DC’s Star Trek comic books (though openly opined that Star Trek is better served in novel form as they’re not particularly visual), as well as Supergirl and Young Justice, the latter cancelld in order to transfer the assembled characters to the newly reformed Teen Titans monthly.

David’s work for Dark Horse comics has included the Spy Teen Adventure, SpyBoy, which appeared between 1999 and 2004 and a 2007 mini-series. Other independent work includes Soulsearchers and Company, which is published by Claypool Comics and the Epic Comic’s Sachs and Violens, which he produced personally with co-creator George Perez.

David returned to Marvel with Heroes Reborn: The Return for Marvel, in which the Marvel Universe’s lost characters that had disappeared in an event a year before returned to the Marvel Universe as well as a run on a new series of Captain Marvel, which was critically acclaimed.

David and his Second wife, Kathleen. wrote the final English-language text for the first four volumes of the manga series Negima for Del Ray Manga. In 2003, David began writing a new creator owned title , Fallen Angels, for DC Comics, using material left from development of the now-defunct Supergirl title as well as writinga Teenage Mutant Nija Turtles Mini-series for Dreamwave that tied into the animated television series broadcast that year. After Dc cancelled Fallen Angels, David relaunched at IDW the same year. He went on to produce Spike: Old Times one-shot and Spike Vs Dracula mini-series, based on the character from Buffy the Vampire Slayer and Angel Tv series.

X-Factor 92 (Peter David, Joe Quesada, Marvel Comics)

In 2005, David briefly returned to the Incredible Hulk but only lasted for 11 Issues due to work pressures. He also developed a new title Friendly Neighbourhood Spider-man, beginning witha 12-part ‘The Other’ storyline in which Spider-man discovers he is dying, lost a fight during a traumatic fight with Morlun, underwent a metamorphosis and developed new powers and greater understanding of his abilities. Yet again whenever experimental alterations are made to popular characters, this proved controversial with readers, who were bemused perhaps by the extended stingers coming out of Spider-man’s arms and the association of a Spider totem from which his powers were derived. David’s run ended with issue 23.

Following on from David’s original and successful run on X-factor in the early 90s, he wrote a successful MadroX (Multiple Man) title for Marvel the same year which led to the reintroduction of the X-Factor title, using characters from David’s original tenure Multiple Man, Strong Guy, Wolfsbane) working as private investigators in a detective agency of the titular name. David’s work on the title proved popular with Ain’t It Cool News and David found that the new Opt in/ opt out policy on Crossovers and greater forward planning on titles made his second tenure much easier. However, his decision to create a homosexual storyline between established characters, Shatterstar and Rictor (a confirmation of clues that had been established in X-Force years earlier) drew criticism from Shatterstar’s Co-creator Rob Liefield, though Editor-in-Chief and former creative partner on David’s original run on X-Factor supported the story. The title eventually won a 2011 GLAAD Media Award for outstanding comic book for his work on the title.

Peter David announced in 2005 that he had signed an exclusive contract with Marvel, his independent works Spike, Fallen Angel and Soulsearchers and Company ‘grandfathered’ into the agreement. David wrote the dialogue for The Dark Tower: A Gunslinger Born, a comic book spin-off from Stephen King’s Dark Tower novels, bringing his career full circle. He then wrote Marvel’s Dark Tower comic book adaptations as well.

David took over She-Hulk after Dan Slott left, from Issue 22 to 38, a run which won praise. He also wrote Halo: Helljumper, 2009 Ben 10: Alien Force Manga book published by Del Rey, Ben Fold’s Four, a ‘Little Mermaid’ story in Jim Valentino’s Fractured Fables anthology that won more praise from Ain’t it Cool News, an adaptation of the 1982 film Tron to tie in with the 2010 sequel of the same name and a John Carter from Mars prequel to the film due out next year.

