This is a comic unlike anything I have ever read, and certainly one of the most original books so far this year. But best of all, this is a comic that could only exist in this medium; this is not a pitch for a movie, or a property to be merchandised, or a novel with pictures. This is an excellent ride that can only be taken panel by panel, and it revels in the form. It’s exactly the type of project that gets me excited about Comics, and what comics are capable of.
§ Laura Hudson engages in comparative literary analysis with FLEX MENTALLO and FINAL CRISIS:
I recently caught up on Final Crisis (alongside Douglas Wolk’s helpful annotations) and subsequently read Flex Mentallo for the first time, something Matt Fraction advised me to do at last year’s Comic-Con that I wanted to accomplish in less than a year. Both are Grant Morrison works that involve themes of alternate realities, death wishes, and the apocalypse (as well as some more direct shared references) that stood out to me.
I guess the thing that resonated most with people is my rant about Alex Ross, and I just don’t feel like turning my recollections about this wonderful panel I was on into a bitch-fest about Ross, but … ah fuck it: It’s not just Ross, it’s this culture of photo-referencing in comics that grinds my gears. It’s true, I hate Ross’s work. He’s got great technical ability, but big deal. Why is copying the nuances of a photograph such an achievement? That’s not drawing! He’s the worst example for a young artist to have, the worst role model. No one has done more harm to the form than Ross. It’s not comics he makes. It’s fumetti. There are no real panel-to-panel transitions as there are in “pure cartooning”; he’s just putting photograph next to photograph in a way that some find pleasing. But it’s not comics.
Yes, yes, I know what you’re thinking: NORMAN ROCKWELL. See the comments on this for the answer.
§ KC Carlson on what it takes to be a good comic book editor:
As an editor, your key role is to make the creative people that you work with look great and inspire them to produce exceptional art. You are, confoundingly, the most important and the least important part of the creative team. You are also, generally, the least creative person on the team, but you are expected to come up with creative solutions to insolvable problems at any given second. You must be able to work with massively creative and talented creators without jealousy and without fear. You must always remember that what you are doing is a “team sport,” even if others do not.
§ Hudson Phillips on Top 5 Things I Learned at HeroesCon:
1. For the most part comics creators are some of the nicest people I’ve ever met.
I was blown away by how nice and supportive everyone was. There is something unique about the comis industry… and I believe it’s due to it’s size. No one is in comics to become famous or rich (because it doesn’t happen)… they are there because they LOVE it. And there is an immediate connection over that. Creators want other creators to become successful. They want to embrace new readers… to grow the industry. There is a love of craft that I haven’t found in any other industry. It reminds me of the local music scene growing up.