→ Play The Interactive Version!

The nifty interactive version was coded by my friend @mentalguy. Or if you to print it out, download the PDF (page 1 / page 2).

The Modern Superhero Comic Event Picker was inspired by an episode of the 3 Chicks Review Comics podcast in which they joked about someone making a “grim n gritty wheel.” I decided to give it a shot, but it ended up transforming into a modern age gimmick generator — because what is grim n gritty now, other than another gimmick?

DEATH OF WOLVERINE #4… Editor in Chief: Axel Alonso… Editor: Mike Marts… Consulting Editor: Katie Kubert… Assistant Editor: Xander Jarowey… Why are so many editors needed for just one issue? What are their roles? Do they all sit around the table and talk about the comic with each one of them being a bigger deciding factor than the other? Do all of the editors work in the same building? That job strikes me as epic in scale for some reason, but I just don’t understand why.


This is a fine question, so let me break it down a little bit.

First off, yes, everybody works in the same building.

The Editor in Chief oversees the whole line. Typically, he won’t be heavily involved in any one particular book—but on a big Event such as DEATH OF WOLVERINE, he might be, at least at the initial conceptual stages.

The Editor is the man in charge. He or she hires the creative team, sets the editorial agenda, manages the schedules and oversees the work. Editor is the primary credit. The editor will read the scripts and review the artwork as it comes in and give notes and make corrections as necessary. My job title is Executive Editor, but when I perform these duties on a comic book, the credit I take is Editor.

Assistant Editor is just what it says, the Editor’s assistant. This is a more junior position. The Assistant is primarily concerned with the nuts-and-bolts of the job, making sure that files get to where they need to be, making sure that artists have paper and reference, and that corrections get back to the letterer to be made, and a million other basic tasks that go into making a comic book. The Editor may do some of this stuff himself depending on the day or the need, but the Assistant is carrying the bulk of the weight here.

Consulting Editor is also what it sounds like, an editor who is not directly responsible for the book in question but who is participating as a consultant for some aspect of the story in question. It is only a guess, but given that Mike Marts is an Executive Editor overseeing the whole of the X-Men and Guardians lines, my supposition is that it was advantageous for him to have a second keeping an eye on DEATH OF WOLVERINE at all stages, and that was Katie Kubert, just as Wil Moss typically fulfills that role for me.

And each of these people is also juggling about a dozen other titles at the same time—which is why you need so many of them, and why things are always somewhat frazzled around here.


All-New X-Men double-page spread by Sara Pichelli. Words by Brian Michael Bendis, colors by Marte Gracia.

Je crois que je ne réalise jamais assez l’apport des coloristes par rapport aux planches en noir et blanc…


Danger may have been seen as harsh when she rebuffed Warlock’s initial attempts to impress her, but she has good reason to be wary of any male-identifying digital mind trying to get her attention, as even AIs aren’t safe from “nice guys”.

Astonishing X-Men #43: Whispering Machines, by James Asmus and David Yardin


It’s a two-fer! Courtesy of @dcwomenkickingass, and specifically this post, I had to do an edit of these, while my storyboards wait. 

I’m not going to go into long explanations here, I hope the drawings do speak for themselves. In the first case, it’s a Land being Land, although I do have to say that he did give a butt to Silk, as opposed to his usual ablation of hips and gluteus maximi. However, he unfortunately did it wrong. 

Artistic anatomy is all about drawing structure, from the inside out. Your muscles by themselves can’t look right if they aren’t placed on top of a properly proportioned skeleton.  Boobs won’t look right if they aren’t drawn as following the curve of the ribcage, its center line, or the movement of the arms which either pull or push on the pectorals on which the breasts hang. The arms back mean the shoulders are lowered, and the angle of the hands will be different since there’s a ¾ turn on the torso. It shows that Land is drawing by guessed shapes, copied contours and practiced repeated motions. There’s no real structure underneath his shapes.

And if we look at the legs, I can only picture Kitty Pride phasing out of a wall: the legs look like they got mangled up to look like stumps. But even structure-wise, there is no thought put into whether the pose actually works, which is why it looks so clumsy. The legs should be reversed due to the line of action that’s in the torso but not followed through into the pelvis and legs. And I’ve been using the coil technique a lot in order to make my volumes work – it should be obvious by the roughs above – which help me figure out things like foreshortening. 

Silk too was a problem of lack of structure, proportions all over the place, and lack of weight and purpose, but it felt moreso than Spiderwoman. I used the same pose Land did but worked out the skeleton first, using rotation arcs in order to properly proportion the length of the various limbs. I don’t know these characters and I might not have used these poses, but Silk here definitely looks like she’s dancing.

The variant cover by Manara looks like a pose right out of porn, pelvis up and cheeks spread, costume looking like body paint, and it makes me very uncomfortable. She doesn’t look like a superhero about to strike, she looks like she’s about to get… well, it’s a porn pose. This is sexualisation. It also reminds me of the Dog Bone sexy shape. 

So I turned the pose sideways to figure it out, and to see what would work better. The sideways pose as is, as you can see, is angled to do quite the opposite of ass-kicking. Were she to try to leap from that pose, she’d fall flat on her face. The second pose is the “coiled like a spring”, but in the camera angle of the cover, it’s an ugly, ugly pose. So I tried to do something in-between, and just by making the pelvis horizontal and lifting the torso off the ground, I’ve managed to move the center of gravity so her weight is on her feet instead of her knees, she can use her arms to maneuver in most directions, and you still get an interesting body shape to look at. I think this works better, and much more ready to spring into motion.

Wanted also to say thanks for all the reblogs, likes and recent follows! I appreciate each one of them, and it’s because you’re still sharing and commenting that I came back to do this. However I’m still really busy! I won’t be posting a lot, but I do plan on posting more than I have. Back to storyboards for me! 

I think there will be post-Watchmen comics, probably some good ones, like the thing from Dark Horse The American: a superhero who has been a patriotic symbol for the government since the ’40s, but there’s something very strange about the way he works: he keeps getting killed, or reported killed, and then he turns up again and calls a press conference. It’s a beautiful strip and it’s got that Watchmen flavour. I will say this: I’ll bet my arse that within 6 months or a year, everyone will be sick to the back teeth of realistic superheroes.

Alan Moore being very wrong in 1988. From here. (via kierongillen)

Ms Marvel recently went to its sixth printing, a rare accomplishment in comics today. But chatting with Marvel executives at San Diego Comic Con I discovered more. That it sells more in digital than print, and that includes the first issue.

Relevant to something I was wondering about yesterday. (From here.)

Oh, interesting.

(via postcardsfromspace)