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Post by MRPs_Missives on Feb 21, 2024 4:03:57 GMT -5
Those sales numbers are.....super   -M |
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Post by codystarbuck on Feb 22, 2024 12:41:38 GMT -5
I posted this in the RIP thread; but, actor Paul D'Amato, of the movie Slap Shot, passed away. He was the visual inspiration for John Byrne's interpretation of Wolverine...  He was a perfect choice (mutton chops and wild hair, for a start) as his character "Dr Hook" Tim McCracken is wild and violent and aggressive.... |
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Post by berkley on Feb 22, 2024 15:01:03 GMT -5
His sideburns are better than Wolverine's, Byrne should have left them alone.
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Post by codystarbuck on Feb 22, 2024 18:32:38 GMT -5
His sideburns are better than Wolverine's, Byrne should have left them alone. Except Cockrum had already established that look; so, Byrne was kind of expected to follow it through. He used D'Amato more as a way to give Wolverine a more distinctive face and heavier eyebrows and make his face more expressive (I'm guessing) As it was, Cockrum was borrowing from Timber Wolf, in the Legion.  Byrne could have had him trim the mutton-chops; but they'd just grow out in a day. I assume the Canadian Armed Forces got sick and tired of giving Logan a crew cut and see it be out of regulations 4 hours later. They probably just gave him a chit to show any higher ranking officer who tried to charge him (assuming they survived his reaction) In his first issue (Uncanny X-Men #108), Byrne pretty much sticks to Cockrum's model. In the next issue, #109, where Weapon Alpha/Vindicator/Guardian/James Hudson attacks Wolverine, he starts using the D'Amato -inspired look and he did rein in the muttonchops.....  I find it interesting that he depicts Wolverine holding his mask like it is a helmet and not cloth, which was different. maybe his hairstyle was just an extreme case of "helmet hair." Byrne's drawing of the mutton chops varied a bit, depending on the shot.....  with them appearing longer in side shots and long shots, than in some others. It's not that different than Cockrum's first close-up of Wolvie (there is a long shot on the previous splash page)....  My guess is Cockrum used the mutton chops to steer the face away from Timber Wolf Though I suspect he chose the look for the same reason, to create the lupine or vulpine silhouette, even though a Wolverine is a badger, with a bad disposition.  |
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Post by codystarbuck on Feb 22, 2024 18:36:18 GMT -5
ps it's ironic that Byrne's redesign for Wolverine's costume brought him back closer to Timber Wolf, even more than the Fang costume, that sort of preceded it, in X-Men #108
Once they worked it out, Hugh Jackman's hairpiece and sideburns end up looking more like Timber Wolf, too.
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Post by Icctrombone on Feb 22, 2024 18:43:11 GMT -5
You're probably right but, One character took off and the other didn't. Superman is world known but Captain ( Shazam) Marvel is not. No one can predict why one character becomes so popular and others just languish.
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Post by Ricky Jackson on Feb 22, 2024 19:30:48 GMT -5
Captain Marvel took off huge in the 40s, outselling Supes at one point
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Post by kirby101 on Feb 22, 2024 21:07:01 GMT -5
You're probably right but, One character took off and the other didn't. Superman is world known but Captain ( Shazam) Marvel is not. No one can predict why one character becomes so popular and others just languish. We know exactly why. In the 40s, Captain Marvel was more popular than Superman. DC sued Fawcett saying CM was a ripped off of Supes. They won and Fawcett stopped publishing. By the time they revived Cap Marvel in the 70s his audience was gone. Often it's not the books but the business behind it that causes hits and misses. |
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Post by EdoBosnar on Feb 23, 2024 3:45:41 GMT -5
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Post by MDG on Feb 23, 2024 7:38:40 GMT -5
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Post by tarkintino on Feb 23, 2024 10:21:23 GMT -5
There were many artists ill-served by the pivot to superheroes. Most notably for me is Sekowsky, who made the JLA look stodgy (especially in comparison to Marvel's product) but was amazing on spy/adventure and humor comics. I think that also applied to Dick Dillin, whom I always liked on the Blackhawks, where his pencils were well served by Cuidera's inks. Never cared for Giella's or McLaughlin's scratchy styles on Dillin's pencils on JLA. , despite being DC's leading team book, was incredibly ill-served with being hit with runs from two artists least suited to superhero art. Sekowsky was the DC equivalent of Heck, with that plain, sketchy style never allowing the characters to live up to their larger than life sense of adventure. Then there was Dillin, who attempted to stay on model with character design changes, particularly in the early 70s, but he ramped up the sketcy look, and made everyone appear as if they missed a few weeks' worth of meals. Silver & Bronze Age JLA was one of those titles that was the textbook example of of having a number of great, memorable covers, while suffering from some of the most uninspired interiors of the same period. |
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Post by Prince Hal on Feb 23, 2024 13:10:58 GMT -5
I think that also applied to Dick Dillin, whom I always liked on the Blackhawks, where his pencils were well served by Cuidera's inks. Never cared for Giella's or McLaughlin's scratchy styles on Dillin's pencils on JLA. , despite being DC's leading team book, was incredibly ill-served with being hit with runs from two artists least suited to superhero art. Supposedly, neither Dillin nor Sekowsky ever balked at drawing JLA, which despite its seeming importance for DC, was a hot potato because it was a team book and ergo that much more of a pain to draw. And Dillin had a reputation for getting his work done on time. |
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Post by MDG on Feb 23, 2024 14:32:26 GMT -5
Justice League of America, despite being DC's leading team book, was incredibly ill-served with being hit with runs from two artists least suited to superhero art. Supposedly, neither Dillin nor Sekowsky ever balked at drawing JLA, which despite its seeming importance for DC, was a hot potato because it was a team book and ergo that much more of a pain to draw. And Dillin had a reputation for getting his work done on time. Sekowsky seemed to be able to compose panels with a lot of figures without making them seem overcrowded. And Dillin had 20 years experience on another team book--Blackhawk. I think Schwartz's only art requirement was, "Can you tell what's going on?" |
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Post by Chris on Feb 23, 2024 14:59:31 GMT -5
I liked Dillin's JLA! His layouts were great, scenes were energetic, and he could depict multiple actions in a panel clearly while carrying the reader's eye along to the next panel. Supposedly, neither Dillin nor Sekowsky ever balked at drawing JLA, which despite its seeming importance for DC, was a hot potato because it was a team book and ergo that much more of a pain to draw. And Dillin had a reputation for getting his work done on time. Sekowsky seemed to be able to compose panels with a lot of figures without making them seem overcrowded. And Dillin had 20 years experience on another team book--Blackhawk. I think Schwartz's only art requirement was, "Can you tell what's going on?" I really can't blame Schwartz for that at all. |
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Post by Roquefort Raider on Feb 23, 2024 16:32:51 GMT -5
I posted this in the RIP thread; but, actor Paul D'Amato, of the movie Slap Shot, passed away. He was the visual inspiration for John Byrne's interpretation of Wolverine... He was a perfect choice (mutton chops and wild hair, for a start) as his character "Dr Hook" Tim McCracken is wild and violent and aggressive.... I had no idea. That's pretty darn cool!!! I knew that Byrne had based members of the Hellfire Club on Peter Wyngarde, Orson Welles and Donald Sutherland (and Jean Grey on Raquel Welch, as I recall) but this is news to me! I can really see it. D'Amato is just perfect for the early, crazy Wolverine. |
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