Title Pages: The Batman Strikes #18

It’s time for another installment of Title Pages, featuring another title page from my run on The Batman Strikes! which was a tie-in comic for The Batman animated TV series. A Title Page is the page which features the story title and credits for the issue, and is often (but not always) a Splash Page, which is a full-page image, rather than a page broken up into multiple panels.

In The Batman Strikes! #17, Chief Angel Rojas was still the top cop in Gotham City. By issue #18, Police Commissioner James Gordon has arrived on the scene, and with him his daughter Barbara Gordon, aka Batgirl!

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Again the title page was page 2, so here’s the set up on page 1, where Commissioner Gordon  is working late an checking on the whereabouts of his daughter, who happens to be dealing out justice (with the help of a handy push broom) to some low-level street thugs trying to rip off a 24-hour laundromat. I’ve always seen Gordon as very blue-color and overworked, so I enjoyed drawing him illuminated only by his desk lamp in a darkened office. Seeing his name reversed and backlit in the window of his office door was another fun touch. The Gotham City Map seen on the finished page was not rendered by me, but was an existing map of Gotham I found online, and I sized and angled it to fit into the artwork and provided it separately to inker Terry Beatty for him to paste into place once the original art was inked. Note that we’re showing Batgirl on her cell phone here, but saving a good look at her for the big reveal on the next page.

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So here’s the title page and our reveal of Batgirl as she doesn’t let being outnumbered intimidate her in the slightest, even in these early days of her crime-fighting career. If you compare the pencils to the finished page, you can see that she disappears into her cape a little bit. This was again due to the dark, saturated colors in combination with the cheaper paper used on this series as I’ve lamented about before. Consider it part of my ongoing crusade for DC to make digital editions of all the issues of this series available. So far they’ve only released the first three issues digitally!

While not appearing in this scene, the villain of the issue was Poison Ivy, and given the title of the story, I tried to give the title logo a decorative, floral approach. I like how it turned out.

I’ll have more installments of Title Pages soon, but until then you can check out previous installments! As always, questions and comments are welcome!

Title Pages: The Batman Strikes #17

It’s time for another installment of Title Pages, featuring another title page from my run on The Batman Strikes! which was a tie-in comic for The Batman animated TV series. A Title Page is the page which features the story title and credits for the issue, and is often (but not always) a Splash Page, which is a full-page image, rather than a page broken up into multiple panels.

The Batman Strikes! #17 featured a title page that was the payoff of a 2-page sequence with Gotham City Police Chief Angel Rojas and Detective Ellen Yin reacting to a message being projected into the sky via searchlight beam by The Riddler. What the heck kind of smog does Gotham City produce that they have such dense, concentrated cloud layers that you can project PRINT onto them without it diffusing into illegibility?

 

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Both of these characters were fun to draw. Chief Rojas was the top cop in the first season of The Batman animated series for which this was was the tie-in comic series. Both Rojas and Ellen Yin were new characters created for The Batman, and brought some needed ethnic diversity to the pantheon of Batman characters. Rojas was unfriendly to the bat-garbed vigilante who had recently appeared in Gotham, especially in contrast to Commissioner Gordon who largely replaced him in the second season. I never heard if there was any reason to invent this character and not use Gordon in the first season other than trying to diversify the cast (a worthy enough goal). I wish they would have done more with him after Gordon came in, but the character kind of faded away. Yin also largely was pushed aside to make way for other supporting characters as Batgirl and Robin were added in later seasons.

On page 2 we see the payoff of this sequence as Batman swoops in front of the searchlight, foreshadowing the Bat-Signal. The story title and credits appear in this panel, and I made the “Q” into a question mark to reference The Riddler as the villain of this story.

 

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Sadly I don’t have the inks-only versions of these pages in digital form to include in this post, but you can see how the pencils compare to the finished pages. I’d really love for DC to make digital editions of all the issues of this series available, as the lower-quality paper used on this title combined with the deep, saturated colors that were frequently used could make the pages look dark and muddy, and a lot of the contrast I was trying to create in the line art was diminished. I bet most of these pages would look MUCH better in purely digital form as opposed to what you see  here, which are scans of the printed comic.

I’ll have more installments of Title Pages soon (I promise), but until then you can check out previous installments! As always, questions and comments are welcome!

Doing my first Reddit AMA

I am doing my very first Reddit AMA (Ask Me Anything) this weekend on r/YoungJustice with Zac Atkinson!

