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Post by commond on Sept 13, 2024 17:12:03 GMT -5
According to Byrne, Austin had a reputation for turning down work. Byrne says it's because Austin wouldn't accept an assignment that didn't fit into his schedule, and that eventually editors stopped calling. I don't know how true this is since it's filtered through Byrne. Austin worked steadily through the 90s and early 00s. As steadily as any other vet in the era. I don't know if Superman Adventures is as good as Batman Adventures, but it strikes me as a more enjoyable inking experience than the majority of books on the market at the time, though he did do work for Malibu and Image in the early 90s.
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Post by MRPs_Missives on Sept 13, 2024 17:13:59 GMT -5
He mainly worked for DC in the 90s. He had long runs on Green Lantern and Superman Adventures. I'll give you Green Lantern, but Superman Adventures is a low detail, 'easy' type of book to ink, like Sonic. I wasn't aware of his Green Lantern work to be honest. You'd think he'd have been offered more interesting stuff but maybe he was happy just cruising into retirement? If you think cleaner art styles used in books like Superman Adventures is "easy" and not requiring as much skill as other books, you need to spend some time talking to actual inkers and what goes into inking books like that. Some times simpler is much more difficult to execute because each ink line has to carry so much more of the visual and you can't hide mistakes or lack of understanding lighting and line weight under hundreds of crosshatches that cover up mistakes or lack of understanding of the craft and its techniques. Or we could sit you in a room with the ghost of Alex Toth and Darwyn Cooke and have them explain things to you (kind of a good cop bad cop pairing of ghostly creators there). -M |
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Post by commond on Sept 13, 2024 17:18:11 GMT -5
He also worked on the Steve Englehart & Marshall Rogers' Dark Detective miniseries from 2005, which was a follow-up to their famous Batman run. Apparently, it's rather disappointing, but that tends to happen when creators return to the same material thirty years later.
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Post by rich on Sept 13, 2024 17:29:16 GMT -5
I'll give you Green Lantern, but Superman Adventures is a low detail, 'easy' type of book to ink, like Sonic. I wasn't aware of his Green Lantern work to be honest. You'd think he'd have been offered more interesting stuff but maybe he was happy just cruising into retirement? If you think cleaner art styles used in books like Superman Adventures is "easy" and not requiring as much skill as other books, you need to spend some time talking to actual inkers and what goes into inking books like that. Some times simpler is much more difficult to execute because each ink line has to carry so much more of the visual and you can't hide mistakes or lack of understanding lighting and line weight under hundreds of crosshatches that cover up mistakes or lack of understanding of the craft and its techniques. Or we could sit you in a room with the ghost of Alex Toth and Darwyn Cooke and have them explain things to you (kind of a good cop bad cop pairing of ghostly creators there). -M Easier in terms of time, I meant. It's a lot quicker than inking a Jim Lee... You entirely concocted the "skill" aspect on your own. For what it's worth, Darwyn Cook was one of the few creators I followed this millennium, and I adored his work. I wish that more people had his instincts. |
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Post by Slam_Bradley on Sept 13, 2024 17:31:48 GMT -5
He mainly worked for DC in the 90s. He had long runs on Green Lantern and Superman Adventures. I'll give you Green Lantern, but Superman Adventures is a low detail, 'easy' type of book to ink, like Sonic. I wasn't aware of his Green Lantern work to be honest. You'd think he'd have been offered more interesting stuff but maybe he was happy just cruising into retirement? You're presupposing that he doesn't find it interesting or wants something different. |
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Post by rich on Sept 13, 2024 17:34:50 GMT -5
According to Byrne, Austin had a reputation for turning down work. Byrne says it's because Austin wouldn't accept an assignment that didn't fit into his schedule, and that eventually editors stopped calling. I don't know how true this is since it's filtered through Byrne. Austin worked steadily through the 90s and early 00s. As steadily as any other vet in the era. I don't know if Superman Adventures is as good as Batman Adventures, but it strikes me as a more enjoyable inking experience than the majority of books on the market at the time, though he did do work for Malibu and Image in the early 90s. I'd heard Austin was asked to accompany Byrne onto FF after he left Uncanny, but he declined for some reason, just doing some covers. As one of the most popular inkers in the biz, he didn't seem to capitalise on it much. |
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Post by rich on Sept 13, 2024 17:37:07 GMT -5