Peter David is a genius. His methodology is to block out different days for different projects, allowing him to be prolific in his work. Assured, well liked and professional, Peter David is a quiet voice in a creative industry but one with an enormous fan base exclusively based on the enjoyment of his work. His writing conveys his enthusiasm, wit and humour as well as never losing grip on issues close to him. Unafraid of controversy and generous in his plotting and pacing, David is a joy to read. A clear reason as to why his works are reprinted through Marvel, available as Masterworks collections and including full runs of his writing.

Practitioners 24: John Romita Jr

John Salvatore Romita Jr or JRJR (born August 17, 1956) is an American comic book artist best known for his extensive work with solely with Marvel comics from the 1970s to present day.

Born and still living in New York city, Romita Jr is influenced heavily by the city around him and that he grew up in. Fittingly he has remained at the company that calls New York home, 367 Park Avenue South or Marvel Comics throughout his professional career and his work has become synonomous with its most famous characters. He was born to John Romita Sr, co-creator of several notable Spider-man stories in the 1960s and 1970s. In true New York style it could be said that drawing Marvel comics is the family business.

Oddly Romita Jr began his career at Marvel UK, doing sketches for covers of reprints. His American debut was with a six part story entitled ‘Chaos at the Coffee Bean!’ in Amazing Spider-man Annual 11 in 1977. At this point Romita Jr’s artwork represented the time it was being produced with clean linework and animation standard (simplified) detailing. But his characterisation and simple adjustments to the panel by panel and simple visual storytelling that was taking place then won him a lot of fans. His characters weightier and more rounded than others, his line work curvaceous and bold when necessary Romita Jr’s style was bold and easily digestible. Romita Jr is a commercial artist, offering bold and brash imagery that feeds the eye more for the same price as other artists.

Romita’s early popularity began however with his run on Iron Man with David Michelinie and artist Bob Layton which began in 1978. He was eventually offered his first regular run on Spider-man in the early 80s and was the artist that launched the Dazzler series. In this period Romita Jr co created the character of the Hobgoblin with writer Roger Stern – a kind of Green Goblin light with his own good / evil morality in play, Hobgoblin represented a genuinely unrestricted and unfamiliar goblin for Spider-man to play with.

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From 1983 to 1986 he had a popular run on Uncanny X-Men, introducing the future X-man Bishop in his tenure in a brutal and distinct storyline that battered the edges of what was being done in comics at the time. Romita Jr returned to Uncanny X-Men in 1993 in which he pencilled the Fathers and Son’s crossover Uncanny issue in which Prof X and Magneto collide and Magneto has his mind removed. He depicted the turning of Colossus and his joining of the Acolytes and the showdown between Xavier and his X-Men and Magneto and his Acolytes on Asteroid M in the Fathers and Sons X-over that made history with the release of X-Men 25. Romita Jr’s work was bold, reminiscent of 50s and 60s pop art and exploded from the page in a way nobody else’s did at the time.

But prior to his second stint on Uncanny X-Men Romita was granted an extended stint on Daredevil with writer Ann Nocenti and Eisner award winning inker Al Williamson. In this period he began to develop the Romita Jr style we see now. Shoulders and shape became more developed and something significant happened… Romita Jr broke the rules…

Most artists use a series of bubbles in place of parts of the body in order to decide placement, perspective and shape. The leg would be perhaps five parts (the longer larger upper leg, the smaller oval knee joint, the slightly bannister like lower leg / shin, perhaps a round joint at the ankle joint to indicate a change of angle and an uneven tear drop shape to form the foot). You can achieve this easily with every body part and build an entire Human frame using these bags. You then pencil over it, define the shape clearly and subsume it in ink – hiding your working underneath all that.

Romita Jr doesn’t. His characters are effectively the same set of shapes inflated and deflated according to the size and shape of the character. The sawn off frame of Wolverine is the same as the tall powerful frame as Colossus. The Punisher from Romita Jr’s very cool run in Punisher: War Journal is the same shape as Wolverine. Art law says this is bad practice. That by showing your working and working from such a clear template is not art. Romita Jr has made one thing clear in the nicest possible way. He simply doesn’t give a shit. And neither should he.

