Vengeance of Vampirella 23 page 24 splash by Ed McGuinness & Nathan Massengill
Artists: Ed Mcguinness (Penciller) , Nathan Massengill (Inker)
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DescriptionA fun and veeeeeeeeeeery early Ed McGuinness splash. This must have been his third published issue but I was already paying attention to his Capcom influenced art (and loving it).This one has some (hopefully) fun backstory to it. Ed's art was probably my earliest target in collecting art at the early days of the Internet. My first significant buy was his Supreme variant cover (visible in this very gallery). But I continued cruising the web and found Nathan Massengill's website. He was inking Ed on Vampi related stuff and I bought two splashes from him. One is sadly long gone and the other was the unpublished version of this very page that you can find here (with a tiny scan that I lifted of his site back when): https://www.comicartfans.com/gallerypiece.asp?piece=79998 Now when this one popped at auction recently, I thought it would be fun to reunite the two versions under the same roof 🙂 It's always fun to compare the two versions in such occurrences. The published version is obviously better here in concluding the issue in the sense that it offers better storytelling in showing the two protagonists as well as a much better angle to the scene. The negative space used to define the trees and the splatter of inks to fill the space between is fun. You can tell that these are young artists not having fully mastered their craft simply trying things and throwing effects around to see what sticks. The werewolf's musculature, mostly defined in shadows & inks is the most impressive technical aspect of the piece and my own favorite. The pose of him on four legs looking up to his mistress is also nice. Gotta love the worm view and the perfect symmetry of his torso 🙂 It kind of reminds me how werewolves were portrayed by Whilce Portacio in Wetworks around the same period. And though I don't remember who that nearly fully silhouetted villainess is (is that Nyx?) you HAVE TO love the fact that they managed to showcase her nipples in (despite the fact that she is seems to be clothed). That is perfectly acceptable good taste, obviously in tone with the titillating aspect of Harris production back when. Comparing this splash to the unpublished one, you get the same sense of perfect symmetry to the werewolf body and a nice drop of saliva. The interesting bit is that the inks are much sharper on the unpublished one (not that you can see it). Probably due to the fact that it came first and that the second was a bummer to draw/ink again under most likely a reduced deadline. A fun addition to the collection, reuniting the two as the odds of that happening were thin. ps: let's not forget to underline the atrocious coloring as it really conveys a touch of amateurism to the page which looks much more professional in b&w. Social/Sharing |
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Jared Michalski
Member Since 2004
1 - Posted on 1/2/2022
I was enamored with Ed's work as a teenager as soon as I saw him debut Deadpool. I quickly found some back issues like this and the Wolverine annual he drew. Its amazing that he hit the industry so young with a style that was already fully formed.
Rick W 
Member Since 2017
1 - Posted on 1/2/2022
An alluring bold piece! Nice use of spatter and negative space.
Ruben DaCollector
Member Since 2008
2 - Posted on 1/2/2022
"...young artists not having fully mastered their craft..." is an understatement. This is literally an example of two young artists at the start of their careers just beginning to learn their craft. The negative space used to define the trees and the ink spatter is by far the best part of this piece. Always fun to go back and see how raw any artist was right after breaking into the biz. And yes, the coloring is as atrocioius as you'll find. A combination of the colorist not being ready for prime time and having to learn their way around early computer coloring software. Interesting historical piece!
Marcus Wai
Member Since 2005
2 - Posted on 1/2/2022
It's the mid 90's and this is what you wanted out of an outsider imprint (Harris) title to make an impression. There's a freedom and rawness to it that speaks to the age that celebrated taking chances and being bold before the party ends in that impending Y2K apolcalypse.
James Dornoff
Member Since 2019
1 - Posted on 1/2/2022
Congrats on reuniting some pieces, that's always a great feeling and ability to do.
J H
Member Since 2019
1 - Posted on 1/3/2022
I always enjoy your write-ups, FM. I nearly always learn something. :) And as for the coloring job...yeesh. You can definitely feel the newness of the artist through the work. Ed does not have that gritty style and confidence here yet, but you see the talent. I'm a fan of the spatter, too. Very cool to have two examples to show his growth. Congrats!
Jason Hussa
Member Since 2017
1 - Posted on 1/10/2022
Great pick up, F M! Terrific move to "reunite the lost brothers" (as it were). Very interesting to compare the two versions as well, and I'm in complete agreement that this version is the one more deserving of publication from both a storytelling "chapter stop" and artistic execution; really nice inking touches with the negative space of the trees and that great spatter background. And you're right; finding a cool early McGuinness piece is really fun. He was so good so soon after he broke on the scene (and established himself so quickly, it felt like) that it's really illuminating to see him close to the start of his great career. A great way to kick off 2022. Happy new year (and congrats), F M! :)
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