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Join DC’s Young Justice Comic Book artists Christopher Jones (penciller/inker) and Zac Atkinson (colorist) for an AMA on r/YoungJustice Sunday, March 10th at 5PM EST/4PM CST! Chris and Zac will be answering comic art questions about the Young Justice comic and any other comics projects they’ve worked on, what it is like to work with Greg Weisman and DC Comics, the process behind creating comic book art, and really anything else you might want to know!

You can visit Christopher Jones’ website at www.ChristopherJonesArt.com You can visit Zac Atkinson’s website at www.evilby.me

(Chris and Zac worked on the Young Justice comic book for DC Comics. They have not worked on the Young Justice TV show and don’t have any inside information about the show.)

This will be Zac’s and my first foray onto Reddit, but hopefully it will be fun! (Though I am still on the fence about whether I would rather fight 100 duck-sized horses or one horse-sized duck. I’ll have to give that one some thought…)

Harley Quinn and my first DC Comics Writing Credit

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Page 1 – The Corwin O’Dooley Show!

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Page 2 – The Obligatory Monologue

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Page 3 – Enter: The JOKER!


This was the opening sequence of The Batman Strikes #35 which I co-wrote!

Russell Lissau was one of the writers contributing scripts for The Batman Strikes and I met him and was chatting with him at Wizard World Chicago. He mentioned that he’d wanted to do a story with the Joker but hadn’t been able to think of a Joker plot that could be told within the kid-friendly confines of the Strikes title. I mentioned an idea I’d had to tell a story from the point of view of someone under the influence of the Joker’s nerve-toxin, since in this continuity is was a paralytic rather than instantly deadly. The whole story would be about The Joker and Batman playing hot-potato with the victim while they were a helpless, paralyzed observer. Russell loved the idea and offered to co-write it with me, which lead to issue #35.

The concept got watered down a bit. I would have loved to tell the story literally from the victim’s POV – seeing it through their eyes, but I wasn’t surprised when it was deemed too  high-concept for an animation tie-in title. I’d hoped that we could at least limit our story POV to that character – only seeing and hearing what they would be personally aware of. But even that was considered to be a little too much.

Still, the story was a ton of fun. It introduced the show’s version of Harley Quinn into the comic, and centered on a late-night talk show host who earns the Joker’s ire when he is dubbed “The Clown Prince of Late Night” by a Gotham magazine. The character was deliberately a cross between David Letterman and Conan Obrian.

That opening page took forever to draw, but I really wanted that big shot looking from behind our host out at his studio audience – letting us share the view he would have walking onstage. I think this was one of the pages I apologized for when handing it off to inker Terry Beatty. I wanted the sequence to feel like you were seeing it from the stage floor of the studio, not from the POV of the audience or the cameras, so that meant a few more busy shots of the studio audience in the opening pages, until the action eventually led us to a chase outside the studio confines.

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Page 5 – Harley Quinn’s big entrance.

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Page 6 – Bruce & Dick sneak away.

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Page 7 – The helpless host.


As a note of trivia, I should mention that I designed the Corwin O’Dooley Show logo and modeled the theater on the CBS Ed Sullivan Theater where David Letterman’s show is done, which is on the next block over from DC Comics‘ offices in New York. I replaced the “CBS” letters on the marquee with “GBS (aka the Galaxy Broadcasting System),” as a nod to the TV network where Clark Kent served as a news anchor during some of the Superman comics of the 1970s.

And here’s a look at how some of these pages looked in print, with inks by Terry Beatty and colors by Heroic Age.

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The Amazing Spider-Costume

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Today Comingsoon.net released our first look at the updated Spider-man costume from the upcoming sequel to The Amazing Spider-man. (Amazing Spider-man 2? Spectacular Spider-man? Amazing-er Spider-man?) I thought it would be worthwhile to update a post I made when we were getting our first looks at the costume from the previous film.

While I find it weird that after such an extreme redesign of the Spider-man costume in the previous film to something so close to the suit from the Sam Raimi Spider-man films, I have to applaud the fact that for the first time in five films they have gotten the eyes right. I’m still not thrilled with the hard-shell lenses, and I don’t think they have to be as large as the ones here (although at least they eyes aren’t of McFarlane-esque proportions), I love that these have the swoop and aesthetic feel that the eyes have usually had in the comics costumes, as opposed to the more triangular shapes we’ve had previously.

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No, not these eyes either.


I was pretty vocal about not being a fan of the costume from 2012’s Amazing Spider-man when we first saw it. It struck me as a radical and unnecessary redesign of one of the best costumes in comics. While this sneak peek at the costume from the sequel looks like we’re going 180 degrees from that to the closest we’ve yet gotten to the comic book costume, I still feel it shares certain problems with all the previous cinematic Spidey suits.