Romita Jr’s success is built on these parameters. The characters represent mannequins on which Romita Jr applies the feelings and the events that are taking place around them. He applies garish, squared and diametrically even surroundings that draw in the eye and hold it there. He isn’t a naturalist or a life artist, Romita Jr is a comic artist and a purist and never an apologist.

He has built an incredible career with the same company (even his other company credits are Kick Ass – printed through Marvel’s Icon Imprint, Punisher/Batman in association with Marvel as well as DC and admittedly 1 credit with the Gray Area 1-3 in 2004 with Glen Brunswick for Image Comics). He is a class act and no freelancer – he has a job with a reputable company which he is doing well and there is no reason he should stop doing it.

Rolling out Spider-man, Avengers (most recently the new Avengers series), Black Panther, Daredevil, Iron Man, Cable, Punisher, The Eternals, The Hulk, Fantastic Four, Thor, X-Men, Ultimate Vision, Wolverine, Sentry and pretty much the only thing worth picking up World War Hulk for by ingraining it with such force and mind-bending power on each that it was a joy to behold.

The fact is with Romita Jr, you can see the workings but you can also see the most basic rules of comic book art. Clean lines reminiscent of the 60s era in comic books, graphic and bold line work that still belongs on an Andy Warhol Pop art wall hanging. Romita Jr is keeping historic conventions alive and kicking in his work. If you look at his work you can still see the influence of Ditko and his dad, Romita Jr and the reason that everything we see in comic books today comes from it. I hope Romita Jr remains at Marvel for a great many years.

He’ll be attending the Kapow Comicon in London on April 9-10th and I hope to catch him there. My work isn’t much like his but frankly I think that’s because I’m not sure I’ve fully learned how to draw comics.

Practitioners 21: Bryan Hitch

Bryan Hitch is a Practitioner in the truest sense of the word. From small beginnings in an industry that offered a great deal of work opportunities, Hitch has continued a career for more than 25 years, across the two largest comic book companies in the world. Through dedication and a willingness to engage new techniques and styles he has moved well beyond the artist he was in the early eighties with Marvel UK. His work, most recently, has graced the pages of the most sought after popular comic book in the world and launched a new literary universe that only recently ran out of steam.

Bryan Hitch started work at Marvel UK where he started working on Transformers with Simon Furman. This was the very start of American comic companies making a play for UK markets, controlled in particular as they were by transforming toys and action man figures (a quantum leap from the interests of today). While his artwork is almost unrecognisable today compared to his then, the stylistic traits were there. Hitch focussed predominantly on the person framed in each panel and made everything else secondary. A convention he has maintained even now. He joined Simon Furman again on Deaths Head, kick-starting the short career of the cult icon that would revolutionise Marvel UK and British comics.

He crossed the Atlantic in the the late 80s, early nineties as one of the first to find a footing on books specifically printed for US consumption, working successfully for Marvel and DC (both bloated at the time by the sheer popularity of the art form. Marvel Uk continued to break boundaries in the UK and Hitch continued to work for both (with Geoff Senior on Hell’s Angel and Liam Sharp on the incredible Death’s Head II for which his artwork no longer matched – Liam Sharp’s sharper, more realistic and textured style winning out).

Joining Furman again on his run on She-Hulk (9-11, 13-20, 24-26) between 1989 and 1991, Furman, his artwork at the time matched the period perfectly, clear, crisp lines, curves in anatomy and physicality, a natural and light touch. But in built even then was a very tense need to detail. In an issue in which Deaths Head attacks She-Hulk (a reintroduction by Furman and the only way I’ve seen a copy as part of a Death’s Head anthology), Hitch offered clear, buoyant artwork but the backgrounds of New York City that it took place in were well realised. Lightly detailed in terms of material texture but all the line work was there, paired down slightly for the period they were being shown in.

For a UK artist he straddled the big three (Marvel, DC and Marvel UK) perfectly – offered Adventures of Superman, Geo-force and Team Titans by DC but predominantly working with Marvel on Sensational She-Hulk, Excalibur, a Colossus 1 shot, the Maxiseries ClanDestine. He struggled as an artist to move beyond his populist routes, pencilling Captain Planet and the Planeteers for 2 issues (released through Marvel).

