Dmitry Stepin — Tom, what's your problem with the battle boards? I...

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See, that’s what the app is perfect for.

Sounds perfect Wahhhh, I don’t wanna
brevoortformspring

Anonymous asked:

Tom, what's your problem with the battle boards? I see you mentioning them every now and then and how nonsensical they are, but the people arguing fights between characters (which are a big part of comics) are pretty much some of the most hardcore comic readers outthere. They spend hours to research stuff characters have done and they spend an equal amount of time in writing theories on how fights might go. And here we have you, saying that they can f*** themselves. Why?

brevoortformspring answered:

There’s absolutely nothing wrong with Battle Boards. Talking about comics and arguing about the abilities of the various characters is one of the fun things that people enjoy about reading the books. I don’t have problem one with them.

What I have said, many times, is that I’m not going to get into any Battle Boards-style questions in this forum.

For one thing, they’re just not of great interest to me after all this time. (The real answer to any Battle Board conflict is “Whatever serves the story better.”)

But really, after all of this time, I know exactly how this goes. On Battle Boards forums, nobody is ever convinced of anything. It’s exceedingly rare for anybody to change their position.

So one person comes to me for a ruling on some scenario, and I give them my answer. If they dislike it, they then spend the next couple of days writing post after post disputing it. I’ve got a few of these in my stack of unanswered questions right now.

But if they do like it—if it agrees with their position—then they run back to the Battle Board and proudly convey it to the people they’re arguing with (typically with a bit of “suck it” attitude, because they’ve been proven right.) And then all of those people descend on this forum like locusts, also disputing it, but being even uglier and more insulting and more derogatory in how they use it.

Life is too short. That’s not why I have this forum.

So, by all means, engage in those conversations! Enjoy them and have all the fun in the world. Good on you!

Just not here.

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harveyjames-deactivated20190122

More Frank Miller Recolours

harveyjames

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After I made my original post about the colouring on Frank Miller’s work (and thanks for the incredible response it got, by the way) I went and spent a day or so doing a few more pages of The Dark Knight Strikes Again- because it’s addictive, gosh darn it. People who see these keep asking me to do the entire book but now I’m married it’s harder to justify Bartkira-sized, insane unpaid projects, so you’ll have to hold your breath on that one (N.B. Bartkira volume 5 coming soon). 

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I did the opening few sequences from DK2 Chapter 2, because people seem to think of this section, starring the Superchicks, as the most shockingly poor part of the book. As you might have predict, given my lifelong propensity to being the guy who loves what everyone else hates (and vice versa), I think it’s great. It seems to be Frank’s attempt to satirise the over-sexualisation of women in 90′s superhero comics, which is funny because people don’t really file Frank Miller next to “feminist” in their mental rolodexes. But I never understood the popular characterisation of Frank as the “all women are whores” dude, since this is the man who created Carrie Kelley, Martha Washington, Ronin’s Casey McKenna, Superman’s daughter Lara, and a few more besides- check back, and you’ll see not only a myriad of diverse, nuanced female characters, but you’ll see that he was putting women of colour in lead roles about thirty years before the rest of the industry caught up. 


The sequence after that is a very interesting one, too. We’re all familiar with Frank’s most famous response to the events of 9/11- the thuddingly ill-conceived Holy Terror, which was pitched as “Holy Terror, Batman” before DC quite rightly said “hell no, you’re not telling that story with Batman” and he put white-out on all the bat ears and called it something else. Now, the reason this DK2 sequence I’m about to show you is so fascinating is because it was drawn in 2001, directly after terrorists devastated Frank’s city, and depicts Batman flying the Batplane straight into an American skyscraper, leaping out, and then killing and dismembering The Secretary Of State, a four-star US general and the Chairman Of The Joint Chiefs of Staff- before carving the Zorro symbol into the face of the President of the United States (or at least, the President’s evil puppetmaster). “Striking terror. Best part of the job”, says Batman. So the man who would go on to make Holy Terror drew a comic where Batman is literally a terrorist, in the year 9/11 happened.

All this is why I don’t have much truck with the people who immediately write Frank off as a bigot- for all his missteps and the ugly, unfortunate politics he’s displayed in his latter years, he’s got a track record that at the very least paints him as a contradictory, complicated human being, and to me suggests that he was once a something of a progressive and a radical before losing his way in the last decade.

This aside, the usual housekeeping and disclaimers apply to the work I’m about to show. The original colouring on this book is by Lynn Varley, and my recolouring is meant as no disrespect to Lynn, who over twenty years has built a body of work that makes her a strong contender for the best comics colourist of all time. If you don’t believe me read Ronin, which has the most consistently inventive and beautiful colour styling I’ve ever seen in a comic book. While DK2 is my least favourite work of hers, Lynn’s choices nonetheless formed the backbone of at least some the work I did on the pages you’re about to see and thus she deserves at least some of the credit. Here goes. 


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stopjamesharvey.com

gutterninjacomic-blog
gutterninjacomic

I’m sure that you’ve read at least one or two comic books in your life.

Maybe they were good, maybe they weren’t. But they had a certain structure, right? The way that panels are rearranged and stuff…

So, have you ever tried to look at what is between the panels very closely? At the very tip of a speech bubble? What if, and I’m not saying it’s true, but what if there is something? Something powerful? Something able to change the flow of
the narrative? Maybe even some kind of manifestation of the comic book itself?

And just imagine what happens if it doesn’t like featured characters: poorly written stereotypical sets of gimmicks.

Story/Script: Gleb Lipatkin (figaiskushu@gmail.com)
Pencil/Inks: Alexey Goncharov (@vaderiscool)
Colors: Dima Ivanov (@dimaiv-nov)
Letters: Andriy Lukin (@cogcomics)

Download *.cbr file: https://www.mediafire.com/?v69ioz8gk6dpvh4

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