Demoncon VI Poster designed by Beyond the Bunker

Demoncon Steve Penfold Timaree Zadel

On September 15th, we will be in attendance at Royal Star Arcade, in Maidstone with Moon. A new venue for the Grinning Demon’s charity event that attracts both the indy and the professional. Confirmed guests so far are Lloyd and the Bear’s Gibson Grey, Moon print designer Grant Perkins, Tinpot Hobo and Teenage Mutant Ninja Turtle artist Jack Lawrence, Grainne McEntee and Matt Rooke with Apes n’ Capes and Bertie Bear’s Andy Clift. We also know that Cy Dethan and Nic Wilkinson (Cancertown, Reverend: Wrath of God) and Dan Abnett (Guardians of the Galaxy, Legion of Superheroes, the Hypernaturals) are confirmed and friend to the Bunker and DJ to the stars Keiron Gillen (Uncanny X-men, Iron Man) may be in attendance.

After 5 Demoncons and 5 very distinct posters, Graham Beadle, Demoncon organiser and owner of Grinning Demon comic shop came to the Beyond the Bunker table and was nice enough to ask me to design the new poster for Demoncon VI. Because of the nature of the convention as a charity event, the posters themselves are more lively and varied than anywhere else. Right from the beginning, Demoncon posters have mashed up mainstream and indy in a visual bash up. Dredd stands beside Frostica, Wonderwoman by the Moose. That lack of limitation is irresistable for an upstart comic book artist like me so I was honoured to be asked frankly. The end mix as you see above.

But i couldn’t do it on my own so I was aided by the incredible talent of Timaree Zadel (who also coloured the new prints that were available at MCM). With Ivanna Matilla currently waylaid by teaching English in 20 different schools, Timaree was her chosen colourist. As you can see, no reason not to be over the Moon with this work.

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Practitioners 7: Joe Madureira

As a catch up for all new visitors to Beyond the Bunker, we’ll be representing the original Practitioners series 1-55 (Simon BisleyChris Bachalo and featuring the most influential comic creatives in history). Thoroughly incomplete but featuring legends like Stan Lee, Jack Kirby, Frank Miller and Alan Moore already more will be hitting the site every two alternate weeks. For now though, sit back every Tuesday for a run-down of the men and women who created the comic industry we know today. (Or check the full list in the menus above). This week: 2000AD Legend and Judge Dredd creator Carlos Ezquerra.

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

Reminder About Demoncon This Sunday

Just wanted to remind you that if you fancy a bit of a warm up for the big conventions next month, there’s a 1 day comic con in Maidstone, Kent this Sunday. It’s called Demoncon and as well as featuring the very best indy talent in the UK it also boasts an impressive line up of pro creators as well.

We’ll be there as will the likes of Kieron Gillen (Uncanny X-Men, Journey Into Mystery), Dan Abnett & Andy Lanning (Nova, Guardians of the Galaxy, Warhammer 40K) and many more.

We won’t have any copies of Moon #2 for sale I’m afraid, but if you come and ask Steve really nicely, he might show you some of the pencils for it. We will have copies of Moon #1 however as well as some sexy A4 Prints that you can take home and love forever.

Demoncon runs form 11am til 4pm at the EXCHANGE STUDIO, MAIDSTONE, on April the 22nd and it costs a mere £5 to get in. How can you refuse?

For a full guest list, check out their website.

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Practitioners 55: Chris Bachalo

Chris Bachalo has pushed the boundaries of what’s acceptable in modern day mainstream comic books to the extreme. Highly intricate, cartoonish page layouts depict insidious caricatures of popular characters. With blade like precision, Bachalo creates highly detailed dream sequences from whatever writing he’s handed. Forming a visual world of monsters, uggos, bandits and vagabonds throughout his career he has sent out Superheroes dressed for the streets. Pushing the concept of the superhero closer to street level has made Bachalo a hero of mainstream comic book readers deserate for an alternative interpretation of their favourite characters. After almost 20 years working with DC and Marvel (as well as a brief stint on his own title with Image imprint, Cliffhanger) it’s fair to say Bachalo has achieved exactly that.

Bachalo was born in Canada August 23, 1965, Portage la Prairie but was raised in Southern California. Perpetuating the idea that many great comic book artists arrive at their calling because of weaknesses in their preferred fields, Bachalo had grown up wanting to be a carpenter until he discovered he was allergic to dust. He attended the California State University at Long Beach, where he majored in graphic art and illustrated a number of underground comics.

Following graduation, Bachalo found work pretty much immediately with DC Comics. His first published assignment The Sandman #12 (1989) – however he had already been hired as regular artist for Shade, The Changing Man, revived by writer Peter Milligan with a greater adult orientation. With clear black and white definition in his work, Bachalo demonstrated the influences of Sam Keith (artist and writer on Maxx and Zero Girl, with a liquid attitude to realism in his artwork), Bill Sienkiewicz (Eisner Award winning artist and writer best known for his work on New Mutants and Elektra: Assassin, utilising oil painting, collage and mimeograph) and Michael Golden (famous for his work on Marvel’s 1970’s Micronauts as well as his co-creation of characters Rogue and Bucky O’ Hare.