But it was as the decade ended that Hitch began to reveal a new style. Taking his original compositions of central character, well realised in the centre of the panel that had gained him so many character based projects previously he applied greater knowledge of detail than had previously been seen from him. The characters became more realistically humanistic,. his portrayal of events more gutteral and well realised. There was a real-world naturalism that had been applied to his template of heroic stances and impactful and bold visual storytelling that was resonant in a way it perhaps hadn’t been before. Comic books themselves were changing in style and content. Pre-millenium, comics had represented a popular form, characterised by superannuated and simplistic visuals and outlook. Hitch had typified this style and added to it technical proficiency but he was about to come into his own.

With an America at war and a dismissive left wing (comic book reading public) reeling from a Republican move towards conflict against global protests and the spectre of America a credible target for overseas terrorist organisations the mood turned more fatalistic, darker and aware of the forces the world could impose on heroes that stood against it. Fire Fighters (embattled, bedraggled and rubble strewn) were the visual hero of the early naughties. Heros would have to reflect this change of ideology in all forms in order to resonate with the audience.

Bryan Hitch had just finished a very successful run on The Authority, a deliberately sardonic and irreverant response to the World of heroes, featuring characters that took heroing to the level they would be expected to in real life – and fighting incredibly insurmountable obstacles. While the rubble was not there yet, the aggressive and brutal nature of the book was beautifully realised in Hitch’s work. His characters now represented real people with real power. His enemies squatted and assaulted a world easily recognisable. Cars were of makes you could recognise. Cities were brick by brick, people’s fashions well recognised and effectively presented. Hitch had learned some tricks and ridden the wave of realism that was being recognised in comics with its collapse in the mid-nineties. While it hadn’t fully taken hold of the industry it clearly had very much presented itself to Hitch.

Between Hitch’s steady incline into a gritty and realistic artist, imbedding his previous lessons of heroic and comic character physicalisation and technical precision with texture, detail and stark realism and the world’s (specifically America’s) sudden decline into insecurity, uncertainty and a need to acknowledge the truth of things; stepped a Scotsman. A scotsman with a plan.

Mark Millar had taken over writing the Authority after Warren Ellis and had realised the ideals it started with even more vigour, aided ably by Frank Quitely. Millar was about to start a series of books known as the Ultimate titles; a modern re-representation of the heroes created by Marvel. Essentially an if-they-start-now scenario. Central to this was the Ultimates; this universes version of the Avengers, and Hitch was selected as artist.

Here, Hitch hit full speed and realised his potential to be a full-on bona fide comic book legend.

The visuals offered up by Ultimates are staggering. The only way they can be described effectively would be like this. An Alien armada is sitting above a military base in the American midwest. A man wrapped in a red and gold sports car chassis is pummelling one of them, a blonde goliath is propelled through one with his hammer, fighters fly between these ships firing at any target they can identify. One alien ship is crashing into another and the debris from this battle can be seen impacting on the ground. Someone (perhaps from a balloon) has taken a photo of this moment – in landscape – and run it through a ‘Poster Edges’ filter on Photoshop. And it is simultaneously at once incredibly awe inspiring, artistic and realistic and thoroughly engaging.

By mixing his changes in style rather than dismantling or discarding them as he went Hitch has developed into a comic artist unlike any other seen in the medium. His blend of realism and grit imbeds the gravity and power of his compositions with an almost hypnotic grip once engaged by it. The need to look further into the panels never overwhelms the reading of the book however as many highly detailed artists have done in the past, as the first lesson Hitch ever learned – that of centralising and depicting a clear and recognisable figure central to each and every panel as a point of focus has survived all he has added to it.

An incredible talent and a seasoned professional at the same time, realised fully in later career life through the willingness to learn and take on new techniques. You have your Quitelys and your Coipels who appear on the scene fully formed like they were birthed from some freakish artistic gene pool but Hitch is something quite different. Hitch was (and is) an artist worth waiting for.

