The DC Bombshells may have started as nothing more than a fun twist on nostalgia and the DC Universe, but over the past five years the line has evolved into something much larger. Since the first Bombshells statue arrived, the fan following has continued to grow exponentially, and DC Comics and DC Collectibles have expanded the reach and realm quite a bit. Now the Bombshells aren't just collectibles --- though there are still plenty of those --- they're also the stars of an acclaimed comic series.
This week, DC Comics and DC Collectibles will celebrate the fifth anniversary of the Bombshells with the release of The Art of DC Comics Bombshells, a hardcover collection of process art for the statues, variant covers, and comic. And following next month, DC Collectibles will release Bumblebee as the 19th statue in the Bombshells series. We got an advanced look at both, and fans of the Bombshells line won't be disappointed in either.
Doom Patrol by Gerard Way, Nick Derington, and Tamra Bonvillain, has multiple layers of narratives, and a need to visually separate them so that it doesn’t get too confusing for the audience. In the latest issue that differentiation is done with panel gutters.
When Steve Dillon passed away on October 22, 2016, comics lost one of its greatest masters of the invisible art. In a long and storied career, Dillon's work was characterized by concise layouts, subtle manipulations of time and space, and a remarkably expressive cartooning style that gave his comics an emotional resonance unlike any other. Let's take a moment to appreciate the gifts of a uniquely talented artist.
This has been a dispiriting, painful week, and if you're like me then you'll have turned to the world of comics to offer you a spark of imagination, excitement, and investment. We're all dealing with the last few days in our own way, and at ComicsAlliance we're determined to continue generating the brightest and loudest spark of investment with the medium that's possible.
So here we continue on with Weekender, unabated, delivering you a look at new comics, new podcasts, independent comics news, festivals and awards from around the world. This will continue to be a place where we give attention to the comics that deserve it --- and feature a range of different comics voices rising up to hopefully take over and make the next few years their own.
Welcome to Costume Drama, a recurring feature where we turn a critical eye toward superhero outfits and evaluate both the aesthetics and the social issues that often underlie them.
For this installment we're looking at one my favorite designs from the 1980s: the black costume Steve Rogers wore as "the Captain." As far as my research can determine, the costume was designed by Tom Morgan, who drew its first on-panel appearance in Captain America #337, although it obviously owes a lot to Simon and Kirby's Captain America design. Cover artist Mike Zeck also paid homage to Kirby with a cover based on Avengers #4. The storyline that introduced the costume, and this role for Steve Rogers, was by longtime Captain America writer Mark Gruenwald.
Lettering is an art form that doesn’t get enough recognition in comics, and when it’s done well you’ll often not notice it. However, Wonder Woman by Greg Rucka, Nicola Scott, Romulo Fajardo Jr, and Jodi Wynne incorporates the lettering in a few unique ways that add extra layers to the storytelling, and is emblematic of how a new approach to lettering is improving DC Comics on the whole.
There are a lot of ways that a comic book can reinforce the iconography of the superhero. A snappy costume; signature powers; an artist that defined the look of the book for a generation. But part of the iconography of the superhero is a good logo, and part of establishing that iconography is that hoary old comics tradition: saying the logo out loud.
The latest issue of Southern Bastards was released last week, and we’re finally able to get back into the world of Craw County. Reading Southern Bastards always brings one thing to mind; it’s something you tend to find on every cover, and the whole interior of the book is drenched in it: red. Artist Jason Latour links so much of this story with red, and turn any page and you can see how heavy an influence it has on the palette.
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