Initially, Bachalo’s work was visibly influenced from many different directions as he began to try to find his own style. This leant itself nicely to Shade as it was a kaliedoscopic, dream-like character and loaded with abstract ideas. Bachalo’s work has always held a certain dark and teenage self-conciousness, reminiscent of rock cultutre of the early nineties – something which strangely has carried forwards with his development – somehow always representing very well the graphic representation of youth at the time. As the design work of a less disenfranchised youth became more assured, brighter and more heavily influenced by street design, graffiti and graphics so too has Bachalo’s work. Most likely coincidental it is this that has catapulted him into the most mainstream family of books there are today.

His early 90s work is minimalist with strong, thick lines, quirky characters and little concern for realism. Never shying away from detailed landscapes but showed a rare inclination towards pages with many small panels, something that deepens any artist’s involvement in a piece.

In 1993, Neil Gaiman selected Bachalo for the Sandman miniseries: Death: The High Cost of Living, starring the Sandman’s older sister. The popularity of Sandman at the time and the strength of the series itself bolstered Bachalo’s visibility significantly. The creative team reunited once again in 1996 for Death: The Time of Your Life. Apart from returning breifly to DC in 1999 for the Witching Hour with Jeph Loeb for it’s Vertigo Imprint, Bachalo’s future lay with the other side of the comic industries fermament. The X-Men were calling.

Bachalo’s introduction to Marvel was during his tenure at DC comics, illustrating X-Men Unlimited #1 – an anthology to the ongoing X-Men comic books. Based on the noise generated by his introduction in this book Bachalo ended his time on Shade and made a permanent transition over to it’s big rival. His first project was as part of the forward thinking and innovative 2099 universe, reinventing popular Marvel characters into a corporate nightmare of a future. His particular nightmare blended his own dual fascinations of steam twisted tech and metaphysical beings with Ghost Rider 2099. A technological reincarnation of the Spirit of Vengeance, Bachalo’s rip-snorting, highly detailed blend of twisted perspectives and steam punk edge furthered Bachalo’s influence with what was, otherwise, a more minor title in the 2099 universe. He also drew a cover for Runaways.

It was with Scott Lobdell, Uncanny X-men scribe, that Bachalo introduced a new youth team to the X-canon. Generation X lurched out of the Phalanx Covenant crossover bizarre and idiosyncratic because the creative team wanted to avoid the recent trend in superhero teams, where every member of the team represented a stock character. Generation X became a hit with the series’ namesake due to Lobdell’s realistically cynical and emotionally immature teen characters and Bachalo’s atypical artwork. Bachalo illustrated the series through much of its first three years, taking a break in late 1995 and early 1996 to illustrate the second Death miniseries, Death: The Time of Your Life.

During his time in Generation X, an unusual influence began to appear in Bachalo’s work. While still intricately detailed. Influenced by the unlikely inspiration Joe Madureira, his characters became more cartoony and manga-like, with large eyes, heads and hands. He gravitated towards extremes in anatomy, drawing characters that were previously portrayed as bulky, short or thin as even more so. This elongation, bulk out and caricature of easily recognisable characters in Marvel would make Bachalo a staple and an unusual choice for major events.

In 1997, Bachalo left Generation X folr Uncanny X-men, arguably the industry’s most popular title and his new found inspiration’s previous assignment – where he remained for more than a year until the end of 1998.

In 2000, Bachalo luanched Steampunk, a comic book series deliberately inspired by the genre of fiction of the same name, which emulates early science fiction by intentionally applying self-conciously antiquated and deliberately awkward solutions to modern design. Written by Joe Kelly, the series came under heavy critical fire for it’s obscure artwork, small panels, detailed panels and muddy, dark colouring which many felt made it difficult to tell what was happening. Kelly’s writing at the same time was not as straight forward as many readers would have preferred at the time. Conversely however, the hardened fan base for the title, which was brought out via Image’s creator owned imprint, Cliffhanger, supported it for the same reasons. Regardless, the luke-warm response to the title saw it end prematurely at issue #12 – it’s intended 25 issue run sliced in half. It is currently available in two reprinted trade paperbacks, Steampunk: Manimatron and the perhaps aptly named Steampunk: Drama Obscura.

Following his aborted tenure with Cliffhanger, Bachalo returned triumphantly to the halls of Marvel, completing occasional work on various X-men series including the new alternate universe, Ultimate X-men, Ultimate War, Grant Morrison’s New X-Men (collected in New X-Men vol.5: Assault on Weapon Plus and including one of the finest examples of a single issue story). In New X-Men Bachalo realises a scene beautifully envisioned by Grant Morrison in which Wolverine and Sabretooth find themselves at the urinals of the Hellfire Club – a no violence rule allowing a moment of barely contained aggression between the two of them. Bachalo’s combination of clean, crisp lines and perspectives – mixed with the organic, intuitive detailing of the figures and the characteristic elongation and exageration of the two figures brings the light but knowing humour of the scene beautifully forward to such a pleasing degree that it might well be one of the finest combinations of writing and artwork in a Marvel comic book of all time. Not an understatement (though obviously a matter of opinion) and the sequel to the Age of Apocalypse Crossover.