There’s a tendency to give superheroes in movies costumes that LOOK AMAZING on screen with a depth of detail and texture, but that sometimes defies the logic of the character and the story.

It actually started with Sam Raimi’s Spider-man from 2002. Oscar-winning costume designer James Acheson did some genius things with that costume. Previous superhero films had either had actor bulk up for the role and then put him in spandex, like the Christopher Reeve Superman costume, or had been given a bulky muscle suit like the Michael Keaton Batman.

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Christopher Reeve as Superman (1978)

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Michael Keaton as Batman (1989)


Both of these were reasonably successful for their time, but the bulky Batman costume was inflexible and didn’t move well, and Superman often didn’t look as physically impressive as he might have otherwise given the tremendous shape Christopher Reeve was in, given the way Spandex tends to round off and compress the musculature of the body underneath. Neither of these approaches were going to work for Spider-man.
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Tobey Maguire (or a stuntman?) in Spider-man (2002)


James Acheson realized that bulking an actor up with muscle suits looks fake, he created a thin, sculpted muscle suit that didn’t bulk up the actor, but merely restored the definition that would be otherwise lost to the spandex costume that was then worn over the top. This was further enhanced with computer-rendered mesh patterns and shading over the surfaces of the costume that added to the illusion of super-heroic musculature to the suit. The thin muscle suit under the spandex worked like a charm, but I always thought muscle textures worked better on the darker parts of the suit, and that the muscles on the red chest and abdominal areas looked painted on, raising the question of why it was a priority to Peter Parker to look like he had six pack abs at all times.

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Superman Returns (2006)

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Man of Steel (2013)


Of course the overall effect was a huge success and the movie was a smash, so it’s not surprising that this innovative costuming approach became a trendsetter for many films to follow. Both Superman Returns and the new Man of Steel featured Superman costumes adorned with fine repeating patterns. The Superman Returns version had a pattern of tiny S-shields on parts of it which seemed silly to me, while the Man of Steel version looks like chain-mail armor, which strikes me as unnecessary.

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Starfleet Uniform from Star Trek (2009)


This fine screen-print pattern business even made it’s way onto the Starfleet Uniforms in the 2009 Star Trek film with a field of repeating Starfleet arrowhead logos!

With all the other changes made to the 2012 Amazing Spider-man costume, the texture pattern evolved as well. This time it looked like it was sculpted into the surface of a more rubbery suit. The web patterns had changed as well. The Raimi suit had been reasonably faithful to the stylized, scalloped web pattern of the comics, and had transformed the black lines of the comics into raised shapes applied to the surface of the costume. The 2012 suit  turned those lines into a grid pattern that seemed to be pressed into the surface of the rubbery material. This texture in conjunction grid pattern gave Spidey’s head enough resemblance to basket ball to produce a few Spalding-man jokes.

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The Amazing Spaulding-Man


Now it seems like the whole design aesthetic from the 2012 film is being dropped. The scalloped web pattern is back, and from what we can see I’d guess the more traditional patterns of red and blue from the comics will be back as well.  I’m betting the odd sports shoe boots are gone as well. The raised webbing patterns and screen printed textures of the Raimi suit are returning, but with eye shapes more closely resembling the comic book costume than we’ve had previously.

Misguided Olympic Speed Skater

Misguided Olympic Speed Skater

$10,000 Spider-man Costume

$10,000 Spider-man Costume

Lives with Aunt May

Lives with Aunt May


So why am I complaining? Why am I not yet completely satisfied? Is there no pleasing me?

I think this costume is going to be gorgeous, but I don’t for one second believe it’s something that Peter Parker made in his bedroom on a shoestring budget. Yes, the costume looks like a million bucks. But it shouldn’t. Thor can have a magic suit. Iron Man armor should look like it cost a billion dollars. But Spider-man is a character who is by definition a struggling young science-nerd with limited resources. His costume should reflect that. I’d love to see a Spider-man costume in a movie that looks hand-made. Maybe with practice, Peter gets better at making them over time, or even buys a professionally made one after Spider-man becomes a celebrity and a popular subject for masquerade costumes! But I’d still love to see a Spider-man movie where Spidey’s costume accumulates damage and patches and stains as he has his rough-and-tumble adventures.

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The Electric Company Spider-man Costume


And for the record, I still think that Peter Parker’s first Spider-man costume probably most resembled the very first live-action Spider-man – the one from The Electric Company! Don’t worry – even I think later versions got better!