Coco Chanel once opined that “fashions fade, only style remains the same.” In channeling the latter through the former, Gwen Stacy’s Spider-Woman disagrees to great effect in the self-contained Edge Of Spider-Verse #2, on sale now and nominally part of Marvel's Spider-Verse crossover event. The electric color palette and the asymmetrical hairdos and the wildly winged eyeshadow might look dated in a few years’ time, sure, but these pages bleed a fluorescent adolescent attitude found across time and space, from 19th century Spain’s hipster majos to Siouxie Sioux. This is a Gwen that owes as much to Peter Parker as she does to Tank Girl. This is a Gwen—and a comic—with style.
We live in a time of awesome superhero costumes in comics. The rise and rise of cosplay culture, the emergence of comic artists with a savvy understanding of fashion, and the slow diversification that's making heroes palatable to a broader audience, have all contributed to a costuming culture with more to offer than capes and pants.
Superhero costumes have always been an asset to the industry, because iconography helps establish character and create a brand. But the value of costumes in reaching audiences and reinventing characters seems to be recognized now as never before, leading to the rise of artist-designers like Jamie McKelvie and Kris Anka, who don't even need to be on a particular book in order to be called in to make-over the characters. This is a great leap forward in understanding just what a good costume can do -- and the special skills required to do it.
If you weren't already sold on writer Jason Latour (Southern Bastards) and artist Robbi Rodriguez (FBP) doing a re-imagining of Gwen Stacy in which she is a new version of Spider-Woman in Edge of Spider-Verse #2, what if I offered you this to sweeten the deal: Gwen is the drummer in a band, they're called the Mary Janes, and they have a song that ruminates on Mary Jane Watson's classic "Face it tiger, you just hit the jackpot" line from Amazing Spider-Man #42.
Wait, you thought Gwen Stacy was dead, right? Edge of Spider-Verse is a prelude to Marvel's Spider-Verse event, which brings in "every Spider-Man ever," including versions from alternate universes, to fight a common threat. This version of Gwen Stacy is one of those alternate universe characters. Possessing her own spider-powers and a rad costume, she's already been a hit with Spidey fans based on the few images seen so far.
One of the things I love most about Spider-Man (and let me tell you, there's a lot I love about Spider-Man) is how adaptable the character is to different situations, settings, and even different characters taking on the role.
Amazing Spider-Man writer Dan Slott and an assembled team of writers and artists are picking up that ball and running with it in the upcoming "Spider-Verse" event, and they're getting a little bit of a head start with what they're calling "Edge of Spider-Verse," a series of one-issue stories that introduce readers to the various iterations of Spider Men and Women. Marvel has released solicitations for the first three issues of the five-issue series, which feature Spider-Man Noir, a new spin on Spider-Woman, and a futuristic Spider-Man who wears a helmet (and who probably isn't from 2099).
Less than a year into its run at Vertigo, Hollywood is already calling for writer Simon Oliver, artist Robbi Rodriguez and colorist Rico Renzi's tripped-out sci-fi comic FBP: Federal Bureau of Physics.
Deadline reports that Justin Marks, writer of the upcoming live-action Jungle Book movie and of the screenplay for Street Fighter: The Legend of Chun-Li, is adapting a treatment written by Oliver. David S. Goyer, who has been a driving force behind a good many DC Comics movie properties over the past several years, will produce.
We make a regular practice at ComicsAlliance of spotlighting particular artists or specific bodies of work, but because cartoonists, illustrators and their fans share countless numbers of great images on sites like Flickr, Tumblr, DeviantArt and seemingly infinite art blogs that we’ve created Best Art Ever (This Week), a weekly depository for just some of the pieces of especially compelling artwork that we come across in our regular travels across the Web. Some of it’s new, some of it’s old, some of it’s created by working professionals, some of it’s created by future stars, some of it’s created by talented fans, and some of it’s endearingly silly. All of it’s awesome.
It's fairly commonplace for comics to change creative teams or other details early on in their runs, but it's pretty rare for a comic to change its actual title between the first and second issues.
That's exactly what's happening with Simon Oliver, Robbi Rodriguez, and Rico Renzi's Vertigo series formerly known as Collider, though. Starting with issue #2, which comes out August 28, the series will be known as FBP: Federal Bureau of Physics.
Collider #1 is an attractive package. And I say package because that's really what this feels like. The way comics work, or at least the way they should work, is with every piece -- script, art, color, and lettering -- working in sync, and when everything is right, you have a good story. Sometimes great visuals carry a mediocre script, and vice versa, but that's not ideal. In Collider, the newest Vertigo series, you have a comic that works: a script from Simon Oliver, art from Robbi Rodriguez, colors from Rico Renzi, letters from Steve Wands and a cover by Nathan Fox, melding together to tell a fun story about weird physics, dangerous jobs, and the inevitability of change.
Collider is a new ongoing Vertigo series starting next month that sees its authors returning to a high concept hook that may be familiar to readers of their previous work, but from all appearances seems to be a considerable step up in style from the already enjoyable comics they've created before.
It took a special kind of artist to bring Stephen Colbert's Tek Jansen to life, but Robbi Rodriguez is a special man. He's got a brisk, Tim Sale-meets-Jim Mahfood lightness to his work that manages to give his subjects energy while simultaneously keeping design elements fresh and dramatic as needed.Rodriguez's blog is filled with brilliant commi