Bachalo's current assignment - the X-Men come of age in Wolverine and the X-Men

Bachalo was also the artist on Captain America for 6 issues (21–26, running December 2003–May 2004 cover dates) pencilling a divisive run written by Robert Morales. In an attempt to humanize Steve Rogers, the pair managed to split fans opinions fairly resoundingly with both leaving the title – Morales 10 issues short of his intended contract for the series.

From 2006 to 2008, Bachalo was the artist for the X-Men title along with new writer Mike Carey after completing his final story arc for Uncanny X-Men (#472–474). He was often filled-in for by artist Humberto Ramos, however.
Bachalo has also pencilled (and coloured) a number of cards for the Vs. collectible card game. These have been renditions of both Marvel and DC characters.

On top of his continuing work for Marvel, Bachalo finished issue #7 of Comicraft’s Elephantmen, an issue 4 years in the making. The issue was done entirely in double-page spreads and marks his reunion with Steampunk writer Joe Kelly. The issue’s story, “Captain Stoneheart and the Truth Fairy” also represents Bachalo’s first work outside Marvel and DC since his fill-in issue of Witchblade.

Bachalo has also been one of the four artists who was originally part of the Spider-Man Relaunch. Brand New Day, along with Phil Jimenez, Steve McNiven and Salvador Larroca.

Starting with New Avengers #51, Bachalo will provide variant covers for the creative team of Brian Michael Bendis and Billy Tan to bring use the “Who will be the next Sorceror Supreme?” storyline.

When Richard Friend inks Chris Bachalo’s pencils, the piece is signed “Chrisendo”, a portmanteau of the names “Chris”, “Friend”, and “Bachalo”. Antonio Fabela is a regular colorist of Bachalo’s work.

Pictured some way above is Bachalo’s latest assignment, a critical and fan hit by the name of Wolverine and the X-Men. It’s the next generation of X-Men back at Xavier’s School for Higher Learning under the tutelage of the ol’ canuckle head and it seems pre-fitted to Bachalo’s specific style. Anarchic, high octane and cartoonish, Bachalo’s lavish imagery has found a great home for his brief tenure in these pages. Writer Jason Aaron even going o far as to create BAMFs – small Nightcrawler-esque imps – that create havoc everywhere they go in order to harness Bachalo’s habit of dropping unusual midgets into otherwise mundane panels.

As his graffiti style of comic book art would suggest, Bachalo will leave an indelible and lasting mark that brightens up everything around it. An anarchic and chaotic practitioner – Bachalo is an artist who has caused the mainstream comic industry to adapt to him – something that has furthered the pursuit of great stylistic innovation in mainstream comic books. Bachalo so much pushing the envelope as setting fire to the envelope and feeding it to the little toothy deamons that hide at the edge of his pages.

Beyond The Bunker hits Demoncon

Next month Beyond the Bunker will be heading to Maidstone in Kent for the third Demoncon event. Founded by Maidstone’s own Grinning Demon comic shop, Demoncon is a chance for fans an creators to get together and share their love of comics. We’ll be joining the likes of Kieron Gillen (Uncanny X-Men, Journey Into Mystery) as well as the duo of Dan Abnett and Andy Lanning (Nova, Guardians of the Galaxy, Warhammer 40K).

Demoncon is a great chance to come and meet creators in a less hectic environment than that offered by the mega-cons. As always, you’ll be able to come chat to Steve and I about pretty much anything as well as picking up signed copies of Moon and other such goodies.

Demoncon runs form 11am til 4pm at the EXCHANGE STUDIO, MAIDSTONE, on April the 22nd and it costs a mere £5 to get in. How can you refuse?

For a full guest list, check out their website.

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Practitioners 46: Jim Lee

Jim Lee was born in Seoul, South Korea on August 11, 1964 and emigrated to the United States with his family at the age of four, growing up in St Louis Missouri. In Lee’s St. Louis Country Day School his classmates predicted he would found hi sown comic book company. Despite this, Lee seemed resigned to following in his father’s profession of medicine, studying psychology at Princeton University, with the intention of becoming a medical doctor. However, medicine’s loss was certainly going to be popular culture’s gain as Lee became one of the most influential and well known artists on the biggest selling comic book of all time. One that founded movie franchises and supported an ailing Marvel in the late ’90s and found some of the most famous comic companies in the world to rival it.

