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Re: your description – hey, we all have a type. And we have all been there. That picture is beautifully sultry.
I normally do not reply to comments on my uploads until the next artwork is posted but it is a cause for celebration for me to find something I was not even looking for, and a good enough reason to break my own [stupid] rule. And I can now update the title of the artwork The book is still in print and while I weigh up getting a new copy – it does not feature the fantastic Fred Pfeiffer cover – I have read the internet synopsis and find that rather than being a dark psychological thriller it is more akin to the genre of “cosy crime” which is in vogue. I am way out with regards to what I thought the book would be about; it is not the first time I am wrong, and it is not even the first time I am wrong on CAF in the last 15 months, which goes to prove that you should not judge a book by its cover (and that I may be sex-obsessed, but in denial). Thank you so much for your information: it brought a big smile to my face. Don’t you just love the CAF community? – a self-enclosed society built on mutual respect and assistance. Also, your collection of mostly classic illustration is jaw-dropping and eye-popping. Thank you again.
Thank you for your kind appreciation and I am happy if it garners more views from, for want of a better expression, riding on your coat-tails from coming here via your Roby Amor The Wild Bunch illustration.
Thank you so much for your very kind words, and also for crediting me for commissioning it – I am flattered. I notice that that one feature my drawing shares with your penciled page that you bought directly from BW is that Swampy’s hands are now claw-like which is probably used to differentiate him from the earlier original version. Thank you for your appreciation and as it comes from another mega-Bernie Wrightson fan the validation is extra-special. Cheers.
Thank you for your comment. Well-timed it may be but it is amazing how nowadays they can tell if a film is a failure, as Supergirl is supposed to be, within days of its release. There seems to be no longer any slow-burn, word-of-month success for a film’s theatrical release, which is all part of the current accelerated pace of life.
Firstly, sorry for misnaming the word used for clickable text. It is actually “hyperlink” – my bad, as you youngsters often say (and as we old-timers practically never say). It is funny but like you I never used that hyperlink feature Bill Cox built into the text attributes, and it was only when fellow British CAF member Paul Roach a few weeks back drew it to my attention by hyperlinking a reference to a comment I made about an artwork in someone else’s gallery that I thought I should give it a try. It is always gratifying to know that certain artists whose work one loves are not only experts in their creative fields but also nice people as well because they do not always go hand in hand, and there are certain artists and writers who are notoriously not nice people, and even criminal, which does leave a bad taste in one’s mouth if one loves their work. Thank you for sharing your interaction with Bernie.
Thank you so much for this link to your interview. I really enjoyed reading it. I can understand why your school would not run it and it was not because of its quality but because it was so specialised; Bernie Wrightson is rightly recognised as one of the greats amongst comics fans – everyone knows him – but I remember that flurry of questions that circulated around the Internet when an episode of The Walking Dead was dedicated to Bernie shortly after he died. Regular people, by which I mean comics-Muggles, were wondering who he was. Anyway, thanks for asking the questions that any true fan would. I have always wondered what he felt about the Alan Moore issues, or if he had even read them as I think amongst horror comics fans that was always a dream project: An Alan Moore-written, Bernie Wrightson-drawn one-off issue of Swampy. I can understand how he did not keep up with all the other reboots (eg Scott Snyder’s) because as you get older (or so I am finding) you want to spend less time on the not-so-important things as you know your time is precious because it is limited. Those Frankenstein Alive, Alive! pages are incredible for the amount of work he put into them with the grey tones. It is a shame he did not get to finish it, which is no slight to Kelley Jones because I believe he was handpicked to take over but how can you follow Bernie Wrightson? Congrats on getting that interview and what sort of person Bernie was really comes across: helpful, friendly, self-effacing. I hope you don’t mind if I put a hotlink below to the article (you can obviously delete this entire message if you don’t approve of the hotlink). You should not hide your light under a bushel and you have every right to be very proud of the interview. It is not every day that you get to rap with one of the greatest-ever illustrators. Thank you again.
https://sequentialscience.blogspot.com/2012/11/talking-comics-w-bernie-wrightson.html
None of that quartet working individually or in another team surpassed the work they did as part of their original duo; at least that is what I think. We are all blessed to be able to have what they created together when they worked in harmony.
