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Mike Deodato Jr., current penciler for Dark Avengers. He's actually said in interviews that it's a combination of Tommy Lee Jones and Al Gore. But the hair is all Osborn!
I know the hair is Osborn; but sometimes when artists make a character "look" like a bonafide actor or figure, it can be distracting. Like when some artists make Superman look like Christopher Reeve or Brandon Routh, or a few that made Logan look like Hugh Jackman, or Xavier like Patrick Stewart, shortly after those films came out. Larocca's NEWUNIVERSAL was full of panels where you could guess who he was "casting" in the parts. For me it is distracting, even if I understand pencilers using real faces as a "base".
I usually do too, and Tommy Lee Jones as Osborne was annoying at first when he started it bak during Sins Past, then in Thunderbolts, but I eventually got used to it and now I don't even notice the Tommy Lee Jones anymore. It's just the way Norman Osborne looks.
I know the hair is Osborn; but sometimes when artists make a character "look" like a bonafide actor or figure, it can be distracting. Like when some artists make Superman look like Christopher Reeve or Brandon Routh, or a few that made Logan look like Hugh Jackman, or Xavier like Patrick Stewart, shortly after those films came out. Larocca's NEWUNIVERSAL was full of panels where you could guess who he was "casting" in the parts. For me it is distracting, even if I understand pencilers using real faces as a "base".
I also think it's distracting, it takes me right out of the story because guessing who the actors are is exactly what you end up doing.
Although, I love seeing Gary Frank draw Superman as Christopher Reeve. That seems natural to me. Hell, that's the only reason I bought the Action Comics 'Brainiac' arc a few months ago.
eh it kinda depends sometimes it plays out ok if they don't go with direct interpertations but just incorporate an actor into a character's design rather than just make the character look like the actor. Identity Crisis had some pretty good and pretty bad examples of this. I liked Calculator James Woods.
It's distracting for the same reason a bad performance from an actor in a movie or TV show is distracting: you wind up seeing the actor rather than the character, and that takes you out of the story.
I usually do too, and Tommy Lee Jones as Osborne was annoying at first when he started it bak during Sins Past, then in Thunderbolts, but I eventually got used to it and now I don't even notice the Tommy Lee Jones anymore. It's just the way Norman Osborne looks.
Yeah, exactly. It's pretty old news at this point. Literally years old actually.
But when Deodato is doing the best work of his life right now on DA, it really overshadows a similarity in appearance displayed in one character in the entire comic.
Yeah, exactly. It's pretty old news at this point. Literally years old actually.
But when Deodato is doing the best work of his life right now on DA, it really overshadows a similarity in appearance displayed in one character in the entire comic.
Trinity is nowhere near as bad as Countdown. The only problem I find with Trinity is that it's a story that shouldn't have been 52 issues, but more like 6 - 12.
I know the hair is Osborn; but sometimes when artists make a character "look" like a bonafide actor or figure, it can be distracting. Like when some artists make Superman look like Christopher Reeve or Brandon Routh, or a few that made Logan look like Hugh Jackman, or Xavier like Patrick Stewart, shortly after those films came out. Larocca's NEWUNIVERSAL was full of panels where you could guess who he was "casting" in the parts. For me it is distracting, even if I understand pencilers using real faces as a "base".
I think very few artists can make that work. Gary Frank makes the Christopher Reeve look for Superman work very well. Deodato makes the Tommy Lee Jones look for Norman Osborn work.
Trinity is nowhere near as bad as Countdown. The only problem I find with Trinity is that it's a story that shouldn't have been 52 issues, but more like 6 - 12.
I stuck with it all this time because it's not terrible, but it's still too slow. Far too slow. Plots take far too much time to resolve and yet when they do, it never deserves the time that we put into it.
Off the top of my head, we spent like two whole months following Hawkman and the JSA around as they built...mystic strongholds or whatever, bit by bit by bit, weeks after weeks, going around the world as they claimed and lost territory (mostly lost), and then at the big battle none of it mattered at all because the Trinity literally just waves their hands and the chaos rifts whatevers go stable again. I literally stared at the page mouthing "WHAT" for three minutes when I read that. The entire Hawkman mission was cocking pointless in the end.
The John Stewart mech-possession thingy was some kind of crazy subplot that's been going on since the first few issues of this series and yet now we find out it's just some random Qwardian cosmic space dog thing that has ****all to do with John and now it's serving Krona or something because...something. It's just some space dog that serves Krona now, I don't know what the hell it had to do with any of this series' themes or...I dunno. I just don't know why I should care about it.
Like I said, I read 52, and then I read this, and it just makes me realize how badly we're getting gypped with this. It's not Countdown because the writing and the characterization are all still leagues upon leagues better than what Countdown crapped out, but I'm going to go ahead and say that the plotting is at Countdown levels of unsatisfying and the pacing is at Countdown levels of inefficient. And has been for an unfortunate while now.
Take heart, those who are losing interest in TRINITY; due to diminishing sales, I can't imagine DC will do another weekly series in 2009 after TRINITY ends. I mean COUNTDOWN sold worse than 52, and Trinity has sold worse than both. I don't see the point in a weekly series if it can't sell within the Top 15 or even the Top 20. If DC is smart, they will considering having 3 weekly series for 3 straight years a feat and use that talent on other books. Busiek and Bagley on JLA perhaps?
Sadly, DC has usually proven to have even dumber and more backwards decisions than Joe Q for several years now, so who knows.
