Ghost In The Shell is on a lot of people's minds right now, and while the upcoming Scarlett Johansson-starring Western cinematic adaptation is garnering its fair share of controversy it has made people re-evaluate and reappraise their love for Masamune Shirow's classic manga. To celebrate the series, Mondo has teamed up with Kodansha Comics and Gotham Academy and Southern Cross' Becky Cloonan for a pair of exclusive prints, timed to go on sale at some point today.
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Gabriel Hardman is a writer and artist you might know from Invisible Republic, Kinski and Planet of the Apes, but you might not know that he's also an accomplished storyboard artist, having worked on Inception, Superman Returns and most recently, Logan.
Over at his Twitter account, Hardman has been posting several of his Logan storyboards from pivotal scenes in the movie, and not only do they look gorgeous, but they also show how important a talented storyboard artist is in establishing a film's visuals.
The weekend is here! Take a look back at what’s happened in the past seven days. New comics, new stories, new podcasts, new art being made — it’s all part of the ComicsAlliance Weekender!
This week sees the release of Legendary Pictures' Kong: Skull Island which sees Tom Hiddleston, Brie Larson and Samuel L. Jackson lead an expedition to the forgotten land where they discover the legendary beast which resides there. To celebrate the film's release, Mondo have commissioned superstar artist Francesco Francavilla for a limited edition print.
Marie Severin was a woman in comics in an era when a woman in comics wasn't even considered a thing to be. She got her start as a colorist at EC Comics in 1949, and worked there until they were largely driven out of business by the Comics Code in 1955. Severin wouldn't return to comics until the '60s, where she found a new home at Marvel.
For this tribute gallery, I've focused on her pencilling work at Marvel. As a penciler, she's probably best remembered for working on Dr. Strange in Strange Tales, Incredible Hulk, and Namor the Sub-Mariner, but she drew fill-in issues and covers for many, many books.
I've been a fan of Jeff Lemire ever since I first read The Essex Country Trilogy five or so years ago. Through a lot of the stories where he's been writer and artist, there's a very direct approach to framing that he rarely deviates from, particularly in work such as the current Image Comics series Royal City, where he takes a more down-to-earth tack.
It's hard to tell if this is something Lemire is doing purposefully to create this effect, or if it's just the style of his art. Either way, the effect it creates is perfect for the character-focused, humanising stories that Lemire typically tells.
For as much as I love the madness that was the comics of the 1990s, I cannot even imagine how incredible it must have been to be a comic-loving kid (or weird comic loving adult) in the 1950/60s period known as The Silver Age.
Within this gallery, I've put together only the smallest of fractions of some of the entertaining, out-of-context fun that The Flash's Silver Age adventures have made possible. Try your best to make sense of them.
The Hero Initiative's "100 Project" is a cool recurring collaboration the charity undertakes with various publishers, where together they reach out to one hundred different artists to sketch exclusive sketch variants for milestone issues, with the goal of raising money for creators in need. The most recent "100 Project" was in conjunction with IDW Publishing's Teenage Mutant Ninja Turtles #50 and now those covers are being collected into an exclusive art book featuring work from creators such as Stan Sakai, Bill Sienkiewicz and Walt Simonson, among many, many more.
Superheroes are usually all about flying around, big fights, and being larger than life. In Old Man Logan, the outgoing creative team of Andrea Sorrentino, Jeff Lemire and Marcelo Maiolo mixes that with a slightly different approach.
In this series, Logan remains pretty grounded. His costume becomes a brown leather jacket, and most of the time his fights are pretty brutal, and mostly involve people getting straight up punched in the face. And it all hinges on Sorrentino's take on Wolverine. It's leaning heavily on realism, with sharp blacks that add a noirish vibe.
There's a really fun set-up in God Country, by Donny Cates, Geoff Shaw, Jason Wordie and John J. Hill, which starts the heavily utilize the idea of scale in the second issue. It becomes a major feature of the work, and one that the team keeps drawing attention to, page after page.