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Practitioners 18: Mike McMahon

Mick McMahon is a British artist who has ebbed and flowed in and out of the comics industry for 30 years. His work has braced the pages of 2000AD, Toxic!, Tank Girl, Rugrats and Sonic the Comic. But his work has moved well beyond his pages, inspiring some of the most prominent graphic artists in the industry today. Some of the most prominent and successful characters around today owe a debt to McMahon’s constantly evolving style – proving without a doubt his incredible talent. But, more than that, he’s just plain funky.

Judge Dredd was created in 1977 to appear in 2000AD by writer John Wagner and artist Carlos Ezquerra, but problems with pre-publication ked to both of the previous creators walking off the project. Both Wagner and Ezquerra would return to the pages of 2000AD and the Dredd himself but in the intervening time the toughest lawman on the streets of Megacity 1 had to be given a face and a pair of boots to stride in. Pat Mills and Peter Harris took over and were responsible for the first published Dredd comic book, and was drawn by an inexperienced yung artist called Mike McMahon.

He was chosen primarily by Mills (who was editor at the time) because he could do a passable impression of Ezquerra’s work. However, it didn’t take long for McMahon’s style to take hold. It could’ve been said that he had inherited the greatest British Comic Book character to date by chance but to flip it, perhaps more logically it seems more likely that McMahon developed the lawman to become this. His style, more angular and abstract than Ezquerra’s more organic style; notable for its sharp lines and clear, crisp contours and clearly, nigh caricatured features on the characters he drew became the default with other artists such as Ian Gibson and Brian Bolland taking his lead and introducing their own spin on the way McMahon was developing the character.

In the early period of his career, McMahon’s style was characterised by a ‘quick, spontaneous approach that verged on the messy’. His figures were gaunt compare to Ezquerra and Bolland’s interpretations, with pen lines thrown down spontaneously and hatching completed with a fully-charged brush his work set the bleeding edge of visceral and unrestrained artwork for the environment and content expected in Judge Dredd and 2000AD itself. While John Wagner returned to his creation, McMahon continued on as the lead artist on Judge Dredd.

In 1979, taking a break from art droid duties on the Dredd, McMahon began on Pat Mill’s Ro-busters (following a freelance agent pursuing rogue or out of control robots in the future) and the more brutal and savage spin-off, ABC Warriors, alternating with Kevin O’ Neill. While working with O’ Neill, McMahon’s work became tighter and his characters began to become meatier and fuller in stature.

McMahon returned to Judge Dredd for ‘The Judge Child’ and introduced high contrast artwork for the following series ‘Block Mania’, separating more clearly black and white in his compositions. Due to complete 9 episodes, McMahon bowed out after only 2 due to the punishing nature of his newfound detailing and Mill’s introduction of extensive crowd scenes for the battle between the blocks depicted in the episodes. The work was completed by Ron Smith, Steve Dillon and Brian Bolland. Having handled 2000ADs primary character, McMahon needed a new character to draw.

As McMahon returned from a 2 year gap from 2000AD (in which he brought his distinctive style to Doctor Who Magazine), a character that had suffered initial difficulties reared its unwashed celtic head. McMahon met Slaine and applied a new style, unleashed from the sterile science fiction he introduced a more naturalistic, compositional and flared style to his work. The tones were deep and luxurious, the action visceral, uncontained and brutal where necessary and light and human when necessary. His character’s remained grotesques with elongated or extended features but upheld natural structure and anatomy at the same time. McMahon was applying abstraction and realism in equal measure to pages crowded with detail.

In 1984, McMahon disappeared from the scene only to return again after a long illness that prevented him from drawing in 1991, with the Last American, written by Wagner and Alan Grant, for Marvel’s Epic imprint. His style had evolved once again and met perfectly with the stark and deranged story of a US Soldier placed into suspended animation before a Nuclear War in order to restore order after it. Ulysses Pilgrim, the last American the title refers to spends three issues trying to find survivors, accompanied by three slightly malfunctioning robots, and struggling not to lose his grip on his own mind to despair. McMahon’s art is ‘blocky, all straight, edgy lines and enclosed areas of flat deep, vivid colour, stylised yet straight faced, perfectly straddling the low-key realism of the story and Pilgrim’s increasingly desperate mental state.’

