Amazing Artist Nathan Fox

Spider-Man Without Humility

Spider-Man Without Humility

I just stumbled onto the website for this amazing artist and graphic designer named NATHAN FOX. He’s got a great website that is a pleasure to browse – you may get more out of it if you have 3-D glasses.

The artist really reminds me of Geoff Darrow, which is great because I can’t get enough of Darrow’s work.

Spider-Man has always been one of my favorite subjects. I love seeing some of the more sophisticated and contemplative takes on our more familiar and beloved comic book heroes / characters. Another great example of this is the Moebius rendering of the Spider-Man figure.

Moebius Spider-Man

Moebius Spider-Man

Mightygodking.com » Post Topic » Peter Parker and his Damn Good Excuse (or: “Everybody seems to think I’m lazy…”)

I just found this great post over at Mightygodking.com. The article deals mainly with Spider-Man’s secret identity, Peter Parker, and considers some of the problems that have stemmed with writing a character that has had to remain the same age for forty years. Batman’s story writers have had to deal with the same problem as well, as well as several “future” Batman storylines.

New Dark Future From Frank Miller?

One good thing about entering an economic downturn: a new dystopic classic from Frank Miller is undoubtedly around the corner. Miller has created three titles set in separate dystopic futures: Ronin, Hard Boiled, and Give Me Liberty.

I recently spent some time re-reading some of my favorite Frank Miller works. These are some of my favorite favorites. I don’t know where he gets this stuff from, but it makes me smile inside when I see something on CNN that looks something he made fifteen years ago.

I recently learned that Miller frequently has his characters attacked in the groin area.

Some dark futures, although fantastic, exceed their believability. The Mad Max world is just unrecognizable from our own. The same goes for most post-WMD apocalypses, be they germ/zombie- or nuclear-oriented. Most films just generally fall flat in this department, lacking either credibility (“Where did all that sand come from?”), story (See Planet of the Apes), or both (See Class of 1999).

Miller’s worlds are believably scary. Take Ronin for example. Set in the midst of a global economic depression that has spanned much of the 21st century. All you see of the world in Ronin (1983) is small parts of what is left of midtown Manhattan; this world has devolved to exhibit little difference from thirteenth century Japan. If anything, this world is more savage. Again, maybe it is the medium, but I believe the tones of these stories challenge the vocabulary of the screen.

In Give Me Liberty (1990), Miller depicts a less fantastic world, set much closer to the present. He shows us a close-up view of a Chicago housing project though the eyes of a young woman named Martha Washington. To call this existence grim is to understate the obvious. Washington has to dress like a boy to avoid getting raped on the way to school.

Needless to say, Miller wrote this story after he left DC.

Like the world of The Watchmen, in Give Me Liberty Congress has repealed the 22nd Amendment, allowing the President of the United States to continue to be re-elected after two full four-year terms. Our armed forces are engaged in conflicts across the globe. Corporate greed and the avarice of the ruling class are destroying the nation.

It may be coincidence, but it is on the on the heels of periods of economic hardship like the one we are in now that Miller has created his darkest worlds.

Why It's So Hard to Make a Blockbuster Based on The Punisher

Punisher: War Zone may get it right. We’ll see. I discarded my collection of War Zone issues (I had two copies of Volume I Issue 1) about four years ago. It was a way cool series in the late eighties – early nineties. Especially the Wolverine crossover that was set in Africa. Those were what first got me really into Jim Lee as an illustrator. That, and Uncanny X-Men #248. Whoo-weee. That was some mighty pencilling.

But, I digress.

The Punisher is Marvel’s answer to Batman, if for no other reason than he is a comic book hero of the urban-superpowerless-metalegal vigilante who’s family was killed by criminals and has lots of cool gadgets. He is unique to the Marvel Universe for other reasons. He is generally considered by the mainstream heroes to be a criminal. He was originally introduced as a foe for Spider-Man to thwart. The cover of that issue depicts an Oswald-esque Punisher on a rooftop taking aim through the scope of a sniper rifle. In fact, he doesn’t really fit any of the criteria of a super-hero. He’s basically a criminally insane sociopath who’s super power is his passive-aggressive grief.

The Punisher character is more like a cinematic action hero who has been ported over to the comic book medium. No wonder it’s so hard to get the character and his story back into movie form. They’re already on loan from the film industry. He’s a Martin Riggs / John Matrix / Parker Barnes . But waaaayyyyy out there.

This isn’t the hero who ties up the bad guys and calls the cops to tell them where they are. When The Punisher bests the mob boss, he doesn’t cuff him and call the cops; he ties him up in sausage links and feeds him to his own guard dogs.