Wow, your comment is a monostich – a single one-line poem – plus it rhymes. Thank you!
Firstly, sorry for the delay in replying to your counter comment. If you make it through to the end of this windy reply there is an explanation of sorts. Ha! I too have the Director’s Cut of this movie. Unfortunately it is on VHS videotape and I am too tight-fisted to upgrade, so my 30+ year wait to see the movie again will have to wait until I can get my ancient player to work for 145 minutes. I get what you are saying about the composition. If you give everyone equal emphasis then it will look “same-y”, but I do not have a problem with the spotlight on Sanchez/Angel because, if I remember correctly, it is the Bunch’s betrayal of him (before they decide to redeem themselves by coming back), his humiliation and particularly cruel torture and killing which sets up the cathartic bloodbath finale. When the film was first televised on terrestrial British television back in 1976 it was coverfeatured on the weekly tv listings magazine it was such an event. However they edited out the very graphic way that Angel is killed. Now you can if you want to (I don’t) see much worse on the web and sadly it is for real. What is the world coming to? It is slightly ironic that my comment prompted you to re-watch the movie because your uploading of the artwork reminded me that I also have a Roby Amor artwork, and which by coincidence is topical. I won’t put the link up here because it seems cheeky to do so – like gatecrashing someone’s party and hogging all the attention – but thank you for your initial upload otherwise I may have completely forgotten I had the drawing to post.
This is really good. It looks like a variant, alternative, different but similar cover for issue 4.
Thank you for your reply. Umm, I was wondering if your school project interview with Mr Wrightson was ever posted online. Always interested in what he had to say and it would have been especially insightful as I believe by then he had retired from any drawing owing to health issues.
That’s nothing, you should hear him play piano. I shall put you down for Team Marr. You will be in very good company.
Yeah, the framing and conservation is likely to have been more expensive than the drawing. Makes you think there must be a story behind that.
“Creepy” and “eerie” – I saw what you did there. I totally agree with your comment. Thank you.
“They came too late and stayed too long.” Terrific photorealistic graphite rendering of Peckinpah’s finest hour with a peerless ensemble cast. Man, it is too long since I last saw this movie. Roby certainly nailed it with the likenesses and the composition – which when it is put together looks like it could not be done any other way but I am sure a great deal of thought and planning went into it. I especially like the way he incorporated the design for the original poster – the figures walking into the light to meet their fate – onto Bill Holden’s white shirt. Only a true film buff, which I believe Roby is, could give the right emphasis to each character, and although Warren Oates and Ben Johnson are relegated to bit parts in the drawing they at least made it which is more than can be said for Bo Hopkins but he would be the first to not make the cut for being written out so early in the movie, but it was a memorable cameo all the same. Roby has cornered the market in these film-cast compositions. Great choice of subject matter and although you did not call it you recognised where it belonged. Congrats.
Well, that is a terrific advertisement for the title. I will have to dig out that first issue (the only issue I have) I have got somewhere, and perhaps I will have the brainpower to understand it now. It was certainly too mindbending for my teenage brain to get my head around then. I am with Danny above who has noted the background to your purchase of this page is exceptional. I used to read Alan Austin’s Comics Unlimited fanzine until they fell apart and it was sad to read in his autobiography all the trials he experienced selling comics back in the day – all the breaking in and stealing. If you did get the page from Alan that makes it extra special; it is a treasure.
Late-period Corben when he was working with Azzarello, Ennis and Mignola are comics I have read and reread many times. I can’t speak about his colour and airbrush work but that black and while line art of his in the 21st century was better than it ever was. All the writers were top-notch but they upped their game knowing who they were working with and played to his strengths. Thank you for your comment.
Cheers. It seems strange to use the word “beautiful” to describe the page but I do agree with you. Thank you.