Take heart, those who are losing interest in TRINITY; due to diminishing sales, I can't imagine DC will do another weekly series in 2009 after TRINITY ends. I mean COUNTDOWN sold worse than 52, and Trinity has sold worse than both. I don't see the point in a weekly series if it can't sell within the Top 15 or even the Top 20. If DC is smart, they will considering having 3 weekly series for 3 straight years a feat and use that talent on other books. Busiek and Bagley on JLA perhaps?
Sadly, DC has usually proven to have even dumber and more backwards decisions than Joe Q for several years now, so who knows.
Bought Old Man Logan and GLC 34, both were awesome. GLC had Mongul rip out the tongue of Arkillo! It was awesome. We got too see a huge dead Hank Pym in OML. I am lovin both at this point, why is OML getting like NO press?
I see. Yeah, DC has no brains. 2009 is not the time for a weekly comic. But I guess so long as it is selling like 25k at least, it'll be worth it for 'em.
After being incredibly busy on Wednesday, lazy on Thursday, drunk off of my ass on Friday, and hungover on Saturday, I've finally written my weekly reviews. As always, they're mirrored at my website.
ANGEL #19
Writer: Kelley Armstrong
Penciler: Dave Ross
Publisher: IDW
While Armstrong and Ross seem to be setting up a new, interesting status quo, something feels off about this issue. Very off. Specifically, the characters are almost unrecognizable. Angel himself is okay for the most part, but Kate might as well be a new character altogether. She doesn't resemble the actress, and it's difficult to imagine the original actress doing or saying some of the things the Kate in this comic does and says. Gwen is another character who no longer resembles her actress (in fact, she looks a bit like a dude), and appears to have an all new personality. Not only is her personality different in terms of what it was during her few episodes of the TV series, but she's also written differently from how she was a few issues ago.
As for the story, Angel spends this issue teaming up with a were-cat named Desdemona, a would-be assassin who defects and decides to help Angel for no givven reason. Meanwhile, Connor has decided to officially join the team, with Gwen tagging along until he forgives her for what she did while they were in Hell. Later, the team heads to the hospital, where they encounter one of the strange men who propositioned Angel during the last issue. It turns out he's an angel (complete with wings), and he says that he has a message from Cordelia.
Angel is currently a comic with the potential to be interesting once again, but is falling short. Armstrong has only started, however, so it might be worth seeing where she's going.
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UNCANNY X-MEN #507
Writer: Matt Fraction
Penciler: Terry Dodson
Publisher: Marvel
Previously in Uncan-- WHO CARES? FIGHT! FIGHT! FIGHT!
This issue starts with a bang. Two bangs, in fact. On an island between Japan and Russia, Beast and Archangel's team are getting ready to fight a monster that somewhat resembles but is clearly distinct from Godzilla. Dr. Nemesis gets a few good one-liners in during this scene, and Beast explains that he wanted to call their team the X-Club, named after the group of like-minded scientists associated with Charles Darwin. Archangel also uses this time to transform into his old Death form, revealing to Beast for the first time that he has this new transforming ability.
Meanwhile, back in San Francisco, Colossus and Emma are getting ready to take on the woman-smuggling Russian mafia types that Colossus encountered earlier. Colossus starts the fight in his metal form, but transforms back to flesh for his one on one fight with the tattoo-powered old man. The old man manages to smash a bottle across his face and graze him with a bullet, but Colossus manages to beat him into submission. Using his vaguely defined telepathic tattoo powers, the old man senses Colossus' loss, and creates a tattoo on his own chest that appears to be a collage of Kitty Pryde. In the end, Colossus goes to a tattoo parlor to get a tattoo of his own. Meanwhile, Cyclops is busy burning his bridges with the mayor of San Francisco, Pixie and Armor are hanging out, and the High Evolutionary has found a way to give Magneto back his powers.
This issue was fun, action packed, and amusing in a few places. Fraction also attempted to explain one of the hanging plot threads from issue #500. That still doesn't excuse how horribly written #500 was, but it's nice to see some things explained. This same scene also touches on the end of "The Extremists" arc, where Qwerty's book of predictions said that Magneto still had his powers. It was also nice to once again see Armor with Pixie, as Armor has been mostly neglected outside of the rarely seen Astonishing X-Men.
X-FACTOR #41
Writer: Peter David
Pencilers: Valentine De Landro and Marco Santucci
Publisher: Marvel
Once again, Peter David has issued a personal plea to hold back on the spoilers when discussing his comic. So instead, I'll just say that I loved every moment of this issue, and show you this picture of Darwin and Strong Guy, just for fun:
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YOUNG X-MEN #12
Writer: Marc Guggenheim
Pencilers: Rafa Sandoval and Daniel Acuna
Publisher: Marvel
It's the final issue, and time to say goodbye to the Young X-Men. This issue was a mixed bag if there ever was one. All of the scenes that take place during the present are just great. The characters all mourn Dust's death, we're shown that Ink really does care about the team, and there's a tender reunion when Ink sacrifices himself to bring Dust back. There's also this moment which I found particularly interesting (hidden in a spoiler tag below), where Anole decides to quit the team, and nearly breaks the fourth wall when he talks about how often his teammates die. I also happen to love Rafa Sandoval's artwork.
This is all thrown off kilter by the future sequences, in which it is heavily implied that Ink's attempt to resurrect Dust caused her to lose her soul and become evil. And that's how the book ends: with us knowing that Dust will become evil one day. It's a horrible downer for an otherwise good final issue.
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