Lee’s rise to fame with Marvel Comics was inevitable as it was undeniable. In 1986, as Lee was preparing to graduate from his psychology degree, Lee took an art class that reignited his fascination with art at a time when seminal work such as Frank Miller’s Dark Knight Returns and Alan Moore’s Watchmen was reinvigorating the American comic book industry. With the psychology degree complete, Lee did something, with the reluctant blessing of his parents, that shows incredible courage and clarity of mind and self belief. He postponed his medical degree. The rest is without a doubt comic book history. He vowed he would return if he failed to break the comic book industry. Not something that should’ve worried him.

Submitting examples to various publishers, Lee did not see success until a New York comic book convention where he met Archie Goodwin, comic book editor (regularly cited as the ‘best loved comic book editor… ever), artist and writer who introduced him to Marvel Comics. Now it seems hard to believe that Lee was not snapped up immediately by the first commissioning editor to spot him but Lee exposes the nature of the industry. Retrospectively, artists are professional, passionate and confident in the style they work in and seem undeniable masters of their art but even the most capable artist can be subject to the pressures, misunderstandings, bad luck and bad timing of the industry. Lee began on Alpha Flight and moved over to Punisher: War Journal, his work there inspired by Frank Miller, David Ross, Kevin Nowlan and Whilce Portacio, as well as Japanese Manga.

Then came the crossing of two similar talents, one more senior than the other as Lee filled in for regular illustrator, Marc Silvestri on Uncanny X-Men 248, which was, due to positive response and Marvel’s own enthusiasm for Lee’s style followed up on issues 256 through to 258 as part of the ‘Acts of Vengeance’. The timing of this was key as X-Men, under Claremont was not only ground breaking and beautifully written at the time, it was on a meteoric rise in terms of popularity, beginning to challenge the more mainstream titles of Spider-man, Fantastic Four and Avengers. Eventually, Lee became Uncanny’s full time penciller, working for the first time with inker, Scott Williams, who would become his long time collaborator. To cement his position as an X-men innovator, Lee co-created the smooth talking mutant thief Gambit, with Chris Claremont. Lee’s popularity crystallised in these months, becoming more and more representative of what fan’s wanted. He gained increasingly greater control of the franchise and in 1991, Lee helped launch the second X-Men series, X-Men (Volume 2). He did so, not just as artist but as co-writer alongside Chris Claremont, giving the book a more broad and cutting edge feel to it’s perhaps more thoughtful predecessor. X-Men 1 was raw edged, fun comic book pinned with the wisdom and knowledge of an older and more restrained writer. Lee pushed Claremont’s boundaries while Claremont restrained the more inexperienced artist to just the right degree. The result was comic book history and rightfully so. However, Lee redesigned costumes, entirely successfully for Cyclops, Jean Grey, Rogue, Psylocke and Storm as well as creating villain Russian Super Soldier Omega Red.

X-Men 1 (Vol 2) remains the best selling comic book of all time with sales of 8.1 million (and nearly £7 million). This was confirmed in a public declaration by the Guinness Book of Records at the 2010 San Diego Comic con. While one aspect of it’s success was that it was released with five different variant covers as well as a limited edition gatefold edition that revealed it all in its glory, the success was thanks to Lee’s distinctive, modern take on a fan favourite and the development of the X-Men in an exciting new direction. The variant cover trick became a weight around collector’s necks in years following with Gold and Silver foil, holograms and gatefolds every few months for some titles, but this first incarnation was about piecing together a piece of art, mass produced and available to anyone who wanted it. Only Jim Lee and perhaps one or two other legends of the industry could’ve commanded such a response.

The success of X-men saw Lee hungering even more for greater creative control over his own work, and as soon as in 1992, Lee accepted an invitation to join six other artists (Todd McFarlane, Erik Larsen, Marc Silvestri, Whilce Portacio, Rob Liefeld) who broke away from Marvel Comics to start Image Comics, which would release their own creator-owned titles. Lee’s batch of titles included Wild C.A.T.s, which Lee pencilled and co-wrote, and other series created in the same universe, including Stormwatch, Deathblow and arguably the more successful Gen13.

Lee and his close friend, Valiant Comics publisher Steve Massarsky, arranged a Valiant / Image crossover, Lee’s characters being used, alongside those of Rob Liefeild. Four central titles would exist – two from each company – in single edition format, each edition known as a colour rather than a number, plus a prologue and epilogue book. Wildstorm produced Deathmate Black, with Lee himself contributing to the writing, illustrating the covers of that book, as well as contributing to the prologue’s interior links. The assignment was given to Valiant creators against their better judgment, in particular Editor-in-chief Bob Layton, who complained about Image’s inability to meet their deadlines. Deathmate Black came out a few months after Valiant’s Blue and Yellow installments, which had come out on time, and Liefeld’s Deathmate Red was so late that Layton flew to California to procure that chapter personally, and ink it himself in an Anaheim hotel room. Layton see’s Deathmate’s lateness as one of Valiant’s ‘unmitigated disasters’ and views that project as the beginning of the spectacular collapse of the 1990s for the comic book industry. A collpase that would pull in Marvel and a collapse that comics has not, if ever, recovered from.