From this McMahon has worked predominantly in games design and his distinctive comic works have become few and far between. He featured in Hellraiser, an Alien Legion One-shot, an unfinished comic strip, ‘Mutomaniac’ in the doomed 2000AD spin-off Toxic!, occasional returns to Judge Dredd and a futuristic take on Batman in Legends of the Dark Knight, all of which saw him with a more simple and flattened style. New depth returned to his work in Sonic the Comic, Tattered Banners for DC Comic’s Vertigo, a return to ABC Warriors and a short Batman Black and White back-up story.

He applied his distinctive style to the Marvel Uk/ Panini Rugrats series which was cancelled early on in its run. He returned to the Judge in Prog 1539 of 2000AD. McMahon also worked on Tank Girl (made famous by Jamie Hewlett) -Carioca, a six-part mini series with Tank Girl creator Alan Martin.

Mick McMahon’s style drags complacent onlookers out of the read-and-wander-off-the end-of-the-page mind set that is prevalent in modern comic books. His stylism and distinctly vehemently organic style, backed with a consistently evolving and altering pack of methods and techniques which he seems to apply to each and every new project that he comes across has kept his work engaging, relevant and challenging for 30 years and ticking.

He is referenced by many influential artists as an inspiration, including Mike Mignola, Jamie Hewlett and Dave Gibbons. His unremitting stylism expanding well beyond the small number of comic works he may have comparatively created. The mark of a true practitioner.

Practitioners 13: Liam Sharp

Liam Sharp has tackled X-Men, Hulk, Spider-man, Venom, Man Thing (for Marvel) Superman and Batman (for DC) and Spawn: Dark Ages for Todd McFarlane.

Sharp, more famous than near any other to come out of the early ’90s Brit invasion with Marvel UK took to the heights very early in his career, riding on top of an enormous success with Deaths Head II. Easily the best in his class on the original Death’s Head he was the obvious choice for the character. He met with success perhaps too soon – elevating him more quickly perhaps than he was comfortable with – leaving him scolded slightly by the industry he had been raised up by. From this Sharp has rebuilt an independent comics career and now uses his distinctive and enthralling illustrative style to bring clarity to popular culture – looking like Gods, facing demonic adversaries and carrying massive guns.

Born in Derby in 1968, Liam Sharp is one of the foremost names to come out of Marvel UK, arguably the most noteworthy at its peak – as primary artist on Deaths Head 2 – where he made his name. Having cut his teeth on the original Deaths Head series under Simon Furman, he was handed the artist position on its follow-up Deaths Head II. This suited Sharp as he created a skull faced blue goliath, cable dreadlocks and metal codpiece firmly secured.

To see it for the first time was rock and roll in comic form reborn; reminiscent of Bisley at his best with both the Kubert brothers (of X-Men fame) rolled in. A seven and a half foot time travelling cyborg with a right arm of liquid metal that could form into three weapon functions (blade, claw, crazy ass space cannon) and 100 disparate personalities. The counterparts of Marvel UK; Dark Angel, Digitek, Warheads etc while popular were just trying to keep up. This in no small part was due to Liam Sharp’s stunning artwork.

Sharp’s painted cover for Overkill and Deaths Head 2 and the comic strip that went with it (serialised in both Deaths Head 2 and Overkill in the 90s) features some of the best realisations of the X-men to ever be put to print – possibly the best outside the title itself. His rendering of Cyclops (broad, handsome, powerful) Wolverine (short, sinewy, rough) Beast (bestial, wild) and Psylocke (beautiful and oddly passive) standing abreast his central character and Puck made the two less established transatlantic cousins indiscernible in design and realisation next to the world’s most famous X-Team.