I'll give you Green Lantern, but Superman Adventures is a low detail, 'easy' type of book to ink, like Sonic. I wasn't aware of his Green Lantern work to be honest. You'd think he'd have been offered more interesting stuff but maybe he was happy just cruising into retirement? You're presupposing that he doesn't find it interesting or wants something different. I was asking options as to why he'd choose that path, if you look above. The whole question related to assumptions unless someone had some facts. |
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Post by Icctrombone on Sept 13, 2024 17:48:43 GMT -5
According to Byrne, Austin had a reputation for turning down work. Byrne says it's because Austin wouldn't accept an assignment that didn't fit into his schedule, and that eventually editors stopped calling. I don't know how true this is since it's filtered through Byrne. Austin worked steadily through the 90s and early 00s. As steadily as any other vet in the era. I don't know if Superman Adventures is as good as Batman Adventures, but it strikes me as a more enjoyable inking experience than the majority of books on the market at the time, though he did do work for Malibu and Image in the early 90s. I'd heard Austin was asked to accompany Byrne onto FF after he left Uncanny, but he declined for some reason, just doing some covers. As one of the most popular inkers in the biz, he didn't seem to capitalise on it much.This. It seems that he had better gigs outside of comics. |
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Post by commond on Sept 13, 2024 17:52:10 GMT -5
According to Byrne, Austin had a reputation for turning down work. Byrne says it's because Austin wouldn't accept an assignment that didn't fit into his schedule, and that eventually editors stopped calling. I don't know how true this is since it's filtered through Byrne. Austin worked steadily through the 90s and early 00s. As steadily as any other vet in the era. I don't know if Superman Adventures is as good as Batman Adventures, but it strikes me as a more enjoyable inking experience than the majority of books on the market at the time, though he did do work for Malibu and Image in the early 90s. I'd heard Austin was asked to accompany Byrne onto FF after he left Uncanny, but he declined for some reason, just doing some covers. As one of the most popular inkers in the biz, he didn't seem to capitalise on it much. Austin wasn't what you'd call a prolific inker. This is someone else's research, but I'll share it here: |
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Post by Calidore on Sept 14, 2024 15:55:03 GMT -5
Did the Transformers comics or cartoons ever establish where the hell Optimus Prime keeps that trailer?
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Post by codystarbuck on Sept 14, 2024 16:26:02 GMT -5
Did the Transformers comics or cartoons ever establish where the hell Optimus Prime keeps that trailer? Same place a "mule" hides the cocaine. |
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Post by commond on Sept 14, 2024 16:47:15 GMT -5
Did the Transformers comics or cartoons ever establish where the hell Optimus Prime keeps that trailer? In the comic book, the trailer remained whereever Prime left it. The different modules were used more often in the comic. In fact, it was the trailer (in its combat deck mode) that helped the Ark turn the Autobots and Decepticons into earth-based vehicles, etc. The original idea was that Prime's three modules were autonomous and that if you killed one of them you killed all three. Transformers fans later devised the theory of subspace storage pockets to explain what happened to the Transformers' weapons when they transformed. I believe this became part of the lore in later cartoons. |
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Post by jtrw2024 on Sept 14, 2024 17:46:49 GMT -5
Did the Transformers comics or cartoons ever establish where the hell Optimus Prime keeps that trailer? In the comic book, the trailer remained whereever Prime left it. The different modules were used more often in the comic. In fact, it was the trailer (in its combat deck mode) that helped the Ark turn the Autobots and Decepticons into earth-based vehicles, etc. The original idea was that Prime's three modules were autonomous and that if you killed one of them you killed all three. Transformers fans later devised the theory of subspace storage pockets to explain what happened to the Transformers' weapons when they transformed. I believe this became part of the lore in later cartoons. The IDW comics used the "subspace" theory, or at least a variation of it, having the trailer arrive wherever needed via "orbital jump" (if I'm remembering the term correctly) |
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Post by Slam_Bradley on Sept 14, 2024 19:49:24 GMT -5
The trailer assumes the form of a suppository.
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Post by Calidore on Sept 15, 2024 9:56:55 GMT -5
Transformers fans later devised the theory of subspace storage pockets to explain what happened to the Transformers' weapons when they transformed. I believe this became part of the lore in later cartoons. So basically the same place video game characters keep their gigantic swords when walking around between battles. That makes sense.
Kinda surprised they can still find their weapons/trailers/etc. amongst all the lost socks from people's dryers.
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