Wildstorm continued on, expanding it’s line to include other ongoing titles. As publisher, Lee later expanded this by creating two separate imprints for Wildstorm, Cliffhanger and Homage (to be replaced again years later to reform as a single Wildstorm Imprint, now owned by DC).

Moving back, with Rob Liefeld, to Marvel for the Heroes Reborn alternate universe storyline of the mid-late nineties, Lee was given the opportunity to plot the new Iron Man and wrote and illustrated The Fantastic Four. Both used existing storyarcs and developed them, bringing them more up to date. The innovations on these titles, however, were arguably greater than the more successful Ultimate Universe that has existed since as an Imprint of Marvel, though that is more subject to greater popularity of the industry as well as greater sophistication in art and writing in modern comic books.

Lee returned to Wildstorm, where he would publish series such as The Authority and Planetary, as well as Alan Moore’s imprint, America’s Best Comics. Lee himself wrote and illustrated a 12-issue series called Divine Right: The Adventures of Max Faraday, in which an internet slacker inadvertently manages to download the secrets of the universe, and is thrown into a wild fantasy world.

Sourced from HERE Check out the gallery there for more awesome images. Thanks to Alexandre Bihn for the awesome scan.

In a typically astute and decisive choice, Lee sold Wildstorm to DC in 1998 because he felt that his role as publisher was interfering with his role as an artist. In an echo of the choice made many years previously, he put his calling first. In 2003, Lee collborated with Jeph Loeb for a 12 issue Batman run. Introducing a new nemesis from Batman’s past, ‘Hush’ was a tightly packed and neatly executed trip through the Bat universe. Lee’s images were sumptuous, his design work intricate, emotive and innovative. Lee, the artist, through all the pitfalls and difficulties of publishing had lost none of the values and passion he had when working on X-Men 1 more than 12 years before. He followed this up with ‘For Tomorrow’ a 12-issue story in Superman by 100 Bullets writer (and Bunker firm favourite) Brian Azzarelo, although this didn’t achieve the same level of success, Lee’s work showed a maturity and stillness that perhaps wasn’t visible in his earlier career. In 2005, Lee collaborated with Frank Miller on All Star Batman and Robin, the Boy Wonder, a series plagued by delays. Lee’s work was spotless throughout, in particular a redesign of the batmobile and a gatefold image that folded out from the book itself that revealed the full scale of this Elseworld Batcave. While Lee’s contribution was near infallible, Miller’s writing was unsophisticated and cynical in most ways and alienated a great many readers. During this period, Lee returned to WildC.A.T.S with Grant Morrison. The gap between All-Star Batman and Robin 4 and 5 was one year and to date, only 1 issue of WildC.A.T.S (Vol 4 has been published. During thsi time, Lee also drew covers for the Infinite Crisis series.

Lee was named Executive Creative Director for DC Universe Online MMORPG. This was released in 2009, with Lee responsible for concept art for the project.

Lee’s meteoric rise did not falter there, as he has now taken a position alongside Dan Didio as Co-publisher of DC Comics. Despite obvious concerns, Lee maintains that this will in no way effect his capacity as a creative. He cited two projects, Dark Knight: Boy Wonder – a follow up of the Frank Miller series he had worked on and also a painted cover for Giuseppe Camuncoli’s layouts in Batman: Europa 1. Neither projects have surfaced yet. The Wildstorm imprint was officially declared ended by DC in September 2010.

With DC’s enormous revamp of it’s entire line, A-List artists were brought to the forefront to work on the most prominent titles. With a Justice League movie in discussion /pre-production at present DC was always going to put JL first in their choices of creative teams. The illustrious team of Jim Lee as penciller and Geoff Johns as writer is certainly, still, a cocktail that no true fan of the artform can ignore. If anything that is Lee’s great talent. Enduring popularity. His art work remains so fresh and clear, and so respresentative of what people want from their books – in spite of changes in the industry itself – that Lee has proven himself a Practitioner who has wandered away from the thing he is most beloved for, but like a much younger, more south east asian Peter Cook, retains a place in every fan who ever saw his work. This is testament to Lee’s enormous talent. His offers to put out projects reveals a conflict of interests that has taken him away perhaps too much in the last two decades, however he is a brave artist who pursued greater goals. Without finding ourself in the same situation who are we to say we wouldn’t pursue those same goals…. however Lee’s example is certainly a cautionary one. Swathes of exceptional artwork, pages and pages of classic comic work haven’t seen the light of day. From the top down the industry runs on one thing – putting out the best books possible. While we can never undermine someone’s right to do whatever they want – what would we have given to see more Lee?

Practitioners 32: Marc Silvestri

Marc Silvestri (born March 29, 1959) is an American Comic Book artist and more recently, creator and publisher and one of the lead names in the formation of Image comics in the 1990s. He currently acts as CEO of Top Cow Productions.

