Infected Worldmind
Who am I?
I'm general counsel for a medium-sized tax-exempt organization that helps court-involved and other at-risk populations clear barriers to success in the community.
I'm also a development/fundraising professional and provide legal advice and guidance to start-up entertainment firms.
I'm a contributor to Funnybook Babylon and my ever-expanding bookshelf is here. I infrequently write about food and take pictures.
I'm also the happiest newlywed in the world.
That's everything.
If I did Wolverine… #painting #artists #conventioncommissions #bengoesinsane #art #drawing (Taken with Instagram)
Fantastic.
-Enrique Breccia. From the unpublished “The Last Wolverine Story”, script by Joe Hill. Check out more unpublished artwork (and the full script for the series) on Joe Hill’s site. This looks pretty intriguing.
Breccia’s redesign of Wolverine is a tad busy, but very cool.
This project was commissioned in 2001 (way before Millar and McNiven’s awful “Old Man Logan” arc), but was scrapped due to editorial upheaval. I’m guessing that this ‘upheaval’ was the beginning of the Jemas era and Grant Morrison/Frank Quitely’s heralded revamp of the X-Men line.
via Project Rooftop
Logan, Laura and Charles -there’s a story in there somewhere…
When I run Marvel, the third thing I do will be to commission this story. The first two? Easy - Spider Nam and Joel Priddy’s Human Torch v. Submariner series.
I love Noto’s take on Psylocke. I’ve always held out hope that Marvel’s X-office will convert Psylocke back to her original state(1), but I’d settle for this version if Noto was drawing her. 1. Long (and silly) story short: Psylocke is a(n ethnically) British woman whose mind was transferred to the body of a Japanese woman in a Claremont penned Uncanny arc featuring sadistic cyborgs, ninjas, the Yakuza and an Australian (native) teleporter.Betsy and Logan
“Miller’s three wordless, fully packed panels recall Japanese picture scrolls as much as Kirbyist action comics, with Glynis Wein’s vibrant, perfectly restrained color job flourishing out against the empty white. The drawing, too, draws inspiration from the busy (but never crowded) compositions of print artists like Hokusai and Hiroshige, with inker Josef Rubenstein throwing in plenty of classic Marvel-style rendering for a true trans-Pacific effect. Miller goes off the grid here, eschewing the edge-to-edge panel arrangements used by the vast majority of American comics for something that has more balance than symmetry, a clean and simple layout that proceeds with much less effort than the prose-derived back and forth rows of most pages.
In fact, the whole thing is a piece of comics with a wonderful balance to it — white gives way gracefully to color, word to image, and picture to picture with a much more methodical, delayed sense of timing than the usual hit-hit-hit rhythm of action comics. These three panels, bridged by Claremont’s narration, which itself takes a good while to read, depict a great deal of time passing, with more implied than shown; not action comics’ default mode, but perfect for the agonized, lyrical staging Miller gives the scene. This sequence is so airy it floats, which is a bold approach for a scene featuring a man being shot with like a billion arrows, but Miller pulls it off with aplomb.”
-Matt Seneca, from his must-read “Wednesday Sequence” column at Robot 6. Remember when Frank Miller was a genius?
If you haven’t read it already, pick up the classic 1982 Wolverine miniseries by Miller and Claremont, collected here.
Cyclops and Wolverine, by Fabio Moon.
Daken Dark Wolverine #1, by Daniel Way, Marjorie Liu and Giuseppe Camuncoli. Mr. Camuncoli’s art is the only redeemable part of this book.
-A panel from Amazing Spider-Man: Extra! #2, reprinted in Wolverine #900, by Paolo Rivera. I love his interpretation of Wolverine, who looks like a surly middle-aged tough guy.