Whereas a panel by almost any other artist carries you to the next; a Liam Sharp panel pacifies you and forces you to stray about the page irrespective of where the next speech bubble is. Muscles burst with potential; on Male and female characters alike. Its Conan sensibilities with every panel; whether in the pages of X-Men (Sharp was responsible for X-Men issues leading into the Age of Apocalypse) or Gears of War (based on the X-Box game).

His women are undeniably pneumatic, irresistable to an artist so adept with Human anatomy. Testament (2006-2008 with Dennis Rushkoff) illustrates clearly that Sharp has a clear sense of proportion when needed – however for his most distinctive and popular work he simply switches it off. He extends the anatomy and physiology to a logical conclusion. Although his characters exceed usual shape there is a plausibility to their shape – never completely extending their forms beyond the edges of potential Human growth. His men are Conan by default, his women are Red Sonja.

His female characters would be perfect examples of Good girl art but there’s none of the accessibility that is prevalent in that form of art. There is an innate and overpowering sexuality in the characters and yet its not a lingering one. Its not porn – most obviously as his men are as perfect specimens of the form as his women. Sharp’s point? Maybe that you can draw any physical shapes – why linger on imperfection. Why not present God-like perfection every time?

It was on Incredible Hulk, arguably the pinnacle of his career up until this point – joining a title made legendary by Peter David, its resident writer. It would have seemed the perfect choice given the shape of the title character however it wasn’t to be the match made in heaven that was anticipated and the run was short lived. Upon joining, Sharp spoke to Peter David about his likes and dislikes in drawing. He explained he disliked drawing cars and buildings and that a character he really liked was Man-thing. And Lo, the introductory piece saw Hulk in the Florida Everglades facing Man-thing (generating an indelible cover of the two facing each other in the swampland that epitomised Sharp’s styling and illustrative roots). Banner’s job however was as a mechanic, creating a need to draw cars and buildings immediately in a part of the world unfamiliar with Sharp. It became clear that it was going to be a struggle and that Sharp was perhaps unprepared for the expectations placed on a comic book artist. In a title like Hulk, after the central character, it would be impossible not to build the infrastructure around him continuously and it was clearly representing a challenge to the new artist. Peter David had reservations – uncertain that his writing matched Sharp’s artwork – but a letter to Bobby Chase from the inker on Hulk put paid to Sharp’s position with the book. Unable to find an alternative artist at such short notice, Sharp had to complete a further two issues – depicting the Abomination (happily another goliath) – though an exhausting experience knowing that his run had ended. The cover of Hulk 427 saw Sharp offered a Man-thing series with Marc DeMatties.

Given more creative opportunities with DeMatties Sharp felt more comfortable however the Man-thing series ran only for 12 issues. From his monumental beginnings with Marvel UK he was finding the world of commercial comic books more competitive and demanding than anticipated.

Undeterred, in 2004, Sharp started his own independent publishing company, Mam Tor publishing with wife Christina McCormack and published the artbook Sharpenings: The Art of Liam Sharp. The company launched Mam Tor: Event Horizon, featuring art by Glenn Fabry, Brian Holguin, Ashley Wood and Simon Bisley among others.

Becoming penciller for controversial Testament series with DC Vertigo with writer Frank Tieri he then went on to Gears of War – a title perfectly suited in style, design and content for an artist of Sharp’s capabilities and talent. Big men, big guns, big scope, desolate environments and blood thirsty action.

In September 2008 he was offered an exclusive deal with DC.

Sharp is an unnatural talent with a clear idea of how things should be done. He has found a niche and is recognised for it. If you want a mountainside gun fight between heavily armed death faced doom bringers, a hard bitten cannon wielding bodybuilder and a chewed off beauty queen from Caveman Monthly go see Liam Sharp. If one of Liam Sharp’s characters hits you, you’ll know about it. If you see one of his pages – you’ll be hard pressed to remember it.

If you think this blog has been too long – screw you. Liam Sharp was the reason I picked up Overkill at 13 and the reason I’m doing what I do now. Those looking for realism in their comic books aren’t the only ones reading them. Those looking for the raw, aggressive and visceral presented like it was standing in the room, are fans of Liam Sharp.