Thank you again for your thoughtful appreciation. Corben originally had Sullivan’s right arm around the lady in panel four but he pasted on a piece of board with the correction to Sullivan holding the lamp as if to reinforce the gothic horror trope you mention. As far as your last sentence goes – cheers for “picking up what I was laying down” although it might have non-British CAF members scratching their heads as to what you are referring. Let all correct-minded people hope that true justice will be done on someone who has not escaped by dying. I wonder how Morrissey will feel about his West Ham t-shirt now.
Thank you. I am very pleased with it. Richard Corben never cut corners when it came to drawing comics.
I am with you there as when I first read that issue as a reprint back in the late 1970s I did not realise it was an homage to the Cthulhu mythos as I had no knowledge of Lovecraft (except for Bernie’s Cool Air adaptation he did for Warren Publishing). You are aware that the ending of this issue is left open but I don’t know if you have seen M’Nagalah makes a return in Challengers of the Unknown 82 which was drawn by Mike Nasser doing his very best Neal Adams impression but that comic is notable in that Nasser drew a panel featuring a full-length shot of Swampy and a caption underneath reads that Bernie inked it which I thought that was a great mark of respect for him – that DC got him to come back to do that; it’s a pity they burned him on any other form of revival of the character. It really is good to hear that Bernie was so friendly and helpful when you interviewed him. Everyone says he was the absolute best when you met him, so humble when he needn’t have been with all he had achieved, and I am super-jealous that you did get to speak to him at length. He’s a great comics creator hero of mine.
Wow, this is a Bernie Wrightson one-and-done, if ever there was one. That inset panel with Swamp Thing is priceless and the full-page splash of The Lurker in Tunnel 13 knocks me out. Horrible (in a good way). It is always nice to know that a comic creator is a sociable and helpful person too.
Great side-eye, great atmosphere. Drawn the year I met MWK at a London comic convention. Wish I had had the foresight to get him to pencil me a proper Shadow drawing then.
Perceptive observations; thank you. And those shoulder pads too mark it of its era – the late 80s or early 90s.
“Betty”? You might have to explain that reference to me; I am not the sharpest tool in the box. If it is a reference to something in the comic then it is 30 years plus since I last read it so my memory is a bit fuzzy. Thanks again for the Lesson 101 in hyperlinks; I hope to put that knowledge to good use in my next posting (if I can get it written in time). I can believe all those psychological theories – in spite of the big steps made in equality it is still very much a man’s world. Small steps, small steps. Thank you for your comment.
What panels! It is a page like this that reinforces my belief that Mike Royer was the best inker to handle the King’s pencils. Beautiful.
I missed out latching onto Dave Gibbons as I did only when he started work at DC with the Creeper and Green Lantern because he was every bit as good in a black and white medium with these variety of tones in 2000AD. Looks like lovely Gibbons lettering too.
Urghh! One of those, “I cannot look, but I cannot look away” images from one of my favourite episodes, Svën Höek. “Grail” and “disgustingly beautiful” hit the nail on the head. Thanks for sharing.
Reading your description – what a turn-up for the books (as we say in the UK) because back in the late 70s and early 80s I was primarily a DC fan over being a Marvel fan but it was Pat Broderick’s art on Captain Marvel with Doug Moench when he came onto my radar. He was helped by fantastic inks from the excellent Bruce Patterson on that title. I had a bit of a visceral thrill when I saw a cover from that run (I think it was issue 62) pinned to the wall of Max Cady’s cell in the Martin Scorsese Cape Fear from 1991 – don’t quote me on that as it is 35 years (!) since I saw that – although Marvel wouldn’t want to make a big deal of that because Cady is not exactly a role model. From there I followed PB to DC and his work on all the titles you mention plus Lords of the Ultra-Realm where he was reunited with Doug Moench. I must have picked up those Micronauts comics too and that Acroyear is really nicely rendered – the amount of work expended on it is awesome – “The textures!”, as other CAF members are won’t to say. Congrats.
Thank you, and thank you again for posting that Don Newton/Dan Adkins splash for New Gods 14 – for me one of the Top Ten pages on CAF.