A small number of creators in the comics industry can honestly be described as masters of their art and Silvestri is certainly one of them. Simultaneously a draftsman, visual storyteller, artist and stylist he is responsible for rendering some of the most indelible images into some of the greatest titles ever told in comic books. His anatomy is perfect, stylised only in as much as offering graphically engaging characteristics, his panels loaded with Hollywood visuals. He takes the finer details of characters and simplifies them to make almost all of his characters simultaneously interesting, intelligent and emotionally charged. All of this combines into extensively sexy visualisations of even the most familiar and well worn characters in comics.

Silvestri began his career with DC comics and First Comics (an American comic-book publisher, around from 1983-1991), but made clear to the world just how damn cool his work was at Marvel Comics as penciller on their second coolest title, Uncanny X-Men between 1987-1990. Having made his name there he began a two year run taking the ol’ Canuckle head, Wolverine on a spin around the world in his own book. This secured him as a world class talent and frankly the ambassador of the cool pencil art in modern comic books. A mix of naturalism, sketch and scratch art techniques reliant on light cross hatching, tempered with technical skill leaves Silvestri compositions illustrative and incredibly affecting. Want to sell a million books? Get Marc Silvestri.

From X-Men : Here Comes Tomorrow (with Grant Morrison, 2004)


In 1992, Silvestri became one of the original artist – along with Jim Lee (with whom Silvestri shares a stylistic similarity), Whilce Portacio, Rob Liefeld, Erik Larsen, Todd McFarlane and Jim Valentino – to form an independent ‘Daniel’ to DC and Marvel’s ‘Goliath’ that had the potential to topple both. At the time the artist was king and disillusioned artists saw a gap in the market they could fill. Effectively the superstars of the time – Silvestri can now claim to be a true Practitioner among them as only he and Jim Lee truly survived the nineties as popular artists. Silvestri’s table of titles was published under the imprint Top Cow with the first title released being Cyberforce (in a neat nod to the creative freedom of an indy comic it was written by his brother Eric Silvestri. while plotted and pencilled by Marc). Cyberforce was a darker nineties remodelling of X-Men effectively, following a team of Mutants who had all at one point been captured by Cyberdata, an enormous corporation with ambitions for World takeover. The series was limited to begin with but enjoyed a monthly run of 35 issues which introduced a young David Finch to the industry. The criticisms of the series came thick and fast and were the same that were being levelled at all Image titles, that the characters were all modelled on existing Marvel characters, Cyblade is very similar to Psylocke, Ripclaw; Wolverine; Impact; Colossus and Stryker; Cable etc etc – effectively making Cyberforce little more than a reimagining of the coolest characters from X-Men. Other complaints were the level of violence and highly sexualised female characters, making the project appear (much like all Image titles of the time) as little more than the wish fulfillment of artists at the top of their game. Under this heavy criticism, Cyberforce faded away, Ripclaw occassionally reappearing elsewhere in other Silvestri projects such as the Darkness. In a clear indication of how these creative choices were more lightly viewed by the industry itself than the fans, Ripclaw and Cyblade appeared in a crossover with Wolverine and Psylocke recently.

Disputes among the Image partners led to Silvestri breifly leaving the publisher in 1996, but he soon returned after Leifeld severed his own ties with Image.

Top Cow’s successes include the titles Witchblade, The Darkness, Inferno Hellbound (publication of which was interrupted for unknown reasons) and Fathom.

In a dream team up in 2004, Silvestri returned to Marvel briefly to pencil several issues of X-Men, collaborating with Grant Morrison to bring his run on the title to an incredible close. Surplanting the action of modern day to 200 years into the future on a desolate earth, plagued by an outbreak of new and monstrous species, it was an incredible return to form for a master of the art. Working with arguably the foremost mainstream writer of the time, the feline countenance of Beast (now named ‘Sublime’) and the ensuing battle on a battered warship in the middle of weather strewn Atlantic was brought to solemn, beautiful and rude life by this illustrative pass master. Every emotional blow, every battered viewpoint, every severed cityscape, every battle sequence and exploding birth of mutant life was brought screaming out of the page in one of the finest team ups in comics history. A shame it arrived at the end of a commercially middling run (the kids didn’t like it so much) – the Morrison / Silvestri run on X-Men should be collected as an example of how beautifully the form can be used to tell grand fairy tales. Only that team could have plausibly created a cowardly Humpback with a strong Scottish accent and maintained such undeniable cool.

Later that year, he launched a new Top Cow title, Hunter Killer with writer Mark Waid. He provided covers for Marvel Comics mini series; Deadly Genesis by Ed Brubaker and Trevor Hairsine, which were woefully misleading as Hairsine’s interiors just couldn’t keep up and the plotline was critically and publicly panned.

Cyberforce 0 was released in 2006. The pulling power of Silvestri being enough to reinstate, however briefly, an only averagely well received title.

In late 2007 he launched X-Men: Messiah Complex with an incredible turn on pencils on the new X-Men, so far removed from his original team back in the 90s. He returned once more, pencilling the one-shot Uncannny X-Men/ Dark Avengers ccrossover Utopia in 2009.

He also contributed to Image United, pencilling all the characters he created during his run at Image that feature in the story.

