Rick2you2

I have wondered occasionally if artists don't sometimes gear their output more for sale on the secondary market than to move along the story.

In my case, it's more than satisfaction; it's to get the character right. I have a beautiful rendering by one artist of the Phantom Stranger fighting Tala. Ufortunately, the artist assumed the character was like Dr. Strange, so, the background is mystical instead of supernatural. By the way, I do make a point of treating my views as preferences inviting rebuttal. If the artist feels I am stepping into his/her sphere of responsibility, I want that response. I'm not an artist, and I want their artistry, not just their drafting skills.

To the extent someone wants to micromanage your work, I think that makes a lot of sense. But to the extent someone is just asking for basic scene elements, like Batman throwing a batarang, I would think it should help you. I mean, how many times can you draw Batman in the same basic pose without getting bored?

The way to avoid that from happening is to give the artist more specific information about what you want him to draw. Instead of saying that you want him to draw Batman, ask him to draw Batman throwing his batarang, or eating a slice of pizza. In fact, I think you'll get better commission results, too, if you have something specific in mind. Let me add a little pointer on convention sketches and commissions I have learned: bring samples. I typically carry around a couple of old volumes of Phantom Stranger art to offer the artist for guidance (and I sometimes put post-it notes on specific pages). If I wanted him sitting on a car for some reason, I would bring copies of cars I had in mind. The less time the artist spends doing research, the more time he/she is likely to spend on your project, and give you a better result.

If I am understanding what you mean by "layout", I'm okay with that. I run Adobe Illustrator, and using it to move or resize various objects to create a whole image is very helpful. Presumably, you would also do that with panels as well as objects. My only aesthetic concern is that it reduces the liklihood of an artist using unusual panel borders (which I love). On the other hand, I guess it lets you try out more masks and special effects. Are those the sorts of considerations?

In fact, I have bought a page because of the text and where I didn't like the art at all. It's a page from an old ACG comic called "Adventures Into the Unknown" starring Nemesis. The reason I bought it was partly out of nostalgia, but when I read the two smaller panels, I cracked up. Nemesis was a ghost superhero, probably best viewed as a cross between a low-powered Spectre and a 1960's situation comedy (and yes, back then, it was fun to read). The first panel is insane, once you realize ghosts aren't exactly the best of potential marriage partners. And the crazy stereotype in the second one speaks for itself.

I think that as a piece of OA, you are right. But, as part of a story, some dialog would have helped move the story along. In your example, I think there was simply too much dialog. The writer could have let the art speak for itself and simply said something like: "The path of shattered dreams is a treacherous place; only Thor had the courage to find out its secrets." Maybe even do it in an artistic font reminscent of old Norse ruins.

The artist did a terrific job of sequential art story-telling.

Oh gosh, no, they are very different. You are offering rolling waves, angry, swirling, and very nicely done. But the Lichtenstein art, which is highly regarded, has a cheesey "soap opera" majesty to it: a woman, in tears (yet still drowning) would rather die than ask Brad for help. Sure, the artist could have left out the dialog, but then it would just be a picture of rolling, angry waves.

The difference is that a comic art is a combination of artwork and scripting. Consider a fine art example by Roy Lichtenstein, and ask if art without dialog would be effective:

I keep going back-and-forth about attending, but I just don't see the point of it. There was a show in Hasbouck Heights last month, and other more general shows in NYC and NJ. Maybe if there were in late June, but not now.

It's a shame there is no easy way to have the dialog placed on acetate sheets as an overlay to the art itself. In many cases, the piece would be more compelling piece. Let me add that the absence of dialog may depress the overall market for more recent OA where it is no longer included. I don't mean the "stars" or special pieces, which will always exist, but the more typical pieces.

No chance. Nor are any of the other ones.

10,000 is one per night for over 27 years. That one. I've already had the 20.

To me, it's like asking how much is too much sex?

The pages you include are examples where the words are almost superfluous to the action. Do they help it? Sure. But you can fully enjoy the pages without the dialog. Compare that to the Kirby/Lee page of Hmendryk (Harry Mendryk?)where the fighting is almost secondary to the exposition of the story: Here, Lee had a message to send; it didn't matter if he was kicking or punching Zemo. Nice "old school" page design, by the way. In my opinion, more should be said when reviewing a page of art, too, by pointing out how well the story integrates with the art. And, there are times the opposite happens, as when a splash is used for something which doesn't justify a whole or half page, and either the writer needed some space to fill or the artist didn't emphasize the correct importance of an event. Those deserve some negative points no matter how good the artist is.

At first, I thought you meant "Judge Harry Anderson" from Night Court (the actor just died recently).

I don't sell at all, so I'm curious what you mean. Are you saying there really is that much speculative buying of OA?

I don't think the impact of dialog on a comics page--or the price of the page--is getting the attention it deserves. Sure, some art stands alone; but in a lot of other cases, the art supports tlhe dialog which directs the story. When that happens, it affects the price and the page quality. Yet, the relationship between dialog and art is almost always ignored. Comic art isn't designed to be hung on a wall. It is designed to convey a story. Take a look at the Aparo panel page I have included here. Artistically, it is little better than a 6 panel (and yes, I know it is actually 7 panels with a small splash). Strip it of the dialog, and it's pretty bland. Just the Phantom Stranger and Cassandra Craft having a disagreement, making up, and walking off. But if you consider the dialog, it becomes much more. It is now a fully contained, romantic scene in which the Phantom Stranger decides not to stay a complete stranger--all in classic comic style. It turns "ho-hum" into something strong. I'm wondering how many of you actually consider dialog when buying a page, or more precisely, consider how well does the art support the dialog which combine to move along the story? If so, what do you look for?

I contacted Spencer and he is definitely doing them. He also assured me that George is sticking to a reasonable schedule.

On the other hand, hoarding art about one particular character is an act of pure genius.

Heritage isn't eBay. Perhaps it ought to be notified that something seems wrong. Same with the Coollines piece.

Beautiful piece. Reminds me of art from the Dada movement. But, he adds disorientation and focus at the same time (2D and 3D; focus/out of focus) along with great color balance.

An old LSH page: the resurrection of Lightening Lad. He was the first regular superhero who I knew to die, and he was also a fan favorite. So, bringing him back really struck home. I don't have a full copy of the page (and will never have the art, I'm sure), but here's the best part of it from the internet:

Scott Hanna's inks over Brent Anderson's blue line pencils from Phantom Stranger No. 1, p. 2, (Vol. 4). I, uh, did embellish it a bit. .