You have a sharp eye. Yes, that smoke is nicely rendered. I should give full credit to Joe Rubinstein who is one of comics’ great inkers who made some of comics top pencillers – Starlin, Miller, Golden to name a few – look beautiful. Thank you also for providing the link to that Newton/Adkins opening splash I am so fond of; it is now only one click away, and as you have pointed it out to me do not be surprised to see those hyperlinks peppering my descriptions from now on. Cheers!
Thank you for your appreciation. You have some gorgeous Don Newton pages yourself and the variety of inkers gives each page its special and distinct flavour.
Wow, thanks for reminding/informing me of that Spidey run by Gerry Conway. I might have to demote New Gods to my second-favourite Gerry Conway run. I ravenously consumed those Spider-Man comics in the early 1970s as Marvel UK black and white reprints before I could differentiate between a page of comics drawn by Steve Ditko from one drawn by Gil Kane so you can imagine I was not too observant of creative teams; for me it was all about the characters and storylines.
That is a smart observation. They say that who you think is the definitive James Bond depends on which one you first saw when you hit puberty and this might apply to which version of the New Gods you read even if it was radically different from Jack Kirby’s original intention.
Gerry Conway was nothing if not prolific. I am not sure if I can count the number of pages I have read of Gerry’s in the 1000s but it must be in the 100s.
That is a truly amazing piece of detective work by you and your brother. I might have had an inkling of who the inker was with a bigger sample but discerning the work on individual figures is flabbergasting and would be beyond my ken. There is a similar arrangement with a curious issue of Mr Miracle, the first 1970s revived issue 19, which was inked by “Ilya Hunch” and who was revealed by the editor in the following issue as an amalgam of nine different artists including the great Neal Adams and that was for the most part inking individual characters rather than individual entire pages.
Thank you for your comment. You have two great Alfredo Alcala-inked pages from Don Newton’s run with Gerry Conway on Detective, which is for me another fondly-remembered sequence.
(sorry, uploaded the wrong comment for this page so deleted it)
Beautiful BWS page with smooth Sal Buscema inks – worth its weight in gold. The development in the artistic proficiency from BWS’s first issue to his last is to me still the most marked in the history of comics in a single title.
Of course, the great Basil Wolverton. I never read Spacehawk but in my misspent youth I grooved to the Plop! covers and occasional interior strips like Doc Rockblock although I could not put my finger on why they looked different from normal comics. Yep, Brian Bolland’s rep is a sound bloke – helpful and friendly.
I would buy that comic in a heartbeat. I am sure I must have crossed paths with you at those cons back in the day; what a time to be a comics fan. Thank you for your kind words. I am sure your photos look great and I look forward to seeing them.
Thank you for your comment. Yes, they were at that time the comic-book equivalent of Lionel Messi and Cristiano Ronaldo to use an upcoming topical analogy.
Thank you. I appreciate the opinion of those who have a deep and wide-ranging collection of Simon’s art – one of two of the best I have seen on CAF.
Gracias por sus amables palabras. (Traducción de Google Translate.)
That is a very perceptive comment and I had not thought of that unification of the mother/child relationship until you pointed it out, but it seems so obvious now. Thank you for your view.
Yes, it seemed quite a change of pace – subject matter-wise – when Simon started doing this series of artworks, and in this example it looks a lot more restrained than he normally is. Thank you for your comment.
Thank you for your insight. Simon might have had a copy of the book on his table – he had quite a few of his published books with him – at the convention, but the next time I see that book (which I do not own) I will have to have a flip through it. You must have an encyclopaedic knowledge of Simon Bisley’s work, to go with a deep and wide-ranging collection of his art – one of two of the best I have seen on CAF – and your Angel of Death with Jesus is a stunner.
Good times. Ahh, you can never miss what you never had, and I have a strong feeling that if I had won that page I would have had my head turned by someone offering me five times what I paid for it and I would feel even worse about it having sold it then – “You never know what worse luck your bad luck has saved you from”. Thank you for your comment.