Whether working for Image, Top Cow, Marvel, First Comics or DC, Silvestri has demonstrated a talent that only enhances with age. The intelligence and foresight he applies to his compositions add to the innate freshness and clarity of the light line work. A deft touch on any comics page, with a natural grasp of pathos, myth, legend, technology and cool, his charged panels batter and cajole the reader, offering up a sexier, more glorious and interesting world without ever losing the touch of reality and gravity that carries any tale from beginning to end. Every rendering of an existing character gives it a fresh spark of life; reinstating it instantly to Alpha status among its surrounding company; something Silvestri has brought to the companies he’s worked for. A successful creator that remains a core artist in mainstream books; he offers fantasy we can all get involved with and books anyone can be in awe of. An illustrator of monumental proportions his abilities crystallised for me in a simple double page spread during Morrison’s run on X-Men. The first double page spread of his run, Morrison clearly understood what he was dealing with and allowed Silvestri to speak through the story. The double page spread is nothing but 5 characters, Wolverine, Cassandra Nova, No-Girl (complete with floating brain bowl), Tom Skylark, Birdy’s eagle headed nephew (baseball bat over the shoulder, bandana around his cranium) and the enormous feet of a reassigned Sentinel in the background walking towards the reader in the rain. These are the most difficult compositions to get right. These are only about feeling. In such a simple composition every muscle, detail, foot placement and expression has to be perfect. Every ripple and placement of character carefully applied in order to maximise the emotional punch intended. Morrison was right to give over this space to Silvestri, offering proper respect to a senior Practitioner. Silvestri made clear why Morrison’s faith was well placed. All you can think when looking at the image is ‘I hope they come back’ and ‘I know they won’t’ mixed with ‘they know that’ and ‘they just don’t mind’. The collection of sensations from such a simple image falls at the feet of Morrison for building to a subtle crescendo but mostly it makes clear that if you give Silvestri the space, anything can happen, even when nothing really is….

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.

Uncanny X-Men 304

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 10: Grant Morrison

With the upcoming Kablam! Comicon in London I discovered whilst rolling through the list of legends that no less than 15 people intended to appear in ‘The Practitioners’ are due to appear there. So over the next… um …. 15 weeks – one will be posted each Tuesday until the big weekend. Excelsior!!

All Star Superman 6 (DC, 2006)

Grant Morrison is a scottish comic book writer and playwright born 31 January 1960 who harnesses and embraces the full power of pseudo-science, age old magic and high end zen heavy weaponry in the pursuit of perfect storytelling in comic books, drawing on a bewildering array of sources to bring forth the borderline lunatic and the emotionally real through storytelling as broadly wild as Frankenstein tearing apart a future-human/insectoid master race three billion years in our future at the end days of Planet Earth or permitting James ‘Wolverine’ Logan a respite as he muses at a pin-up girl above the urinals in the Hellfire Club has ‘got the same eyes as that girl in Arnhem Land, 1943.’

All Star Superman

Never scared of the poignant or the difficult Morrison has the canny knack of shifting seamlessly from the scientific explanation of a Voyager Titan mentally preparing to be launched into deep space for centuries in All Star Superman to the very real failure of Scott Summers to retain his marriage in the wake of post traumatic stress he is unable to express in New X-Men. It his acknowledgment of the need to ground – at least to the degree required for a readers’ mind if not in real terms – absurd statements and events with less abstract and more concise human situations and scenarios, underpinning everything with realistic and recognisable reactions.

He recognises, as all great writers perhaps do – no matter how many stars and space cannons are exploding around the main characters – that it is the individual humanity carefully identified by the writer that each character demonstrates that pins the story to the ground and allows it to resonate with the reader. He understands, in the same way that every great writer in any medium did, that if a magical Tempest circles about a Human soul its abstract nature can only be effectively communicated through the soul through means it retains – not simply through the abstract idea of the wind itself. As such Morrison reminds himself to allow his characters to slap their heads in disbelief at his own words if it is in their nature but to allow them to take it in their stride if it is not. It is in these reactions as Lex Luthor remains steadfastly oblivious to the possibility that Clark Kent has saved him as a prison riot rages around them in All Star Superman – assuming, naturally, that he has the situation well under control when in fact Kent continues to use an array of powers beyond his notice to ease his passage and even save him from a blundering Parasite. Kent remaining true to the honest and unassuming character of Superman to great comic effect.

Arcadia Byron of the Invisibles (Vertigo)

Morrison’s first published works were Gideon Stargrave for the brilliantly titled Near Myths in 1978 at the age of 17. Soon followed Captain Clyde, an out of work superhero for the Govan Press, a local newspaper in Glasgow, plus various issues of DC Thomson’s Starblazer, the sister title to the companies Commando title and the New Adventures of Hitler. He spent much of the early 80s touring with his band The Mixers, putting out the odd Starblazer and Zoids strip for DC Thomson.

In 1982 he submitted a proposal for a storyline involving the Justice League of America and Jack Kirby’s New Gods entitled Second Coming to DC. It was dismissed but his fascination of the New Gods no doubt formed the skeleton of the enormous Final Crisis saga in which Darkseid launches armageddon on an unsuspecting world in a second age of the New Gods using Earth and its inhabitants as hosts and demonic incubators. His desire to write DC’s primary superhero group was no doubt sated with his long run on JLA in 1996 to revamp the team and bring it up to date which he pulled off with Rock of Ages, Earth 2 and World War 3 (in no particular order).

At every stage he proved time and time again that he expanded the material handed to him – writing for 2000AD with Big Dave, Future Shocks and the unusually superhuman for 2000AD – Zenith under his wing before his tenure at DC.

The Filth with Grant Morrison and Gary Erskine (2003)

Upon crossing the Atlantic he demonstrated immediately his capacity for reinventing fringe characters and enhancing them beyond the original idea – taking the near unknown fringe character Animal Man and not only imbuing his character with the real reactions of a man who could channel the powers and thoughts of animals nearby to him but forced him to look through the fourth wall at the reader – breaking the indefinable rules of the medium in the process to brilliant effect.

Morrison is known for treating mainstream established titles in the same way as fringe titles and this has earned him a status as the great re-inventor in Modern comics. He was the man to make Scott Summer’s cool again as he took hold of the X-men universe and rang the life out of it – a process he tried to make un-reconnable – Killing 16 Million Mutants and giving Professor Xavier an unborn, evil sister who returns as a mind slug and unleashes the Shi’ar navy all over the mansion. Introducing a cavalcade of new Mutants some as hilariously and poignantly useless as ‘Beaky’ the featherless, beaked bird boy who batters in the head of the newly uber-feline and faux gay Beast. Jean Grey dies but for once is given no reason to return – as psychic hyper-bitch and new headmistress of Xavier’s Emma Frost sways Scott Summer’s exhausted heart, filling the emotional vacancy usually left by Phoenix every time she summarily carks it. Magneto is beheaded after destroying half of Manhattan and Xavier’s approaches an actual curriculum and focusses on its students for the first time in its history.

Jean and the Beast (New X-Men, 2002)

Morrison often – whether intentionally or not – represents the discussion boards and blogs of the fans – testing theories that are discussed hypothetically on public pages that no one expected to see them on. Batman is killed and returned and given a son in Morrison’s watch. Jason Todd effectively returns breaking the almighty unwritten rule of comic books – partly you suspect out of sheer bloody mindedness. Morrison finally being characteristically brave to investigate the reality of Dick Grayson under the cowl.

Dick Grayson as Batman (Batman, 2009)

The content of his independent titles have become mainstream – for good or ill – leaving many readers of Final Crisis utterly confused as to what was taking place – an abstract Superman tale in which he passes through multiverses in order to combat an abstract thought form made real in storytelling in an ephemeral world populated by reality vampires via a limbo championed by an indifferent Woody Allen-alike in a jesters outfit in order to save Lois Lane in between her penultimate and final heartbeat borders on the lunatic – but is incredibly detailed and worth the three reads it takes to fully grasp the deliberately overlapping realities thrown at it.

Morrison clearly found a like mind in penciller Frank Quitely, bringing to life the inner workings of Professor X’s mind in New X-Men, the gnarled and diseased but lithely libidoed geriatric in Lust for Life from Jamie Delano’s 2020 Visions (Speakeasy comics, 2005), scraping by each other by two volumes of the Authority – Morrison on Volume 4 with Gene Ha and Quitely on Volume 2 with Mark Millar, empowered the new JLA with a little much-needed modern sheen in the book of the same name in the early naughties and reinvented the greatest super hero of them all in All-Star Superman.

But it was WE-3, the story of three prototype ‘animal weapons’ as they flee the project that ‘enhanced’ them encapsulates the creative partnership. Morrison was meticulous as ever with his descriptions and insisted on consistent and protracted revisions of minute details from Quitely in order to produce a work of rare and fine quality. This certainly was achieved as it was released via Vertigo imprint in 2004 to public and critical acclaim. Morrison’s subtlety and nuance of character supplied each of the fleeing and desperate central characters; a rabbit; a cat and a dog a bewilderingly believable character each recognisable as an individual and the drives and psychology of the animal in question. Morrison’s capacity for invention supplied the narrative with a relatively basic speech pattern simulator for each of the animals allowing them to emote through limited cognitive language in a way not human but beyond its species. The effect is a dizzying, gripping and poignant story of extreme science inflicting havoc and chaos on three innocents’ lives – each reacting in their own very specific way. In many ways WE3 is exceptional and as near perfect as a comic book can get because it uses – perhaps most transparently and as such to best effect – Morrison’s greatest creative methodology – to recognise inherent and recognisable characteristics in vulnerable and capable beings and then inflict seven hells of pseudo lunacy on them – in whatever form seems most fun!

We3 (2004, Vertigo) by Grant Morrison and Frank Quitely

Merry Christmas!!

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